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Journal articles on the topic 'Theatre and art'
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1
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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Samitov, Dmitry G. "THE LITTLE THEATRE MOVEMENT AND ART THEATRES IN THE UNITES STATES. THE THEATRE GUILD." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 34 (June 2019): 54–60. http://dx.doi.org/10.17223/22220836/34/5.
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Woodruff, Paul. "Theatre as Sacrament." Ramus 42, no. 1-2 (2013): 5–22. http://dx.doi.org/10.1017/s0048671x00000047.
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All theatre is sacramental. A theatrical event establishes itself as theatre by setting aside a measured space as inviolable for a measured time. This framing effect of theatre is sacramental. Within the frame of theatre, other sacraments can be represented or performed. Part I of this paper develops conceptual distinctions necessary to understanding the sacramental in theatre, using an ethics-based theory of sacrament. Part II sets out to use the theory, applying it to open up new questions for the interpretation of ancient Greek tragedy, and using the theory to explain certain plot elements in Sophocles' Philoctetes and other plays.Any act of theatre has a sacramental effect. The art of theatre makes ceremonies possible, and by ceremonies we are able to make things sacred. In saying that theatre is sacramental, I am not saying that it is religious. Religious ceremonies employ the art of theatre and depend on that art, but theatre does not depend on religion. I understand sacrament as an ethical concept. A sacrament sets up an ethical hedge around something—makes it wrong to touch, to tread on, or to alter the thing in question.By ‘theatre’ I mean the art that makes action worth watching for a measured time in a measured space. This art must of necessity draw a line between watching and being watched. Drawing that line is a minor, though fundamental, sacrament. Other sacraments may take place within the frame of theatre. My theory of the sacramental in theatre stands on its usefulness for understanding and interpreting the elements of theatre—the experiences of both the watchers and the watched in actual productions, on the one hand, and, on the other, the texts that survive to represent productions of the past. If the theory is coherent and useful, then we should use it. Otherwise, not.
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Safta, Alice-Maria. "Dance Theatre in Notes." Theatrical Colloquia 7, no. 2 (December 1, 2017): 273–81. http://dx.doi.org/10.1515/tco-2017-0026.
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Abstract The fusing of arts enriches a spectacular setting for all human feelings to thrive and express themselves. The theatre in the arts and the art in the theatre, a sublime melding of purity and mystery, speaks striking truths for those with ears to hear them. “The floors” of theatres today enjoy classical dramatic pieces, as well as the staging of experiments, which in my opinion are a real necessity for the entire development of the creative human spirit. The need for free speech and expression gives us motivation to explore the meaning of the term “classical”. The latest trends in the art of modern dance are represented by a return to expression and theatricality, the narrative genre, as well as the historical account of the development of the plot, the restoration interventions in spoken word, chanting and singing; the concepts of art are undergoing a full recovery.
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Korkut, Perihan. "“Creative Drama” in Turkey." Scenario: A Journal of Performative Teaching, Learning, Research XII, no. 1 (January 1, 2018): 70–86. http://dx.doi.org/10.33178/scenario.12.1.5.
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The Turkish Republic is a young one. Established in 1923, it has gone through many social and political transformations, which have inevitably had an influence on how science and art are perceived. The Republic inherited from the Ottoman Empire a performative art tradition which had its roots in three distinct types of theatre: village shows; folk theatre played in town centres; and court theatre, which was based on “western” theatrical traditions. Considering the geographical location of Turkey, the term “West” signified the more advanced and civilized countries of the time, most of which were located in Europe. Having recently emerged from a tragic war, Turkey’s most urgent aim was to be on a par with these western countries in terms of science and arts. Therefore, western theatre, rather than the traditional forms, was promoted by the government (Karacabey 1995). As a result of this emphasis on western forms of theatre, many translated and adapted works were performed in theatres. In fact, even today, nearly half of the plays put on stage by Turkish state theatres are translated works. The following sections describe some examples from traditional and western forms of Turkish theatre. Fig. 1: http://aregem.kulturturizm.gov.tr/Resim/126102,ari-oyunu-yozgat-akdagmadeni-bulgurlu-koyu.png?0 These are short plays performed ...
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Modreanu, Cristina. "Elements of Ethics and Aesthetics in New Romanian Theatre." New Theatre Quarterly 29, no. 4 (November 2013): 385–93. http://dx.doi.org/10.1017/s0266464x13000705.
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Young Romanian theatre artists are very concerned to address issues from the recent past and in using collaborative art to educational and therapeutic ends. The implications of the increased ethical consciousness in their work is addressed here by Cristina Modreanu, who focuses on the productions of directors Gianina Cӑrbunariu and David Schwartz. She analyzes the relationship between ethics and aesthetics in contemporary work against the backdrop of post-Communist Romanian society and in a global context, as well as the dynamics connecting the new wave of Romanian theatre to internationall tendencies in contemporary art, as observed by authors such as Jaques Rancière and Claire Bishop. Cristina Modreanu's doctorate on Romanian theatre after 1989 is from Bucharest University of Theatre and Film, and she has also developed the subject in lectures at Tel Aviv University and Plymouth University. A Fulbright alumna and former Visiting Scholar at New York University, Performance Studies Department, Modreanu currently lectures in Contemporary Performance at Bucharest University. Her publications include articles on Romanian and Eastern European theatre for journals such as Theater, Theater der Zeit, and Alternatives Théâtrales, and for the anthology Romania after 2000: Five New Plays, edited by Martin E. Segal.
