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Journal articles on the topic 'Theatre and film comparisons'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Shafer, Daniel M., Corey P. Carbonara, and Michael F. Korpi. "Exploring Enjoyment of Cinematic Narratives in Virtual Reality: A Comparison Study." International Journal of Virtual Reality 18, no. 1 (2018): 1–18. http://dx.doi.org/10.20870/ijvr.2018.18.1.2900.

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This study compares watching a film in a traditional theater setting to watching the same film in a virtual theater using a virtual reality (VR) head-mounted display (HMD). The study seeks to determine whether watching a film in a virtual theater is a comfortable experience that viewers can tolerate; and whether watching in VR produces similar feelings of identification, transportation, and enjoyment for the films as watching in a traditional theater. Using the Oculus Rift DK2 HMD and the Riftmax virtual theater software, participants watched either Signs or Ferris Bueller's Day Off in a virtu

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2

Prozhiko, Galina Semyonovna. "Theatre and Document: Opposition or Integration?" Journal of Flm Arts and Film Studies 6, no. 3 (2014): 40–50. http://dx.doi.org/10.17816/vgik6340-50.

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It is hard to find more seemingly distant phenomena as the theatre with its obvious affectation and the document always referred to as a neutral indication of the reality. However, a closer comparison of the theatre and film document reveals unexpected similarities.

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3

Plecitá, Jana. "The Image of Růžena Maturová in the Iconography Collection of the Bedřich Smetana Museum." Musicalia 12, no. 1-2 (2021): 87–109. http://dx.doi.org/10.37520/muscz.2020.003.

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The article summarises the results attained so far through research and expert processing of the photographs held in the iconography collections of the Bedřich Smetana Museum. It provides information about Růžena Maturová (1869–1938) including previously unpublished details about the period of her life after the end of her career as an opera singer at the National Theatre in Prague (1910–1938), concerning Maturová’s performing in silent film (1920–1922), her work in healthcare services (1914–1920), and her sociocultural activities in support of retired soloists from the National Theatre in Pra

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4

Pilny, Ondrej. "Dermot Healy and memory." Ilha do Desterro A Journal of English Language, Literatures in English and Cultural Studies 71, no. 2 (2018): 173–88. http://dx.doi.org/10.5007/2175-8026.2018v71n2p173.

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The essay focuses on Irish author Dermot Healy’s involvement with memories of old people within two collaborative projects: the making of a film based on the documentary novel I Could Read the Sky by Timothy O’Grady and Steve Pyke (1997), and the development of a documentary drama with the clients of a day care centre in Co. Monaghan, entitled Men to the Right, Women to the Left (2001). It examines the methods used to record the material and its subsequent creative use, particularly in comparison with the technique of British verbatim theatre, and in the context of the imperfections of individ

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5

Zrinski, Karolina Vrban, and Nina Žavbi Milojević. "Teaching language and speech to students of stage acting (ADU in Zagreb and AGRFT in Ljubljana)." Journal of Education Culture and Society 7, no. 2 (2016): 398–407. http://dx.doi.org/10.15503/jecs20162.398.407.

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In the article we describe the methods of teaching language and speech at the Academy of Dramatic Art in Zagreb (Croatia) and at the Academy of Theatre, Radio, Film and Television in Ljubljana (Slovenia). We start by describing how language and speech are taught as individual subjects, we present the trends in teaching language and speech and compare the teaching practices at both academies. The main part of the article intends to show the connection between theory and practice in teaching, which should result in a stronger connection between the scientific and artistic approach in teaching. T

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6

McBride, Stephanie. "Film and Television: Operating Theatre." Circa, no. 111 (2005): 31. http://dx.doi.org/10.2307/25564262.

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7

ANSAH, KWAW. "On Ghanaian Theatre and Film." Matatu 21-22, no. 1 (2000): 301–14. http://dx.doi.org/10.1163/18757421-90000331.

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8

Dukore, Bernard. "Film and Theatre: Some Revisionist Propositions." Modern Drama 28, no. 1 (1985): 171–79. http://dx.doi.org/10.3138/md.28.1.171.

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9

Betts, Mary Beth, Randolph Carter, and Robert Reed Cole. "Joseph Urban: Architecture, Theatre, Opera, Film." Design Issues 11, no. 3 (1995): 74. http://dx.doi.org/10.2307/1511777.

