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Journal articles on the topic 'Theatre, Dance and Performance'

Author: Grafiati

Published: 4 June 2021

Last updated: 7 February 2022

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1

Bortnyk, K. V. "Characteristic aspects of teaching the discipline “Dance” to the students of the specialization “Directing of the Drama Theatre”." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 51, no. 51 (2018): 258–73. http://dx.doi.org/10.34064/khnum1-51.15.

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Background. Modern theatre education in Ukraine is carried out through the extensive teaching system, which also includes different aspects of the training of future directors of the drama theatre. Some hours in academic programmes of institutions of higher theatre education are given for plastic training, which is carried out in the lessons of eurhythmics, stage movement, stage fencing, as well as dance. As for the latter, among the whole complex of disciplines connected with moving, the discipline “Dance” has the most significant value, as choreography today is one of the most demanded expre

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Parson, Annie-B. "David Bowie: Dance, Theatre, Other." PAJ: A Journal of Performance and Art 38, no. 2 (2016): 31–32. http://dx.doi.org/10.1162/pajj_a_00313.

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I was just thinking about the perfect strangeness of his performance, his separation from gravity and from what is temporal, his saturated colors, his plastic shape-shifting identity, and his insistence on and intentionality around theatricality. And his dances: the abstraction and the symbol. I have an enduring image in my mind from an early album of his fingers specifically molded in an asymmetric shape to express messages from somewhere we don't know, have never been. His last dance, a solo in the middle of Black Star, so eerie, so loose-limbed. I was thinking of his pure, pitch-perfect spe

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Șușu, Petre, Carmen Mihaela Crețu, and Aurelian Bălăiță. "1. The Acting Student’s Choreographic Training. Several Cognitive Objectives." Review of Artistic Education 15, no. 1 (2018): 110–26. http://dx.doi.org/10.2478/rae-2018-0012.

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Abstract Dance is an artistic genre that is more and more frequently used in theatre productions. The syncretism of theatre and dance can take many shapes, from inserting dance sequences in dramatic performances, to new artistic genres, such as dance theatre. Due to the fact that they offer manifold innovating possibilities for artistic expression in a greatly audience-oriented universal language, theatrical forms that include dance, and especially the artistic genre of dance theatre are increasingly often put on stage by directors who work in Romania. Thus, training actors in the area of danc

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Laakkonen, Johanna. "Early Modern Dance and Theatre in Finland." Nordic Journal of Dance 4, no. 2 (2013): 18–31. http://dx.doi.org/10.2478/njd-2013-0009.

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Abstract Early modern dancers established a foothold in theatres and opera houses from the 1910s onwards when the focus of many avant-garde theatre directors shifted from literary text to the actor’s body and its expressive potentialities. This article explores the interplay between early modern dance and theatre in Finland by focusing on three dance scenes that Maggie Gripenberg (1881–1976) composed for theatre and opera performances in Helsinki in the 1920s and 1930s. The developments in Finland will be connected with the international trends that Gripenberg and her Finnish collaborators abs

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Thomas, Karen Kartomi. "Dimensions of Dance with Reference to Song Lyrics: Improvisatory Processes and Practices in Indonesian Malay Mendu Theatre Performance." Dance Research 36, no. 2 (2018): 253–68. http://dx.doi.org/10.3366/drs.2018.0240.

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In this article, I analyse the creative process of dance in Malay mendu theatre staged in Indonesia's northern Riau Islands, based on fieldwork I conducted in 1984 and 2013. I describe and compare the four main motifs that made up most of the theatre's dances (referring specifically to upper body movements, the height of the forearms and hands, the direction of the eye gaze, the number of beats per movement), and deconstruct the five integrated, improvisatory mechanisms of the dance system (repetition, modification, retrogrades, looping, and controlled free-timing) by which actors generated th

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Felseghi, Alexandra. "How to „Read” a Dance Theatre Performance?" Studia Universitatis Babeş-Bolyai Dramatica 64, no. 1 (2019): 157–64. http://dx.doi.org/10.24193/subbdrama.2019.1.10.

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Feldman, Heidi Carolyn. "Staging Public Blackness in Mid-Twentieth-Century Peru: The Repertoires of Pancho Fierro and Cumanana." Theatre Survey 61, no. 2 (2020): 203–30. http://dx.doi.org/10.1017/s004055742000006x.