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Man Hong, Dao. "The Stanislavsky system plays an important role in the theater of Vietnam." Voprosy kul'turologii (Issues of Cultural Studies), no. 3 (February 18, 2021): 238 (280)—243 (285). http://dx.doi.org/10.33920/nik-01-2103-04.
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K.S. Stanislavsky plays an important role in the theater of Vietnam. Konstantin Sergeevich Stanislavsky (real name Alekseev; 1863–1938) — actor, director, theater teacher, founder and director of the Moscow Art Theater (Moscow Art Theater). People's Artist of the USSR (1936). An activist, thinker and major theater theorist, he, on the basis of modern science, created a school of theatrical art — the Stanislavsky generation. In addition to a successful psychological approach to the performing arts, he also contributed greatly to the formation of progressive art and art for the people. English version of the article on pp. 280-285 at URL: https://panor.ru/articles/stanislavskis-system-plays-an-important-role-in-vietnamese-theatre/65897.html
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Whyman, Rose. "Serafima Birman: the Path of the Actress from the Moscow Art Theatre to People's Artist of the USSR." New Theatre Quarterly 34, no. 4 (October 8, 2018): 339–56. http://dx.doi.org/10.1017/s0266464x18000416.
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Serafima Birman was an actress of the Moscow Art Theatre who worked in the First Studio and Second Moscow Art Theatre throughout the revolutionary and civil war period (1910s–1920s) and went on to have a distinguished career as a performer, teacher, and director in Stalinist and post-Stalinist USSR (1920s–1970s). In this article Rose Whyman investigates her artistic and cultural contribution in the development of the Stanislavsky System and of her approach to acting, working alongside Vakhtangov, Michael Chekhov, and influenced by Meyerhold and other artists of the avant-garde. She was the first female director at the theatre, continued to act and direct in Soviet theatres, and worked in film, notably with Eisenstein on Ivan the Terrible. The development of her career required great determination and necessitated making theatrical and political choices in order to survive and maintain the artistic principles on which her work was based. Rose Whyman is a Senior Lecturer in the Department of Drama and Theatre Arts at the University of Birmingham and is the author of The Stanislavsky System of Acting (Cambridge, 2008) and Stanislavsky: the Basics (Routledge, 2013).
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Ivanshina, E. A., and V. V. Zyatkova. "ABOUT THE MEANING OF THEATRE “THE MASTER AND MARGARITA”." Bulletin of Udmurt University. Series History and Philology 30, no. 2 (May 7, 2020): 303–10. http://dx.doi.org/10.35634/2412-9534-2020-30-2-303-310.
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The article deals with the semantic field of the theater in "The master and Margarita", which extends to all novel chronotopes and can be structured as a two-level one. Considering different cases of theatricalization of space and different signs of theatricality in the novel, the authors correlate the real theater (theatre as a historical reality ) and the literary theater (the art of acting ) and actualize the confrontation of literature and historical reality in "The Master and Margarita". The text of the novel is considered as a model of counterculture, from the standpoint of which the author chooses those literary codes from which his own model of theatrical behavior is built. At the same time, special attention is paid to the actualization of the metaphor "theater - court" and the semantics of exposure, and the novel itself is an act of vengeance of the author and the implementation of his inner freedom. As an example of such an artistic concept of the relationship between art and life, the film "Once upon a time... in Hollywood" by Tarantino is considered.
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Markovic-Bozovic, Ksenija. "Theatre audience development as a social function of contemporary theatres." Zbornik Matice srpske za drustvene nauke, no. 175 (2020): 437–51. http://dx.doi.org/10.2298/zmsdn2075437m.
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From the last decades of the previous century, the re-examination of the social functions of cultural institutions began - especially the institutions of elite art, to which the theatre belongs. In this regard, numerous researches are conducted focusing on the ?broader? social role of the theatre, as well as exploring the dynamics and quality of the relationship between theatre and its audience. Their outcomes are the recommendations of innovative strategic activities, by which the theatre can establish deeper relations with the existing and attract new audiences, i.e. more efficiently realize its cultural-emancipatory, social-inclusive, social-cohesive, educational, and other similar potentials. Extensive research of the functional type, which combines the analysis of the process of theatre production, distribution and reception, and sheds light on the ways in which theatre functions in the community, has not been conducted in Serbia so far. However, for many years, there have been conducted researches that provide sufficiently relevant answers, analysing this topic from individual aspects of the audience, marketing activities, cultural policy and theatre management. Their overall conclusion is that theatres in Serbia must (re)orient themselves to the external environment - (re)define their social mission and actively approach the process of diversification of the audience. However, the practical implementation of such recommendations is still lacking, theatre organizations find it difficult to adopt the idea that changes must be initiated by themselves, which brings us to the question of the attitudes on which these organizations establish their work. In this regard, the paper maps of and analyzes the opinions of managers and employees of Belgrade theatres on the topic of the role of theatre in the audience development and generation of the ?additional? social value, contextualizing the opinions in relation to the current circumstances, i. e. specific practices of these institutions. In conclusion, an original theoretical model of ?two-way adaptation of public city theatres? is developed, recognizing the importance of strategic action in culture both ?bottom-up? and ?top-down?, and proposing exact activities and approaches to theatre and cultural policy in the field of theater audience development.