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10

Holmes, Katie, Timothy W. Jones, and Yorick Smaal. "Film, Television, Radio and Theatre Reviews." History Australia 11, no. 1 (2014): 238–44. http://dx.doi.org/10.1080/14490854.2014.11668510.

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11

Dyrenfurth, Nick, and Noah Riseman. "Film, Television, Radio and Theatre Reviews." History Australia 11, no. 2 (2014): 255–60. http://dx.doi.org/10.1080/14490854.2014.11668525.

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12

Corbould, Clare, and Ross Gibson. "Film, Television, Radio and Theatre Reviews." History Australia 11, no. 3 (2014): 224–28. http://dx.doi.org/10.1080/14490854.2014.11668542.

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13

Thomson, Alistair, Seumas Spark, Fiona Davis, and Erica Millar. "Film, Television, Radio & Theatre Reviews." History Australia 12, no. 2 (2015): 248–56. http://dx.doi.org/10.1080/14490854.2015.11668580.

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14

McConachie, Bruce. "Theatre and Film in Evolutionary Perspective." Theatre Symposium 19, no. 1 (2011): 129–47. http://dx.doi.org/10.1353/tsy.2011.0004.

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15

Simeon, Sandrine. "Film-Theatre as an Intermedial Occurrence of Theatre: Recycling Ionesco’sBald Soprano." Romance Studies 35, no. 4 (2017): 248–59. http://dx.doi.org/10.1080/02639904.2017.1413852.

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16

Paavolainen, Teemu. "Poor Theatre, Rich Theatre." Nordic Theatre Studies 30, no. 1 (2018): 144–64. http://dx.doi.org/10.7146/nts.v30i1.106927.

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The article analyzes two Finnish theatre adaptations of Fanny och Alexander, by Ingmar Bergman, and Rauta-aika, by Paavo Haavikko, premiered in 2010 and 2011 respectively. The key question is, how the two works brought the filmic originals’ wealth of material to theatrically manageable proportions, and how the themes of poverty and prosperity were developed by their scenic machineries – a question of theatricality, but also, if you will, of a sort of theatrical exchange: “golden age” to exile or decline in the story-worlds, lavish film to theatrical constraint in production. The first two sect

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17

Aqil, Mammadova Gunay. "American English in Teaching English as a Second Language." International Journal of English Language Studies 3, no. 2 (2021): 52–57. http://dx.doi.org/10.32996/ijels.2021.3.2.7.

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With the lapse of time the two nations- Americans and British always blamed each other for “ruining” English. In this article we aim to trace historical “real culprit” and try to break stereotypes about American English status in teaching English as a second language. In comparison with Great Britain the USA has very short and contemporary history; nevertheless, in today’s world American English exceeds British and other variants of English in so many ways, as well as in the choices of language learners. American English differs from other variants of the English language by 4 specific feature

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18

Picon-Vallin, Béatrice. "Passages, Interférences, Hybridations: Le Film de théâtre." Theatre Research International 26, no. 2 (2001): 190–98. http://dx.doi.org/10.1017/s0307883301000207.

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The cinema's developments in lighting, sound and image technology have helped the theatre, and have also allowed its aesthetics to become lighter (Strehler) as well as more complex (Langhoff). Films have originated in plays (not least Louis Malle's Vanya on 42nd Street, which has been accused of wiping away all traces of the theatre, when, in fact, this eradication was part of the staged work itself); and films have passed into plays (for example, Miracle in Milan staged by Zadek in 1993 after De Sica's film). The distinction between text and image, which defined the theatre/cinema split, is f

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19

Ryan, James Emmett. "Staging Quakerism in American Theatre and Film." Quaker Studies 14, no. 1 (2009): 57–71. http://dx.doi.org/10.3828/quaker.14.1.57.

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20

Williams, Sylvia. "Marguerite Duras' India Song - Texte Theatre Film." Australian Journal of French Studies 23, no. 1 (1986): 277–89. http://dx.doi.org/10.3828/ajfs.1986.20.

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21

Amorim, Lauro Maia. "Translation and adaptation in theatre and film." Translator 20, no. 2 (2014): 243–46. http://dx.doi.org/10.1080/13556509.2014.961394.