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In 1951, Victoria (1922–2014) and Nicomedes Santa Cruz (1925–92) attended a performance at Lima's Teatro Municipal (Municipal Theatre) by the Katherine Dunham Dance Company. Dunham (1909–2006), an African American choreographer and anthropologist, pioneered a “research-to-performance” method to study African-derived dances in the Caribbean and stage them in stylized choreographies. Elite Lima patrons walked out of the theatre during the danced African fertility rite in Dunham's “Rites de Passage,” but the performance left a lasting impression on the Santa Cruzes. Nicomedes Santa Cruz later des

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Rosdeen Suboh. "MAKYUNG AS AN OLDEST FORM OF MALAY TRADITIONAL DANCE THEATRE IN SOUTHEAST ASIA." International Journal of Applied and Creative Arts 2, no. 1 (2019): 27–35. http://dx.doi.org/10.33736/ijaca.1441.2019.

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Almost all previous studies on the Makyung dance theater concurred that the aforementioned performance was the oldest form of traditional theater amongst the Malays in Southeast Asia. It arrived or started before the arrival of Islam to the Malay Peninsula. Unfortunately, the written record on Makyung only existed at the end of the 18th century. Hence, the exact date on the origin of Makyung is difficult to determine. This means that the main sources of research on Makyung are from oral traditions, including myths, as well as the evidence contained in the self-titled performances, and not only

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Daye, Anne. "The Role of Le Balet Comique in Forging the Stuart Masque: Part 1 The Jacobean Initiative." Dance Research 32, no. 2 (2014): 185–207. http://dx.doi.org/10.3366/drs.2014.0106.

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The prominence of Le Balet Comique in the narrative of Western theatre dance cannot be denied, as every dance history book implies that this performance of 1581 initiated the ballet de cour, while the image of the fugitive gentlemen is reproduced over and over again to represent the work ( McGowan, 2008 , 169). The performance was certainly innovative, but also a development of previous theatre dance in France and Italy. Barbara Sparti questions the basis of the work's fame and places it in a context of earlier Italian dance theatre (2011, 304–322). The impact of the publication in England has

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Lampe, Eelka. "Disruptions in Representation: Anne Bogart's Creative Encounter with East Asian Performance Traditions." Theatre Research International 22, no. 2 (1997): 105–10. http://dx.doi.org/10.1017/s0307883300020514.

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The avant-garde theatre director Anne Bogart has made her name in the U.S. theatre community through her deconstructions of modern classics such as the musical South Pacific (1984), Cinderella/Cendrillon (1988) after Massenet's opera, Büchner's Danton's Death (1986), Gorki's Summerfolk (1989), William Inge's Picnic (1992), as well as through her idiosyncratic and original dance/theatre ‘compositions’ developed collabortively with her company, the Saratoga International Theater Institute (SITI). Prominent among such compositions have been 1951 (1986) on art and politics during the McCarthy era,

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Das, Joanna Dee, and Ryan Donovan. "Special Issue: Dance in musical theatre." Studies in Musical Theatre 13, no. 1 (2019): 3–7. http://dx.doi.org/10.1386/smt.13.1.3_2.

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This special issue of Studies in Musical Theatre examines the role of dance in musical theatre from a variety of perspectives. Given the scholarly turn from textual analysis to performance analysis, even studying musicals without extensive dance per se can benefit from understanding how movement shapes meaning. The introduction below explains some key themes that have emerged in the six articles that follow. One is the question of genre: what exactly is musical theatre dance? Another is auteurship: what is the role of the choreographer in shaping musicals? A third is technology, which reminds

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AMES, MARGARET, DAVE CALVERT, VIBEKE GLØRSTAD, KATE MAGUIRE-ROSIER, TONY MCCAFFREY, and YVONNE SCHMIDT. "Responding to Per.Art'sDis_Sylphide: Six Voices from IFTR's Performance and Disability Working Group." Theatre Research International 44, no. 1 (2019): 82–101. http://dx.doi.org/10.1017/s0307883318000846.

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This submission by IFTR's Performance and Disability working group features responses by six participants – voices projected from Canada, New Zealand, Norway, Wales, England and Australia – to Per.Art's productionDis_Sylphide, which was presented on 7 July 2018 at the Cultural Institution Vuk Karadžić as part of IFTR's conference in Belgrade at the invitation of the Performance and Disability working group. Per.Art is an independent theatre company founded in 1999 in Novi Sad, Serbia, by the internationally recognized choreographer and performer Saša Asentić, the company's artistic director. T

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Obeng, Pashington. "Siddi Street Theatre and Dance in North Karnataka, South India." African Diaspora 4, no. 1 (2011): 1–26. http://dx.doi.org/10.1163/187254611x566080.