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Lawaetz, Anna, Nina Gram, and Christina Østerby. "Searching for a Space for Conversation A study on how environment affects the articulation of the art experience among opera audiences at The Royal Danish Theatre." Nordic Theatre Studies 28, no. 2 (February 21, 2017): 146. http://dx.doi.org/10.7146/nts.v28i2.25522.
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“Tell me about your experience in the theatre today”. Even though theatres (with this question) may seek honest, personal, and in depth answers from the audience, this question often results in superficial responds focused on what the audience suspect the theatre wants to hear. It can thus be difficult to get personal and detailed knowledge about the audiences’ experience. In a time, where theatres with different means (co-creation, participation etc.) try to keep audience loyal and engaged, this knowledge is important. In our project, we explore how different situations, locations, questions etc. affect conversations about art experiences and in this article we describe our “search for a space for conversation”. We explore how the space affects the conversation, and how the setting can emphasize certain elements. What happens to the conversation if we sit around an ordinary meeting table, if we walk and talk outside the art institution or if we talk inside the auditorium, where we had the original art experience? This explorative study is part of the project “A Suitcase of Methods”, which is housed by The Royal Danish Theatre and financially supported by The Bikuben Foundation.
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Lawaetz, Anna, Nina Gram, and Christina Østerby. "Searching for a Space for Conversation: A study on how environment affects the articulation of the art experience among opera audiences at The Royal Danish Theatre." Nordic Theatre Studies 28, no. 2 (February 24, 2017): 146. http://dx.doi.org/10.7146/nts.v28i2.25606.
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“Tell me about your experience in the theatre today”. Even though theatres (with this question) may seek honest, personal, and in depth answers from the audience, this question often results in superficial responds focused on what the audience suspect the theatre wants to hear. It can thus be difficult to get personal and detailed knowledge about the audiences’ experience. In a time, where theatres with different means (co-creation, participation etc.) try to keep audience loyal and engaged, this knowledge is important. In our project, we explore how different situations, locations, questions etc. affect conversations about art experiences and in this article we describe our “search for a space for conversation”. We explore how the space affects the conversation, and how the setting can emphasize certain elements. What happens to the conversation if we sit around an ordinary meeting table, if we walk and talk outside the art institution or if we talk inside the auditorium, where we had the original art experience? This explorative study is part of the project “A Suitcase of Methods”, which is housed by The Royal Danish Theatre and financially supported by The Bikuben Foundation.
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Vassiliev, Anatoli. "Studio Theatre, Laboratory Theatre." New Theatre Quarterly 25, no. 4 (November 2009): 324–32. http://dx.doi.org/10.1017/s0266464x0900061x.
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Anatoli Vassiliev must be ranked with the most prominent of the internationally acclaimed directors of the late twentieth century and the beginning of the twenty-first; and history will surely place him among the great director-researcher-pedagogues of the Russian and world theatre, starting with Stanislavsky and including Meyerhold and Vakhtangov. In this conversation, Vassiliev discusses the unique situation of theatre activity in Russia in the early decades of the twentieth century, where the studio, or laboratory, was integral to the very life of the theatre as a specific, collaborative, and ensemble practice and a comprehensive artistic institution. He situates the School of Dramatic Art, which he founded in 1987, in this context, extending the latter's reach to Maria Knebel and Andrey Popov, who were his teachers on the directing course at GITIS in Moscow (State Institute of Theatre Art, now known as the Russian Academy of Theatre Art). He graduated from GITIS in 1973. Vassa Zheleznova, referred to in this interview, was the acme of Vassiliev's explorations of psychological realism, after which he developed forms of what he calls ‘play structures’ (or ‘ludic structures’). Actors working in these structures project externally in clearly articulated ways rather than go inwards, towards and within emotional states of being, as is typical of psychological-realist performance in the Russian tradition. Vassiliev's reversal of established performance modes led to his current preoccupation with ‘verbal structures’, which are underpinned by his understanding of words as ideas oriented to symbolic and metaphysical sense rather than to psycho-emotional interpretation. The spatial and luminary dimensions of play, together with movement, music, and song that is formal, operatic, rather than in any other kind of vein, defines such later works as Mozart and Salieri (2000) and Onegin's Journey (2003). They have won him great acclaim in Russia and abroad for their innovative approach outside the parameters not only of realism but also of a range of other familiar aesthetic configurations. Vassiliev has directed productions in various countries in Europe, and has also conducted prolonged research workshops as well as working demonstrations there. In this conversation, which took place in June 2009, Vassiliev refers to several underlying principles of his work and reflects upon the importance to him of Grotowski, his last mentor.