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22

HAUPTFLEISCH, TEMPLE. "AFRICAN THEATRE AND FILM: AN INTERNATIONAL CONFERENCE." South African Theatre Journal 7, no. 2 (1993): 101–4. http://dx.doi.org/10.1080/10137548.1993.9688096.

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23

KORSBERG, HANNA. "Remains of a Past Production: A Short Film, Theatre (1957)." Theatre Research International 45, no. 3 (2020): 321–25. http://dx.doi.org/10.1017/s0307883320000322.

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This paper discusses the use of a documentary film as source material for theatre history. The central case study analyses Theatre, directed by Jack Witikka in 1957. This film presents the making of Samuel Beckett's Waiting for Godot at the Finnish National Theatre, which premiered on 5 October 1954. The paper follows the process of an event turning into an object, and at the same time I explore how the film preserves and traces material conditions of the theatre production: the physicality of the actors, their moving bodies, their position on the stage and the sound of their voices.

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24

Butson, Martin J., Peter K. N. Yu, Tsang Cheung, and Peter Metcalfe. "High sensitivity radiochromic film dose comparisons." Physics in Medicine and Biology 47, no. 22 (2002): N291—N295. http://dx.doi.org/10.1088/0031-9155/47/22/402.

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25

Nunn, Robert. "Flickering Lights and Declaiming Bodies: Semiosis in Film and Theatre." Theatre Research in Canada 17, no. 2 (1996): 147–59. http://dx.doi.org/10.3138/tric.17.2.147.

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Of all the elements that mark the boundary between theatre and film, presence seems to be the most important. This essay seeks to set aside a sterile debate about whether presence renders theatre innately superior or inferior to film, and instead examines how presence in theatre and absence in film function as elements in the process of making meaning, arguing that it is presence which is the condition for theatrical semiosis, the material support for the kinds of meaning-making that constitute theatre, and, conversely, absence which is the condition for the specific kind of semiosis character

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26

Armstrong, Eric. "This isNormal?: A Theatre Coach Works in Film." Voice and Speech Review 3, no. 1 (2003): 33–43. http://dx.doi.org/10.1080/23268263.2003.10739375.

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27

Winfield, Rebecca. "Programming Strategy and Censorship at Ipswich Film Theatre." Screen 27, no. 2 (1986): 65–69. http://dx.doi.org/10.1093/screen/27.2.65.

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28

McAuley, Gay. "Exploring the paradoxes: On comparing film and theatre." Continuum 1, no. 2 (1988): 45–55. http://dx.doi.org/10.1080/10304318809359336.

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29

Adejunmobi, Moradewun. "FonTonFrom: Contemporary Ghanaian Literature, Theatre and Film (review)." Research in African Literatures 33, no. 4 (2002): 208. http://dx.doi.org/10.1353/ral.2002.0100.

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30

Märten, Annegret. "The casting handbook for film and theatre makers." Journal of Media Practice 16, no. 1 (2015): 92–94. http://dx.doi.org/10.1080/14682753.2015.1015805.

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31

Weltman, Sharon Aronofsky. "Investigating Early Film and the Nineteenth-Century Theatre." Nineteenth Century Theatre and Film 42, no. 2 (2015): 119–23. http://dx.doi.org/10.1177/1748372716672220.

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32

Clammer, Tom, and Emma Clammer. "Setting the stage: liturgy and theatre." Theology 122, no. 4 (2019): 244–51. http://dx.doi.org/10.1177/0040571x19843743.

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At the outset it is recognized that theatre is diverse and constantly evolving and therefore elusive in definition. Liturgical worship, similarly, presents itself in many forms. The constraints of an article-length exploration necessarily lead us to focus on liturgical worship in a cathedral context, and most of the comparisons with theatre focus on it in its mainstream Western form. This article does not pretend to be exhaustive, but raises some parallels and contrasts which we offer to the wider Church as a starting point for further exploration.

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33

Melnishka, Mariana. "Who’s Not Afraid of Shakespeare." Sledva : Journal for University Culture, no. 40 (April 7, 2020): 62–67. http://dx.doi.org/10.33919/sledva.20.40.11.