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Abstract The Karnataka African Indians (Siddis, Habshis and Cafrees), drawing on both Indian performing arts and their African heritage, use dance and street theatre for political action, entertainment, social critique and self-expression. This paper focuses on Siddi dance and theatre in Uttara Kannada (North Karnataka), South India. Karnataka Siddis number about twenty thousand (Prasad, 2005). Using dramatic aesthetics, performers portray farming, hunting, child labour, violence against women and domestic work motifs to articulate Siddi grundnorms (foundational norms). I address how some Sidd

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Camilleri, Frank. "‘Yours Neutrally, Habitational Action’: Performance between Theatre and Dance." New Theatre Quarterly 29, no. 3 (2013): 247–63. http://dx.doi.org/10.1017/s0266464x13000444.

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A milestone development in a practice-as-research investigation led to the identification of ‘habitational action’ as a term that resists a priori restrictions of inner–outer problematics when discussing performer processes. In this article Frank Camilleri cross-references the term with ‘neutral action’ to locate it conceptually and historically; first with Jacques Lecoq's pedagogical mask work, and then with Yvonne Rainer's conceptualization of the ‘neutral doer’. The cross-referencing to specific theatre and dance contexts is also intended to problematize psychophysicality as a central aspec

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Thamkulangkool, Piyawat. "Audience Development in Thai Contemporary Theatre and Dance: A Study of the Barriers to Audience-Building." MANUSYA: Journal of Humanities 24, no. 1 (2021): 22–36. http://dx.doi.org/10.1163/26659077-02401009.

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Abstract This research article examines the current situation of audiences in Thailand who attend non-mainstream contemporary theatre and dance, focusing on the barriers to building audiences for this type of performance. Mixed methods were used to collect data from various target groups, including qualitative methods like in-depth interviews, and focus groups for contemporary theatre and dance companies and arts spaces, and quantitative data gathered from audience questionnaires and surveys. The study revealed that many theatre and dance companies or groups run by artists often put more empha

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Barnes Lipscomb, Valerie. "“The play’s the thing”: theatre as a scholarly meeting ground in age studies." International Journal of Ageing and Later Life 7, no. 2 (2013): 117–41. http://dx.doi.org/10.3384/ijal.1652-8670.1272a6.

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Addressing three current critical turns in gerontology, this article proposes the theatre as a fertile ground for various theoretical angles in age studies - including the performative on and off stage, the narrative in the script and the critical questioning of age and ageism in the multiple realities of performance. Beginning from a shared site in the theatre, researchers may be able to establish greater common ground, resulting not only in multi-disciplinary efforts but also in truly interdisciplinary work. With a foundation in performance studies, this article suggests promising directions

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Fernandez, Stephen. "“Ich Bin Ein Schauspieler”: Making Crip Performance in Toronto with Theater HORA’s Disabled Theater." Canadian Journal of Disability Studies 7, no. 3 (2018): 1–30. http://dx.doi.org/10.15353/cjds.v7i3.449.

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This paper attends to the making of crip performance in the 2015 production of Disabled Theater in Toronto, where eleven performers with intellectual and physical disabilities took to the stage to perform a series of dance solos set to popular music. The performance was directed by the French choreographer Jérôme Bel and produced by the Zurich-based Theater HORA, a professional theatre company that is fully comprised of performers with disabilities. As an experienced choreographer, Bel is portrayed in the performance program as the “brains” behind Disabled Theater. It seems as though the perfo

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DIAMOND, CATHERINE. "The Palimpsest of Vietnamese Contemporary Spoken Drama." Theatre Research International 30, no. 3 (2005): 207–22. http://dx.doi.org/10.1017/s030788330500146x.

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Unlike most Southeast Asian theatres, Vietnam has created a sizeable corpus of scripted spoken dramas that continue to be popular in performance with urban audiences. Initially influenced by French classicism and Ibsenist realism, the Vietnamese spoken drama, kich noi, very quickly adapted to local social realities and survives by readily incorporating topical subjects. While keeping abreast of current social issues, the theatre nonetheless makes use of its multi-cultural heritage, and in any given modern performance one can see the layers of influence – traditional Sino-Vietnamese hat boi/tuo

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Schneider, Robert, and Nathan Schneider. "A Dive and a Dance with Kabuki Vaudeville: Taishū Engeki Comes Back!" New Theatre Quarterly 36, no. 3 (2020): 256–71. http://dx.doi.org/10.1017/s0266464x20000470.