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Kohtes, Martin Maria. "Invisible Theatre: Reflections on an Overlooked Form." New Theatre Quarterly 9, no. 33 (February 1993): 85–89. http://dx.doi.org/10.1017/s0266464x00007491.
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The paratheatrical form here described as ‘Invisible Theatre’ has been little investigated by the English-speaking academic world, beyond a nod in the direction of the work of Augusto Boal. In the following article, Martin Maria Kohtes suggests that the silent interlacing of art and life in ‘Invisible Theatre’ has historical and theoretical implications which extend beyond the specifics of ‘theatre for the oppressed’ or ‘guerrilla theatre’, to call into question our understanding of what constitutes the act of theatre itself. In tracing the history of the concept back to the Weimar Republic, Kohtes develops a hypothesis to explain the visibility of ‘Invisible Theatre’ at specific historic moments – and in so doing he hopes also to illuminate for a wider audience some of the ideas and research methods of German Theaterwissenschaft. Martin Maria Kohtes, who presently lives and works in Berlin and Cologne, studied Theatre Arts at the Freie Universität Berlin, at Rutgers University in New Jersey, and at the Université de la Sorbonne Nouvelle in Paris. His study of Guerilla Theater: Theorie und Praxis des amerikanischen Strassentheaters was published by Gunter Narr Verlag, Tübingen, in 1990.
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Čiripová, Dáša. "Play as Art of Survival." Slovenske divadlo /The Slovak Theatre 66, no. 3 (September 1, 2018): 296–310. http://dx.doi.org/10.2478/sd-2018-0018.
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Abstract The study explores the art of performance and happening in Slovakia from the 1960s, and its influence on theatre. Given its interdisciplinarity, the first part is dedicated to the vantage points of performance in Slovakia: action art and related names. Action art had significant influence on later theatre performative forms. The second part focuses in detail on actions and performances by the company Temporary Society of Intense Experience, Balvan Theatre and on the artist Miloš Karásek.
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Posner, Dassia N. "PERFORMANCE AS POLEMIC: TAIROV'S 1920PRINCESS BRAMBILLAAT THE MOSCOW KAMERNY THEATRE." Theatre Survey 51, no. 1 (April 26, 2010): 33–64. http://dx.doi.org/10.1017/s0040557410000219.
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Aside from hinting at the rift between the two directors that had become evident after their failed 1918 collaboration on Claudel'sThe Exchange, Tairov's criticism of Meyerhold'sThe Dawnreveals a widening gap in the two directors’ fundamental conceptions of the purpose of theatre in the wake of the Revolution. Meyerhold famously declared “October in the theatre” after becoming head of the Theatre Department of Narkompros (the Commissariat of Enlightenment) in the fall of 1920; he attempted to liquidate the Moscow state academic theatres, of which the Kamerny was one, and to require that all theatres stage revolutionary works using the radical methods of “cubism, futurism and suprematism.” Although Tairov had experimented with cubist designs, he had spent his immediate post-Revolutionary years defending theatre as an autonomous art form that should express universal truths rather than being a vehicle for topical content, declaring, “A propagandist theatre after a revolution is like mustard after a meal.”
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Lazar, Martina Maurič. "Slovenian Puppet Base Jumping." Maska 31, no. 179 (September 1, 2016): 114–25. http://dx.doi.org/10.1386/maska.31.179-180.114_1.
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The contribution provides a deliberation on the current state of affairs in the field of puppet art in Slovenia. The author of the article is a member of the Ljubljana Puppet Theatre and thus relates her understanding of the state of Slovene puppetry from the subjective viewpoint of a co-creator. The article focuses on understanding the structure of two professional puppet theatres in Slovenia (Ljubljana Puppet Theatre and Puppet Theatre Maribor), as well as independent freelance artists. She stresses the sensitivity in developments in puppetry and care for its comprehensive development.
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Rozik, Eli. "The Functions of Language in the Theatre." Theatre Research International 18, no. 2 (1993): 104–14. http://dx.doi.org/10.1017/s0307883300017260.
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Roman Ingarden's publication of ‘The Functions of Language in the Theater’ (1958) was a landmark in the development of theatre theory in the twentieth century. Since its appearance several methods of research have radically influenced our understanding of the functions of language within this art, particularly semiotics, pragmatics and philosophy of language. More than thirty years after publication of Ingarden's work, it is sensible to address the same question once again and to suggest a theory that reflects the state of the art today.
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Schuler, Catherine. "Anna Brenko and the Pushkin Theatre: Moscow's First art Theatre?" Theatre Survey 33, no. 1 (May 1992): 85–105. http://dx.doi.org/10.1017/s0040557400009637.