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The ever growing and updating Shakespearian context is the topic of this article examining the almost simultaneous appearance (in Bulgaria, 2019) of a book, a film, and a theatre production related to the Bard: the book is “Nothing Like the Sun” by Anthony Burgess (translated by M. Melnishka), the film is Kenneth Branagh’s “All Is True”, and the theatre production is “Romeo and Juliet” at the Mladezhki Theatre (Youth Theatre) in Sofia.

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34

Fiebach, Joachim. "Cultural Identities, Interculturalism, and Theatre: On the Popular Yoruba Travelling Theatre." Theatre Research International 21, no. 1 (1996): 52–58. http://dx.doi.org/10.1017/s0307883300012700.

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Intercultural processes have become a major concern of European theatre people and critics since the 1970s. They serve to bolster the postmodern discourse marked by endlessly alterable and changing cultures and, therefore, by essentially elusive cultural identities. But the aggressive global expansion of audiovisually mediated performing culture, primarily American television, film, and video, is being viewed as a menace to received cultural identities. There are fears that European cultures are being submerged and disfigured by an ever increasing inundation of overpowering American cultural p

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35

Sabol, Ján. "Theatrical Mise-En-Scene In Film Form." Slovenske divadlo /The Slovak Theatre 66, no. 3 (2018): 288–95. http://dx.doi.org/10.2478/sd-2018-0017.

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Abstract The study reflects on divergence between theatre and film. It also points out that the difference ought to be sought in ontology, in the principle of the coding of actual reality by using film or theatrical language. In the perception of a syncretic work that connects the elements of both types of art, the viewer a priori perceives theatrical mimesis (and also the execution of theatrical mise-en-scène) as an “alien” element used by the film “language” of a concrete cinematographic work. The perception of such a work assumes the viewer’s readiness and willingness to accept a hybrid wor

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36

Whitfield, Stephen J., and Brenda Murphy. "Congressional Theatre: Dramatizing McCarthyism on Stage, Film, and Television." Journal of American History 87, no. 4 (2001): 1570. http://dx.doi.org/10.2307/2674878.

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37

Jones, Matt. "Yana Meerzon. Performing Exile, Performing Self: Drama, Theatre, Film." Theatre Research in Canada 36, no. 2 (2015): 336–37. http://dx.doi.org/10.3138/tric.36.2.336.

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38

Pauletto, Sandra. "Film and theatre-based approaches for sonic interaction design." Digital Creativity 25, no. 1 (2013): 15–26. http://dx.doi.org/10.1080/14626268.2012.752754.

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39

Hopkins, D. J. "Hamlet’s Mirror Image: Theatre, Film, and The Shakespearean Imaginary." Journal of Dramatic Theory and Criticism 29, no. 1 (2014): 7–24. http://dx.doi.org/10.1353/dtc.2014.0021.

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40

Heaney, Bobby. "Cross-pollinating skills: directing for theatre, television and film." South African Theatre Journal 20, no. 1 (2006): 221–32. http://dx.doi.org/10.1080/10137548.2006.9687834.

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41

Võsu, Ester, and Alo Joosepson. "Staging national identities in contemporary Estonian theatre and film." Sign Systems Studies 33, no. 2 (2005): 425–72. http://dx.doi.org/10.12697/sss.2005.33.2.09.

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This paper focuses on the ways in which national identities are staged in recent film and theatre productions in Estonia. We want to complement the prevalent approaches to nationality (Anderson 1983; Gellner 1983; Bhabha 1990), where the role of theatre and film as modellers of national identity are undervalued. National identity is a complex term that presupposes some clarification, which we gave by describing its dynamics today; its relation to ethnic identity, a thread between the lived and declared national identities, and the relevance of culture-based national identity. Herein we conside

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42

Taylor, Diana. "The Representation of Otherness in Chicano and Latin American Theatre and Film: Conference and Theatre Festival." Theatre Journal 43, no. 3 (1991): 377. http://dx.doi.org/10.2307/3207591.

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43

Melzer, Annabelle. "‘Best Betrayal’: the Documentation of performance on Video and Film, Part 1." New Theatre Quarterly 11, no. 42 (1995): 147–57. http://dx.doi.org/10.1017/s0266464x00001160.