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Taishū engeki occupies a niche in Japanese popular theatre between the all-male troupes of state-subsidized Kabuki and the highly commercial, all-female troupes of the Takarazuka Revue. Its origins are disputed: while some scholars trace it back to the thirteenth century, others say it is mostly a post-war phenomenon. Family-based, itinerant troupes comprising both sexes book theatres for a month at a time. They live in the theatre, sleeping onstage or in the house. They perform twice daily for largely working-class audiences. Tickets are cheap, but troupes supplement their box office with mer

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Shevtsova, Maria. "Performance, Embodiment, Voice: the Theatre/Dance Cross-overs of Dodin, Bausch, and Forsythe." New Theatre Quarterly 19, no. 1 (2003): 3–17. http://dx.doi.org/10.1017/s0266464x02000015.

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The closing decades of the twentieth century and the opening years of the twenty-first have seen a wide range of hybrid and cross-over performance forms, dance/theatre being prominent among them. In this article, Maria Shevtsova outlines the similarities between the working principles of director Lev Dodin and those of the choreographers Pina Bausch and William Forsythe, suggesting how they have set and still exemplify current trends in a networked world (Castells) of precarity (Bourdieu) and uncertainty. She also explores a broader socio-artistic context for her focus. This text is a slightly

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Constantinescu, Tamara. "The Musical – Total Art with Total Actors." Theatrical Colloquia 7, no. 2 (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 Festiva

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Volbea, Beatrice. "Contemporary Dance Between Modern and Postmodern." Theatrical Colloquia 8, no. 1 (2018): 307–15. http://dx.doi.org/10.2478/tco-2018-0011.

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Abstract As human beings and artists, what we produce, as well as our own selves, are visibly influenced by a complex ensemble of processes that take place around us and, in time, we can actually be regarded as their result. This evolutionary principle also applies to the role that body expression has in the wide specter of arts, including in dramatic dance and dramatic theatre. All along the XXth century and up until the first decade of the XXIst century, new performative genres have developed, for example, under the influence of political, social and cultural theories and philosophies. The r

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Fiskvik, Anne Margrete. "Where highbrow taste met itinerant dance in eighteenth-century Scandinavia: The dance entrepreneur Martin Nürenbach." Sjuttonhundratal 13 (December 1, 2016): 83–107. http://dx.doi.org/10.7557/4.3874.

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In 1770, the German-Swedish dancer and acrobat Martin Nürenbach (d.1780) arrived in Christiania (Oslo), Norway, where he successfully applied for a royal privilege to perform Danish comedies. Nürenbach had previously been part of an itinerant ensemble operating in Sweden, led by Carl Gottfried Seuerling. Nürenbach quit Norway in 1772 and returned to Sweden, where he resumed his former career as an itinerant artist until he died in Finnish Tavastland (Tavastia), in 1780. In the field of Nordic dance Nürenbach’s efforts have generally been belittled or else ignored. Although credited for his att

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Lin, Erika T. "Recreating the Eye of the Beholder: Dancing and Spectacular Display in Early Modern English Theatre." Congress on Research in Dance Conference Proceedings 2011 (2011): 10–19. http://dx.doi.org/10.1017/s0149767711000246.

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Shakespeare and his contemporaries regularly staged plays that exhibited feats of physical prowess, such as dancing, acrobatics, and combat. Spectacles of this sort existed in a kind of double space: even as they operated within a play's fictional narrative, they also served as legitimate entertainments in their own right. Jean Alter refers to these complementary aspects of theatre as its “referential” and “performant” functions: theatre as semiotic system, employing both mimetic and nonmimetic forms of representation, and theatre as spectacular show, akin to sports or the circus. My paper ana

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Bicknell, Jemma. "Body of Knowledge: a practice as research case study on the capacity for dance-theatre to promote wellbeing." Working with Older People 18, no. 1 (2014): 18–23. http://dx.doi.org/10.1108/wwop-10-2013-0025.

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Purpose – The purpose of this paper is to explore the wellbeing benefits and challenges that arise in dance-theatre performance making with older people. It also addresses the notion of taking artistic risks when making community art. Design/methodology/approach – This study draws on current research into older people's participatory performance and the impact it has on wellbeing, in relation to a practice as research dance-theatre project: Body of Knowledge in 2012. The analysis draws on primary experiential and secondary data to describe the possible physical, mental, social and emotional be

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Chun, Tarryn Li-Min. "Adaptation as Hospitality: Shanghai Theatre Academy Winter Institute 2013 Performance Series." TDR/The Drama Review 58, no. 1 (2014): 108–17. http://dx.doi.org/10.1162/dram_a_00330.