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Western scholarship on Russian theatre has been so dominated by a few prominent figures that the casual student of theatre history might justifiably be left with the impression that Russian theatre began in 1898 with the founding of the Moscow Art Theatre and ended in the 1930s with Stalin's “purification” of Soviet art and literature and the untimely disappearance of Meierhold. The absence of a significant body of research further reinforces the notion that a small gaggle of men—most notably, those associated with the MAT—were solitary beacons of progress in the otherwise barren landscape of nineteenth-century popular theatre.
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Ostrowska, Joanna, and Juliusz Tyszka. "Theatre Muzzled." New Theatre Quarterly 27, no. 2 (May 2011): 193–94. http://dx.doi.org/10.1017/s0266464x11000327.
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Katereva, Irina Evgenevna. "Modern Moldovan Theatre: A Return to the Origins." Ethnic Culture, no. 4 (5) (December 25, 2020): 11–16. http://dx.doi.org/10.31483/r-96534.
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The article examines one of the trends in the development of modern Moldavian theatre. Being complex and multifaceted phenomenon, it is generally influenced by the direction of society's development. At the present stage its development is based on the influence of two simultaneously existing and opposing directions. One is directed outwards, expanding the range of his contacts with theaters of other countries and reflecting the principle of transculturalism. Since the 90s of the previous century, the art of actors in the Moldovan theater, the specificity of their expressiveness appeals to the experience of world's theatrical art in all its integrity, where archaic and modernity, East and West, complementing each other, serve mutual development. Another vector of development, fundamental, is directed inward. It is connected with the deep processes that affected the dramatic art of Moldova. The theatre rushed to its inner support, to the origins, from the depths of which the national theatrical tradition grows and where myth, ritual, archetype reign inseparably. At the junction of archaic and modernity, the theatre is looking for an opportunity to reveal the spiritual space of the people, the world of ancestral archetypes, the authentic unconscious. Through the art of acting to express the enduring features of the soul, the «ethnic cosmos». Research methods: theoretical analysis, generalization of scientific researches, Internet materials, systematic analysis of theatrical practice. Author concludes that modern Moldovan theatre develops under the influence of two interrelated vectors of development, existing simultaneously and oppositely directed.
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Rotté, Joanna. "Questions of Life and Art: Recollecting Harold Clurman." New Theatre Quarterly 8, no. 31 (August 1992): 241–48. http://dx.doi.org/10.1017/s0266464x00006862.
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When Harold Clurman died in 1980, he was almost as old as the century, but still in harness – perhaps the most venerable as well as the most versatile polymath of the American theatre. His life in the theatre extended from acting with the Theatre Guild in the ‘twenties, through his creation and direction of the Group Theatre in the ‘thirties, to a distinguished post-war career as free-lance director, highly respected theatre critic – first for the New Republic, then since 1953 for The Nation – and also theatre historian and university teacher. It was in this last role that, as a student, Joanna Rotté met Harold Clurman in 1969, and in the article which follows she blends personal recollections of an enduring friendship with a wider-ranging assessment of the qualities that distinguished Clurman as a critic and a human being. Joanna Rotté presently chairs the Theatre Department at Villanova University, Pennsylvania.
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TIAN, MIN. "Gordon Craig, Mei Lanfang and the Chinese Theatre." Theatre Research International 32, no. 2 (July 2007): 161–77. http://dx.doi.org/10.1017/s0307883307002817.
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Edward Gordon Craig's 1935 visit to Russia coincided with Mei Lanfang's 1935 performance in Russia. While Mei Lanfang's performance and its impact on Brecht and Russian theatre artists have been well documented and studied in recent years, Craig's contacts with the Chinese actor and his interest in the Chinese theatre, however, have yet to be investigated. Drawing on previously unpublished archive materials and other rarely used sources, this article for the first time documents Craig's contacts with Mei Lanfang during his visit to Russia. It also investigates his interest in the Chinese theatre in the context of his theoretical construction of the art of the theatre and his overall interest in the traditions of Asian theatres.
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Dalaqua, Gustavo H. "Using Art to Resist Epistemic Injustice." Contention 8, no. 1 (June 1, 2020): 93–114. http://dx.doi.org/10.3167/cont.2020.080107.
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This article argues that the aesthetics of the oppressed—a series of artistic practices elaborated by Augusto Boal that comprises the theatre of the oppressed, the rainbow of desire technique, and legislative theatre—utilizes art in order to resist epistemic injustice and promote democratic freedom. By constraining people’s ability to know and explore the potentialities of their bodies and desires, epistemic injustice perpetuates oppression and blocks the advent of democratic freedom. Whereas the theatre of the oppressed tackles corporal oppression, the rainbow of desire technique resists psychological oppression by encouraging the oppressed to critically examine their desires and self-knowledge. Finally, legislative theatre furthers democratic freedom by allowing citizens to protest against any epistemic injustice that might result from the enactment of laws made by representatives.