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Whether described as adaptations, documentations, translations, or transcriptions, the video cassettes which allow us to see performances on video are proliferating. Not always easily available for begging, borrowing, or buying, not always willingly turned over by the theatre companies who hold them for in-house use, often lost or erased by television channels, and always beleaguered with copyright problems, these electronic arts ‘documents’ are none the less causing a revolution in teaching, rehearsal methods, and research. In what constitutes a first detailed mapping of the territory, Annabe

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44

Melzer, Annabelle. "‘Best Betrayal’: the Documentation of Performance on Video and Film, Part 2." New Theatre Quarterly 11, no. 43 (1995): 259–76. http://dx.doi.org/10.1017/s0266464x00009131.

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Whether described as adaptations, documentations, translations, or transcriptions, the video cassettes which allow us to see performances on video are proliferating. Not always easily available for begging, borrowing, or buying, not always willingly turned over by the theatre companies who hold them for in-house use, often lost or erased by television channels, and always beleaguered with copyright problems, these electronic arts ‘documents’ are none the less causing a revolution in teaching, rehearsal methods, and research. In what constitutes a first detailed mapping of the territory, Annabe

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45

Rahner, C. "Community theatre and indigenous performance traditions: An introduction to Chicano theatre, with reference to parallel developments in South Africa." Literator 17, no. 3 (1996): 61–76. http://dx.doi.org/10.4102/lit.v17i3.622.

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This article will focus on the theme of community and on the forms stemming from oral literature and musical tradition in Chicano theatre, while drawing comparisons with similar developments in South Africa. I will argue that the re-appropriation of traditional modes and their integration into stage performance replaced the formerly “Eurocentric definition of theatre” with a more indigenous specificity, a development that has been observed in South Africa as well (Hauptfleisch, 1988:40). We can thus speak of a certain divergence from standard contemporary Western traditions in both the Chicano

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46

Kusumawati, Aning Ayu. "MENENGOK SENI TEATER/DRAMA UMAT ISLAM DI INDONESIA." Adabiyyāt: Jurnal Bahasa dan Sastra 8, no. 2 (2009): 371. http://dx.doi.org/10.14421/ajbs.2009.08209.

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Theatre has become a part of the Islamic world recently. Moslems become more familiar with Islamic theatre and film. Indonesian independence, as well as the western theatre, triggers the blooming of theatre. To see its development in this country, where Moslems is the majority, it is necessary to observe how the local group of theatre or drama making its changes in their appreciation, conception, interpretation, expression, and creation. The main paradigm of the art of Islamic theatre, as the part of Islamic culture, can be understood through a textual and contextual approach.

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47

Solomon, Matthew. "From Screen to Stage and Back: Max Linder and the ‘Cinematographic Sketch’, 1908–1913." Nineteenth Century Theatre and Film 48, no. 1 (2021): 30–43. http://dx.doi.org/10.1177/17483727211000209.

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Between 1908 and 1913, as Max Linder emerged as a major international film star for Pathé, he made a specialty of combining film projections with live theatre performances. In these ‘cinematographic sketches’, action that began onscreen appeared to continue onstage. Using considerable primary-source evidence drawn from French, British, and American film and theatre trade periodicals, the essay demonstrates the liminality of Linder’s multimedia stardom during cinema’s ‘transitional period’ by demonstrating how frequently he went from screen to stage and back.

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48

Lyon, James. "Elements of American Theatre and Film in Brecht'sCaucasian Chalk Circle." Modern Drama 42, no. 2 (1999): 238–46. http://dx.doi.org/10.3138/md.42.2.238.

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49

Sava, Laura. "The Problem of Film Theatre Intermediality in Jesus of Montreal." Excursions Journal 1, no. 1 (2019): 102–22. http://dx.doi.org/10.20919/exs.1.2010.130.

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My paper resorts to the recently theorized notion of intermediality in order to examine the representation of theatre in Jesus of Montreal (Denys Arcand, 1989) Far from being a stopgap term called into being by the ever more numerous instances of border violation between media, intermediality comes with a prestigious pedigree. It is a member of the ‘inter’ family (alongside terms such as intertextuality and interdisciplinarity) and a descendant of a comparative approach which extends far back in time, encompassing genres such as the apology and the paragone. Despite the fact that in film studi

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50

Nunn, Robert. "Flickering Lights and Declaiming Bodies: Semiosis in Film and Theatre." Theatre Research in Canada 17, no. 2 (1996): 147–59. http://dx.doi.org/10.3138/tric.17.2.147.

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