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The productions of the Shanghai Theatre Academy Winter Institute 2013 performance series ranged from a Yue opera adaptation of Ibsen's The Lady from the Sea to modern dance theatre to an exhibition by students. Each production worked in a unique way within the framework of the encounter between foreign and local, guest and host. Together they offered a vision of cross-cultural theatrical exchange that is reconstitutive and inclusionary.

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Rajan, Doris, Roshanak Jaberi, and Shahrzad Mojab. "Confronting Sexual Violence Through Dance and Theatre Pedagogy." Engaged Scholar Journal: Community-Engaged Research, Teaching, and Learning 5, no. 2 (2019): 255–61. http://dx.doi.org/10.15402/esj.v5i2.68349.

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The historically-shaped violence embedded in ongoing relations of colonization and imperialism for both refugee and Indigenous women across the globe are stories mostly told in reports and statistics. The performance-based art forms of theatre and dance can enhance knowledge sharing, build relationships and assist women in a deeper understanding of their realities. In pursuit of an effective use of these art forms; however, scripted stories need to ensure that women who experience oppression, formulate the storytelling. In addition, the enactment and representation should share women’s materia

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Karantonis, Pamela. "Takarazuka is burning: music theatre and the performance of sexual and gender identities in modern Japan." Studies in Musical Theatre 1, no. 2 (2007): 153–65. http://dx.doi.org/10.1386/smt.1.2.153_1.

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The Takarazuka Revue, an all-female music theatre troupe founded in 1913 as the flagship of an elite performance academy, with its ultimate interest in Broadway musicals and western music, theatre and dance influences, is an unlikely foil for its male antecedent,kabuki. Like the ongoing revival ofkabuki, there had been an ideological as well as entrepreneurial impetus behind the Revue's creation, which reflected changes in the nature of popular entertainment in Japan. Kobayashi Ichiz, the founder of the Takarazuka Revue, claimed that Japan needed a new form of national theatre that was based i

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Diamond, Catherine. "Burmese Nights: the Pagoda Festival Pwe in the Age of Hollywood's ‘Titanic’." New Theatre Quarterly 16, no. 3 (2000): 227–48. http://dx.doi.org/10.1017/s0266464x00013865.

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The Burmese zat pwe, an exuberant variety show involving almost every kind of performing art, has fascinated foreign visitors to Myanmar for the past hundred years. It continues today as a vibrant amalgam of singing, dancing, acting, and comic improvisation, still performed annually at pagoda festivals. As Burmese scholars have noted, the Burmese performer is primarily a singer and dancer rather than a dramatic actor, and therefore tends to use plays as frameworks for demonstrating virtuosity in these areas. This is reinforced by the training given at the two State Schools of Music and Dance,

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Lunberry, Clark. "Dance of Light and Loss." PAJ: A Journal of Performance and Art 38, no. 2 (2016): 56–62. http://dx.doi.org/10.1162/pajj_a_00317.

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On a bright and sunny Sunday afternoon in the Ogikubo district of western Tokyo, in the dark basement of Saburo Teshigawara's dance studio and performance space known as Karas Apparatus, an audience gathered to see the dancer's newest solo performance, Fool. The uncurtained stage in the small theatre was empty and unlit, the stage itself far larger, perhaps three times larger than that tight space reserved for those attending the event. What lights there were faintly illuminated only the slightly raised rows of cushions upon which the forty of us in the audience took our seats, waiting for the

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Bishop, Claire. "Black Box, White Cube, Gray Zone: Dance Exhibitions and Audience Attention." TDR/The Drama Review 62, no. 2 (2018): 22–42. http://dx.doi.org/10.1162/dram_a_00746.

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Relocated from the “black box” of experimental theatre to the “white cube” of the gallery, dance in the museum brings about new forms of performance — the dance exhibition — and new protocols of audience behavior that permit, even encourage, smartphone photography. This is the “gray zone” of recent performance, which is both a symptom of, and compensation for, the virtualization of contemporary perception.

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Rapi, Nina. "Hide and Seek: the Search for a Lesbian Theatre Aesthetic." New Theatre Quarterly 9, no. 34 (1993): 147–58. http://dx.doi.org/10.1017/s0266464x00007739.