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Balme, Christopher B. "Interpreting the Pictorial Record: Theatre Iconography and the Referential Dilemma." Theatre Research International 22, no. 3 (1997): 190–201. http://dx.doi.org/10.1017/s0307883300017004.
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In 1926 the German theatre critic and scholar Julius Bab compared the endeavour of the theatre historian engaged in reconstructing past performances with that of the art historian required to study paintings solely on the basis of descriptions. The analogy serves as a justification for Bab's own study of contemporary theatre based on personal observations: only the privileged status of the eye-witness account can do justice to the transitory nature of theatrical performance, he argues. What today may seem like a self-evident truth was in the 1920s by no means so. German Theater-wissenschaft of the time was very much a historical discipline, focusing on the theatrical past and utilizing historiographical tools borrowed from neighbouring disciplines. Contemporary theatre was not in its field of vision.
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Graham-White, Anthony, and Paul Newell Campbell. "Form and the Art of Theatre." Theatre Journal 37, no. 4 (December 1985): 520. http://dx.doi.org/10.2307/3207543.
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Jennings, Sue. "Theatre Art: The Heart of Dramatherpay." Dramatherapy 14, no. 1 (October 1991): 4–7. http://dx.doi.org/10.1080/02630672.1991.9689803.
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Kozinn, Sarah. "Making Theatre Art: David Levine's Habit." TDR/The Drama Review 58, no. 2 (June 2014): 171–76. http://dx.doi.org/10.1162/dram_a_00354.
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David Levine's 2012 production of Habit is a theatrical installation of Jason Grote's The Children of Kings. Performed on repeat for eight hours a day and staged inside an enclosed set built to look like the interior of a suburban ranch house, it challenges the boundaries of what viewers perceive to be theatre.
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Xireng, Jiang. "The Children's Art Theatre of Shanghai." Asian Theatre Journal 6, no. 2 (1989): 145. http://dx.doi.org/10.2307/1124456.
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Noonan, James. "The National Arts Centre: Fifteen Years at Play." Theatre Research in Canada 6, no. 1 (January 1985): 56–81. http://dx.doi.org/10.3138/tric.6.1.56.
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This article reviews the history of theatre, English and French, at the National Art, Centre, Ottawa, since its opening in 1969. It examines the terms of reference for theatre as set out in the National Arts Centre Act and concludes that the Centre has been only partially successful in fulfilling its mandate to become a national theatre.
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Sæther, Wigdis, Jan Sørbø, Eva Gjengedal, and Else Lykkeslet. "Teater som danning i helseprofesjonene." Nordisk tidsskrift for helseforskning 12, no. 1 (June 23, 2016): 106. http://dx.doi.org/10.7557/14.3776.
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Theater as `bildung` in the health professionsHealthcare workers who watch a theatre play about dementia, gain experiential knowledge about living with dementia. In this essay we discuss the nature of this knowledge in light of the concept of bildung. This discussion hinges on the Gadamers explication of the close ties between understanding (verstehen) and bildung. Theatre as an art form can yield insights into narratives of otherness and may trigger reflection of one’s own experiences and thus, provide opportunities for bildung.
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Serova, M. V., and E. P. Zorova. "MAYAKOVSKY’s LYRICAL THEATRE." Bulletin of Udmurt University. Series History and Philology 30, no. 5 (October 27, 2020): 877–86. http://dx.doi.org/10.35634/2412-9534-2020-30-5-877-886.
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The research is devoted to the phenomenon of lyrical drama as the genre-type synthesis result. Based on Bataille-school ideas and «experience-limit» conceptions, it finds justification in relation to V.V. Mayakovsky poetry. Specificity of “experience-limit” as radical self-questioning consists in taking subjects away from themselves - splitting up on few “Me”. That process has a systematizing function in the Mayakovsky’s art: his lyrical person plays a part of the main drama’s actor, trying to determinate himself by fitting experiences of different hypostasis and reflecting them through the dominant person poetic experience. “Experience-limit”, going through the whole art system of Mayakovsky, gives a reason not just characterize it as lyrical drama, but expand the last to the “lyrical theatre”, which contains not Mayakovsky’s dramaturgy legacy itself, but that dramatic part his lyric based on. Aesthetic categories, characterized within theatre discourse as “The Cast”, “The Vestment”, “The Going On Stage”, “The Prologue”, “The Action Development”, “The Acting Parts” and “The Animal Etudes”, was marked in the lyric theatre concept. These categories find its comprehension in the article and also form an idea about common aspects of experimental aesthetic, which allows to include Mayakovsky’s lyrical theatre in the line epochal art searches. So, the article claims the parallel between inner art space’s metaphysic and New Drama, where objective reality surpasses the will of the person, as determining factor, sharing on lyrical theatre at whole. The lyrical drama of V.V. Mayakovsky is the tragedy (which protomodel is archaic mystery drama) since the beginning.