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Is there a specific lesbian theatre aesthetic? If so, is butch and femme at the heart of it? Or androgyny? Or the freedom-confinement dynamic? Or, on another level, distancing role from ‘essential being’, and ‘woman’ and ‘man’ as social constructs from male and female as biological entities? By focusing on a number of lesbian texts, including her own work, Nina Rapi explores both the theory and practice of an emerging aesthetic that reveals the ‘performance of being’, seeking to ‘shift the axis of categorization’, and so to create a new and exciting theatre language. Nina Rapi is a playwright

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Robinson, Anne. "Penelope Spencer (1901–93) Dancer and Choreographer: A Chronicle." Dance Research 28, no. 1 (2010): 36–89. http://dx.doi.org/10.3366/drs.2010.0004.

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The career of the English dancer, choreographer, teacher and dance writer, Penelope Spencer (1901–93), primarily spanned the twenty-year period between the First and Second World Wars (1919–39). Spencer's versatile dance training and career encompassed diverse British theatre genres of the period, including ballet, drama, mime, modern dance, musical comedy, opera, pantomime and revue. It was common practice during the inter-war period for English dancers to disguise their British origins by ‘Russianising’ their names. Spencer, however, maintained her English name throughout her career. She pra

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Prickett, Stacey. "Hip-Hop Dance Theatre in London: Legitimising an Art Form." Dance Research 31, no. 2 (2013): 174–90. http://dx.doi.org/10.3366/drs.2013.0075.

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Programming schedules in the West End and other prominent London venues are increasingly featuring hip-hop dance productions, marking innovative forays into the mainstream performance field by a former subcultural style. Choreography by Rennie Harris in the USA and Jonzi D, Kate Prince, Sandy ‘H20’ Kendrick and composer Michael ‘Mikey J’ Asante in London offers material through which to consider developments in the theatricalisation of hip hop culture. Discussion also centres on mass media dissemination through television talent shows, films and cultural festivals such as the Olympic Games cer

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LEONHARDT, NIC. "‘From the Land of the White Elephant through the Gay Cities of Europe and America’: Re-routing the World Tour of the Boosra Mahin Siamese Theatre Troupe (1900)." Theatre Research International 40, no. 2 (2015): 140–55. http://dx.doi.org/10.1017/s0307883315000024.

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Bangkok, Singapore, Paris, Vienna, Berlin, St Petersburg – some thirty performers of the Boosra Mahin Siamese Theatrical Troupe toured the world in 1900. Daily newspapers enthusiastically reported on the unprecedented shows of the performers ‘from the land of the white elephant’. After they disappeared from the map of theatre history, in 2010 Thai choreographer Pichet Klunchun ‘revives’ the troupe in his performance Nijinsky Siam. He follows their October 1900 St Petersburg show – the very performance attended by choreographer Mikhail Fokine and costume designer Léon Bakst, who later worked cl

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Pritchard, Jane. "Archives of the Dance (24): The Alhambra Moul Collection at the Victoria and Albert Museum." Dance Research 32, no. 2 (2014): 233–57. http://dx.doi.org/10.3366/drs.2014.0108.

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This article in the ‘Archives of the Dance’ series looks at one specific collection held in the Theatre & Performance Collections of the Victoria and Albert Museum, London. At first glance, the Alfred Moul Collection (THM/75) appears a small collection filling only half a dozen archive boxes plus some photographs and press cuttings books. Nevertheless its content is very revealing about the management of the Alhambra Palace of Variety, Leicester Square, during the years 1901–1914, and the ballets created there. It is not exclusively a dance archive but places the work of the theatre's ball

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YÜCEIL, ZEYNEP GÜNSÜR. "An Obscure Performance in Life and Education." Theatre Research International 44, no. 3 (2019): 305–7. http://dx.doi.org/10.1017/s0307883319000361.

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After the military intervention of 1980, Turkey's intellectual and social democrats were devastated – imprisoned, escaped to exile, silenced, killed – in the hands of the coup d’état and all the prohibitions that came with it until the first half of the 1980s. Then the famous Turgut Özal government with its unprecedented liberal economic policies came into the picture. Towards the end of the 1980s, a new generation of theatre and performance artists started to stage their response to all this madness and became visible to older generations who had long lost hope and vitality in terms of artist

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Sponsler, Claire. "Writing the Unwritten: Morris Dance and the Study of Medieval Theatre." Theatre Survey 38, no. 1 (1997): 73–95. http://dx.doi.org/10.1017/s0040557400001848.

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During the course of her summer's progress in 1575, Elizabeth I spent nineteen days at Kenilworth, the Earl of Leicester's Castle in Warwickshire, where she was presented with various entertainments—including plays, fireworks, bear-baitings, water-pageants, acrobatic performances, and dancing—at a cost of over a thousand pounds a day, as part of what has been called “unquestionably sixteenth-century England's grandest and most extravagant party.” Robert Langham, a minor court functionary who wrote an eyewitness account of the party, describes a “lyvely morisdauns” that was featured in this fes

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WOYNARSKI, LISA, ADELINA ONG, TANJA BEER, et al. "Dossier: Climate Change and the Decolonized Future of Theatre." Theatre Research International 45, no. 2 (2020): 179–208. http://dx.doi.org/10.1017/s0307883320000085.

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This dossier opens up a set of questions about what theatre and performance can do and be in a climate-changed future. Through a series of practice snapshots the authors suggest a diversity of responses to decolonizing and environmental justice issues in and through theatre and performance. These practices include the climate-fiction film The Wandering Earth, which prompts questions about what decolonizing means for China and the impact of climate chaos on the mental well-being of young people; The Living Pavilion, an Australian Indigenous-led project that created a biodiverse event space show

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Yushkova, Elena V. "From Gordon Craig to Mark Morris and Sasha Waltz: Stage design of opera / ballet “Dido and Aeneas”." Practices & Interpretations: A Journal of Philology, Teaching and Cultural Studies 5, no. 1 (2020): 100–117. http://dx.doi.org/10.18522/2415-8852-2020-1-100-117.

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The article deals with the impact of the English theatre director Edward Gordon Craig’s innovations in the dance theatre of the end of the 20th to the beginning of the 21st century. We consider one of Craig’s earliest performances in the opera “Dido and Aeneas” by the well-known English composer of the 17th century Henry Purcell., This was first staged in 1900 in London, and we focus on the selected methods and techniques associated with the reforming of theatre language, which were used by choreographers, such as the American Mark Morris and the German Sasha Waltz several decades later. Dance

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GONZÁLEZ, ANITA. "Megaship Economies and Transnational Maritime Performance." Theatre Research International 39, no. 3 (2014): 182–97. http://dx.doi.org/10.1017/s0307883314000467.

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Maritime performance inherently links to economies of commerce. Its history and practices reorient theatre within broad frames of transnationalism. Maritime performances – theatre, music and dance activities on ships, along shipping routes or within port environments – immerse participants in interactive cultural play. This article uses the lens of the cruise industry as a microcosmic study of identity formation through maritime performance praxis. Performances at sea enable roleplaying of passengers and crewmembers, activating all sectors of the ship. Collectively sea acts pass time, provide

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Magven, Anamet. "At arbejde med at begribe det fornemmede - en fortælling om et danseprojekt på et børnehjem i Rusland." Nordic Journal of Dance 2, no. 1 (2011): 8–19. http://dx.doi.org/10.2478/njd-2011-0003.

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Abstract Working with understanding the sensed: a narrative about a dance project at an orphanage in Russia is a paper based on a thesis for the postgraduate program Dance Partnership and Pedagogy at the National School of Contemporary Dance in Denmark (2008–10). The project was initiated by the partnership between the School of Contemporary Dance and the Greenhouse Project (Zelyonyi Dom) at the Orphanage # 9 in St. Petersburg, Russia. Zelyonyi Dom is a dance development project including 20 children from 8 to 12 years of age. A group of 9 children participated in the educational-dance-perform

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Kasianova, Olena. "Evolutionary modifications of dance scenes in the context of the genesis of the ukrainian opera." Ukrainian musicology 46 (October 27, 2020): 58–74. http://dx.doi.org/10.31318/0130-5298.2020.46.234595.

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The relevance of the research lies in the search for a solution to the problem of the plasticchoreographic image of the work, the peculiarities of the interpretation of dance in the process of the formation of the Ukrainian national opera school, taking into account the author's intention, its rethinking in the realities of our time. Scientific novelty lies in the definition of conceptual approaches to the genre-style interpretation of dance scenes in Ukrainian opera in accordance with the theatrical aesthetics of a particular time. The purpose of the publication is to determine the evolutiona

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Limon, Jerzy. "Waltzing in Arcadia: a Theatrical Dance in Five Dimensions." New Theatre Quarterly 24, no. 3 (2008): 222–28. http://dx.doi.org/10.1017/s0266464x08000286.