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Whybrow, Nicolas. "The ‘Art‘ of Political Theatre-Making for Educational Contexts." New Theatre Quarterly 11, no. 43 (August 1995): 277–91. http://dx.doi.org/10.1017/s0266464x00009143.
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In NTQ 39 (August 1994) Nicolas Whybrow provided an analysis of ideological changes which have recently occurred in the organization and running of schools and youth clubs. He went on to discuss the ways in which theatre in education (TIE) and theatre in youth work – commonly grouped under the title of Young People's Theatre (YPT) – were being affected by these changes. Here, in the second of two articles, he shifts his perspective towards the standpoint of theatre companies themselves, with a view to locating where the political efficacy of their practices might lie. Nicolas Whybrow is a lecturer at the Workshop Theatre, School of English, Leeds University.
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Chare, Nicholas. "To Play Many Parts: Reading Between the Lines of Charlotte Salomon/CS’s Leben? oder Theater?" RACAR : Revue d'art canadienne 43, no. 1 (August 7, 2018): 63–80. http://dx.doi.org/10.7202/1050821ar.
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This conversation with Griselda Pollock, Professor of the Social and Critical Histories of Art in the School of Fine Art, History of Art and Cultural Studies at the University of Leeds, UK, focuses on her most recent book, Charlotte Salomon and the Theatre of Memory (New Haven and London : Yale University Press, 2018). The latter provides new readings of Leben ? oder Theater ? (Life ? or Theater ?), the artistic project of the German Jewish artist Charlotte Salomon (1917–1943), who painted as CS — the cipher the artist purposely used to disguise both her gender and her ethnicity — thus challenging previous interpretations that treat this remarkable intermedial work as straightforwardly autobiographical.
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Davis, R. G. "The Politics, Packaging, and Potential of Performance Art." New Theatre Quarterly 4, no. 13 (February 1988): 17–31. http://dx.doi.org/10.1017/s0266464x00002554.
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Is the ‘Performance art’ whose influence is pervasive in today's American theatre truly in the ‘tradition’ of the avant-garde – or merely modish? In an age where fashions, whether in theatre, clothing. or motor cars. are manufactured to facilitate the turnover necessary for mass-produced obsolescence, does ‘imagist’ theatre serve as a force for social change – or merely titillate palates as jaded by yesterday's art as by yesterday's styles? R. G. Davis looks at the ways in which visually- oriented forms of theatre have been constructed and received in America since the ‘happenings’ of the early ‘sixties – and at the changing political climate since that time, which has itself modified the impact of any artistic statement. He asks whether the progressive theatre worker should in today's reactionary climate regard such forms as suspect, or look for ways of harnessing them to the creation of a ‘dialectical view of pleasure’ through the multi-faceted potential of epic theatre. R. G. Davis, who was founding director of the San Francisco Mime Troupe in the 'sixties, is a leading director of Brecht and, more recently, of Dario Fo in the United States, and is currently directing his adaptation of llya Ehrenburg'sLife of the Automobile as an imagistc theatre piece. He has been a regular contributor to TQ and NTQ.
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Avram, Cristi. "Pages from Memory – Maeterlinck and the Russian Theatre Creators." Theatrical Colloquia 9, no. 2 (December 1, 2019): 62–75. http://dx.doi.org/10.2478/tco-2019-0017.
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Abstract The dramaturgy and the essays of Maurice Maeterlinck are the starting point for essential changes in the art of theatre representation, marking the transition from realism, which had become naturalist, towards a theatre in which the essence and theatricality conduct to a revitalization of the theatre. The Russian directors V.E. Meyerhold and K.S. Stanislavsky are two of the most important theatre personalities who have searched for the new forms of theatre. Analyzing the first steps of Meyerhold’s directing, it is easy to see that the symbolist roots of theatre making can be found in the French theatre art, also inspired by Maeterlinck. Stanislavsky, the master from The Moscow Art Theatre, was also the first director to stage The Blue Bird, before the text was even published. We shall follow, in the next pages, fragments from the Russian theatre which refer to these episodes.
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Burdenko, Elena Viktorovna, Irina Artsis, and Natalia Ilyushchenko. "International Theatrical Educational Programs: Moscow Art Theatre School Experience." Multidisciplinary Journal of Educational Research 8, no. 2 (June 15, 2018): 179. http://dx.doi.org/10.17583/remie.2018.3155.
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This paper presents research results regarding the creation, development, and implementation of the international theatrical educational programs organized by the Moscow Art Theatre School together with leading American universities: the first program carried out together with the Eugene O'Neill Theatre Centre; the first international Master's theatre program carried out together with Carnegie Mellon University; the international Master's theatre program, which is currently being carried out together with the American Repertory Theatre at Harvard University, and the short-term international theatrical educational program carried out together with Wayne State University in Detroit (Michigan). The results confirm the necessity of carrying out international theatrical educational programs for training foreign students which are facilitated by the ongoing rise in global student mobility.
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Vieites, Manuel F. "Teatro y educación en la Ley General de 1970. Avances y retrocesos." Cuestiones Pedagógicas 2, no. 29 (2020): 501–63. http://dx.doi.org/10.12795/cp.2020.i29.v2.04.
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The General Education Act, enacted in 1970, appears as the first attempt to regulate Theatre Education in Spain, considering all its diversity. On the one hand, this new law places Art Education in the General Education curriculum and provides it an expressive approach. This showed the pedagogical potential of different procedures of dramatic and theatrical nature, confirmed its educational legitimacy, and produced developments in both their empirical and scientific cultures. On the other hand, the Act stated and promoted the integration of Schools of Dramatic Art and its courses in the university, in tune with what had been its status since 1857 with the Moyano Education Act, and with similar transitions taking place in Europe in the same direction. This paper, which has been written after an analysis of the educational norms derived from the application of the Act, combined with a review of the literature generated at that period, shows the advances the change enhanced. Also, reveals that later Educational Acts were not always confirmed or consolidated, and that provoked important setbacks causing persistent of problems. Also, further research lines particularly relevant in the development of the further research lines particularly relevant in the development of the History of Theatre Education and also of the History of Theatre Pedagogy in Spain have been provided.
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Constantinescu, Tamara. "The Musical – Total Art with Total Actors." Theatrical Colloquia 7, no. 2 (December 1, 2017): 239–46. http://dx.doi.org/10.1515/tco-2017-0022.
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Abstract A performance is a common adventure, the result of the “confrontation” of several creators who meet, each of them bringing the perspective of their own domain, in order to decipher a play that is meant to be represented on stage. The musical satisfies the contemporary audience’s need for novelty and dynamism, as its main characteristic is the bringing together of arts: theatre – through acting, literature – through the libretto, music – through scores and vocal interpretation, dance, and painting – through scenography. The 13th edition of Gala Vedetelor – VedeTEatru, 2016, the Festival organized by George Ciprian Theatre in Buzău, had MUSIC as its main celebrity. The audiences could attend some of the best performances of dance theatre, concert-theatre, or musicals, such as: ArtOrchestra, directed by Horia Suru, Zic Zac, performed by its young creators Andrea Gavriliu and Ştefan Lupu, or West Side Story, created by the choreographer-director Răzvan Mazilu.
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Fedorov, Alexey A. "INNOVATIVE CODES OF THE LANGUAGE OF STAGE ART OF EUGENIY BAGRATIONOVICH VAKHTANGOV ON THE MATERIAL OF PERFORMANCES OF THE BEGINNING OF THE XX CENTURY." Interexpo GEO-Siberia 5 (July 8, 2020): 11–18. http://dx.doi.org/10.33764/2618-981x-2020-5-11-18.
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The creative work presented at the International intramural and extramural festival competition of youth theater companies - “Prometheus of a Rukh” - “Spirit of Prometheus” became a threshold of the present article, devoted to the Year of theater in Russia and to the 100 anniversary from the date of the birth of the National poet of Bashkortostan, the playwright Mustaya Karim, and gained the diploma of the Winner of the First degree. In the present work, as part of the creative path, the practice and theorist of the field of art of Eugeniy Bagrationovich Vakhtangov, the language of fantastic realism as the language of artistic theatre is studied. The starting point of the research is to establish the elements of the language of conditional theater based on scenographic, acting and directing decisions in Vakhtangov's performances. For this purpose, the author makes a retrospective appeal to the director's performances. In the analysis of the chosen performances, the artistic deals with innovative instrumentation of Vakhtangov’s theatre language, which formed the director 's own understanding of the artistic style of the theatre as fantastic realism. Elements of the theatrical language of the most significant performances are considered: “Peace Holiday”, “Cricket on an oven”, “Eric XIV”, “Gadibuk” and “Princess Turandot”. Based on the sources in which the performances are described, the Vakhtangov theatre language (style) is analyzed. As a result, descriptive definitions of the concepts of Vakhtangov style and fantastic realism are given. Interfacing analysis with the basic provisions of the concept of fantastic realism, elements of the language of conditional theatre are combined into a single table, which is one of the main results of the work. The work is written within the framework of the project XI.170.1.2. (0325-2017-0013), № АААА-А17-117022250128-5.
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Ekaterina, Eryomina. "INDEPENDENT ENSEMBLES AND NEW DIRECTIONS IN THEATRICAL ART OF BELARUS OFTHE 2010S." Proceedings of Altai State Academy of Culture and Arts, no. 1 (2021): 42–49. http://dx.doi.org/10.32340/2414-9101-2021-1-42-49.
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The paper briefly describes creative activity of Belarusian independent theatre ensembles in experimental genres of stage art in the 2010s. Range of creative quest of Belarusian theatre of the second decade of the 21st century embraces various genres and directions: social, documentary, inclusive theatre, interactive baby theatre, puppet show, etc. The author points out on creative approach of Belarusian independent theatre figures to understanding and adaptation of conceptual and artistic achievement of directors' and actors' experiences f the world theatre, that exclude its blind taking.