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Time structures are essential to any analysis of drama or theatre performance, and in this article Jerzy Limon takes the final scene from Tom Stoppard's Arcadia as an example to show that non-semantic systems such as music gain significance in the process of stage semiosis and may denote both space and time. The scene discussed is particularly complex owing to the fact that Stoppard introduces two different time-streams simultaneously in one space. The two couples presented dance to two distinct melodies which are played at two different times, and the author explains how the playwright avoide

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Abakporo, Princewill C. "Dance and content issues: implications for contemporary indigenous dance in Nigeria." EJOTMAS: Ekpoma Journal of Theatre and Media Arts 7, no. 1-2 (2020): 72–82. http://dx.doi.org/10.4314/ejotmas.v7i1-2.5.

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Many traditional dances have witnessed downturn in patronage to occasion academic debates geared towards reviving interest in indigenous performances and live theatres in Nigeria. It is within this context that this article closely look at content issues in Nigerian indigenous dance from a diachronic perspective and observed that the seeming dwindling patronage for certain Nigerian indigenous dances is as a result of the inability of indigenous dance creators and performers to package indigenous dance products to reflect popular tastes in contemporary times. Also, it is observed that content i

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Yellin, Liora Malka. "To Perform Nascent Knowledge: Perceptual Constructs and Meanings in Sankai Juku's Shijima." New Theatre Quarterly 29, no. 3 (2013): 264–77. http://dx.doi.org/10.1017/s0266464x13000456.

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The focal point of this article is sensory perception in terms of action and experience. Perceptual constructs are both physical and cognitive acts that carry meaning in themselves, thus being a vital element of expression in performance making. Liora Malka Yellin's theoretical discussion here draws on J. J. Gibson's information-based model of perception and Maurice Merleau-Ponty's phenomenology of perception, relating aspects of their thought to that of theatre practitioners and their practice. At the centre of these reflections are references to the shifts undergone by Butoh since its beginn

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Wilcox, Hui Niu. "Performance of Possibilities: A Critical Analysis of Audience Responses to Pipaashaa by Ananya Dance Theatre." Congress on Research in Dance Conference Proceedings 40, S1 (2008): 225–36. http://dx.doi.org/10.1017/s2049125500000728.

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This paper critically analyzes audience responses to Ananya Dance Theatre's work Pipaashaa: Extreme Thirst. Ananya Dance Theater intervenes in colorblind racial politics through casting only women and girls of color. Different responses by audiences of different social locations constitute critical discourses about race and social justice—catalysts for personal and social transformation. An examination of the discourse around Pipaashaa demonstrates that materiality of both performing and viewing bodies are important factors in creating meaningful art that envisions and inspires change.

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Greig, David. "‘I Let the Language Lead the Dance’: Politics, Musicality, and Voyeurism." New Theatre Quarterly 27, no. 1 (2011): 3–13. http://dx.doi.org/10.1017/s0266464x11000017.

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David Greig is one of Britain's most versatile and exciting playwrights, whose awardwinning work – commissioned by, among others, Suspect Culture, the Royal Shakespeare Company, the National Theatre of Scotland, the Edinburgh International Festival, and the Traverse Theatre – has been performed all over the world. His personal voice is characterized by the sensitive musicality of his text, an individual sense of humour, and an acute awareness of the world around us. Whether his protagonists are Cambridge ornithologists, Scottish lords, or American pilots, Greig creates works of extreme visual

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Nygaard, Jon. "Local, Open-Air Performances in Norway as Interdisciplinary Theatre." Theatre Research International 26, no. 2 (2001): 172–80. http://dx.doi.org/10.1017/s0307883301000189.

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Each year local amateur actors in small, rural communities all over Norway stage a large number of open-air performances. Most of them are performed annually, and indeed some have been performed for almost fifty years. The interdisciplinary nature of these performances is founded on the principle of dugnad (community cooperation and participation) which brings to the performances local knowledges and skills. These productions thus attract large audiences because of their fusion of elements from theatre, music, dance, sport and crafts performed by skilled professionals turned amateur actors fro

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KATRAK, KETU H. "‘Stripping Women of Their Wombs’: Active Witnessing of Performances of Violence." Theatre Research International 39, no. 1 (2014): 31–46. http://dx.doi.org/10.1017/s0307883313000539.

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This essay creates a theoretical frame interweaving Jill Dolan's concept of ‘finding hope at the theatre’ with Michel Foucault's concepts of ‘biopower’ and ‘biopolitics’ to argue that spectators’ affective responses to performed violence in live theatre include hope and imagining social change. I draw upon my own active witnessing of theatrical performances of two works –Ruinedby Pulitzer Prize-winning African-American Lynn Nottage, andEncounterby the Indian-American Navarasa Dance Theater Company. Along with Dolan and Foucault, I draw upon affect scholarship by James Thompson and Patricia T.

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