Log in

Relevant bibliographies by topics / Theatre festivals / Journal articles

To see the other types of publications on this topic, follow the link: Theatre festivals.

Journal articles on the topic 'Theatre festivals'

Author: Grafiati

Published: 4 June 2021

Last updated: 7 July 2024

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the top 50 journal articles for your research on the topic 'Theatre festivals.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.

1

YEGANEH, FARAH. "Iranian Theatre Festivalized." Theatre Research International 30, no. 3 (2005): 274–83. http://dx.doi.org/10.1017/s0307883305001525.

Full text

Abstract:

This article explores contemporary Iranian theatre festivals and their relation to the whole structure of theatrical playing in the country. It examines in particular the role of the most important decision-making centre for theatre and theatre festivals: the Dramatic Arts Centre (DAC), the theatrical branch of the Ministry of Culture. The main framework of the article is based on Willmar Sauter's model of the theatrical event. Two of his four elements have been selected to develop the concept of festivals as theatrical events. The section titled ‘Organization and cultural context’ will discus

APA, Harvard, Vancouver, ISO, and other styles

2

Rodriguez, Chantal. "Is One Octopus Enough?" Theater 49, no. 1 (2019): 6–21. http://dx.doi.org/10.1215/01610775-7253739.

Full text

Abstract:

Likening Latinx theater to many octopuses with many legs, Chantal Rodriguez reflects on the 2017 Encuentro de las Américas Festival, hosted in Los Angeles by the Latino Theater Company, which included the first international convening of the Latinx Theatre Commons. Rodriguez describes current and emerging trends in Latinx theater across the Americas as expressed over the course of two panel discussions and among small-group participants. Recounting how these geographically diverse conveners responded to questions concerning Latinx aesthetics, political activism, funding, festivals, and inclusi

APA, Harvard, Vancouver, ISO, and other styles

3

Czarnecki, Mark. "To Serve the Art." Canadian Theatre Review 45 (December 1985): 6–11. http://dx.doi.org/10.3138/ctr.45.001.

Full text

Abstract:

1 / What is the “quintessential” theatre festival? To find the answer we must first eliminate operations that call themselves “festivals” but which clearly are not. In Canada, the three largest “festivals” – Stratford, Shaw, and Charlottetown – are not festivals but summer theatres operating on a repertory basis. Their self-imposed programming mandates, high ticket prices, and locations define them as tourist industries. Nor is the Blyth Festival a true festival; although its mandate Is populist and its roots are communal, it mounts a summer season using resources from a national talent pool a

APA, Harvard, Vancouver, ISO, and other styles

4

Filewod, Alan. "Popular Theatre." Canadian Theatre Review 53 (December 1987): 3. http://dx.doi.org/10.3138/ctr.53.fm.

Full text

Abstract:

Only recently has the phrase “popular theatre” won acceptance in Canada to describe theatre for social action and community development. Ever since Kam Theatre’s Bread & Circuses Festival in Thunder Bay in 1981, where representatives of a dozen companies founded the Canadian Popular Theatre Alliance, the idea of theatre as a tool of development has made increasing inroads among educators, development agencies, and of course, in the theatre profession itself. Three successive CPTA festivals (Bread & Roses, Edmonton 1983, Bread & Dreams, Winnipeg 1985, and Standin’ the Gaff, Sydney 1

APA, Harvard, Vancouver, ISO, and other styles

5

Hauptfleisch, Temple. "Eventifying Identity: Festivals in South Africa and the Search for Cultural Identity." New Theatre Quarterly 22, no. 2 (2006): 181–98. http://dx.doi.org/10.1017/s0266464x0600039x.

Full text

Abstract:

Festivals have become a prominent feature of theatre in South Africa today. More than forty such annual events not only provide employment, but constitute a socio-cultural polysystem that serves to ‘eventify’ the output of theatre practitioners and turn everyday life patterns into a significant cultural occasion. Important for the present argument is the role of the festivals as events that foreground relevant social issues. This is well illustrated by the many linked Afrikaans-language festivals which arose after 1994, and which have become a major factor not only in creating, displaying, and

APA, Harvard, Vancouver, ISO, and other styles

6

Gomez-Casero, Gema, Carol Angélica Jara Alba, Tomás López-Guzman, and Jesús Claudio Pérez Gálvez. "Theatre festival as a tourist attraction: a case study of Almagro International Classical Theatre Festival, Spain." International Journal of Culture, Tourism and Hospitality Research 14, no. 4 (2020): 599–617. http://dx.doi.org/10.1108/ijcthr-04-2019-0061.

Full text

Abstract:

Purpose Researchers have become aware of the importance of festivals as a phenomenon worthy of studying, but in-depth studies of cultural festivals are lacking. The purpose of this study is to describe the attributes of cultural festivals, specifically theatre festivals and examine the motivations to organise them. Similarly, this study seeks to discover the type of tourist that attends these types of festivals. Design/methodology/approach A questionnaire was applied to a representative sample of tourists who visited one of the most prestigious festivals in the international panorama: Almagro

APA, Harvard, Vancouver, ISO, and other styles

7

Đurica, Radmilla. "Imaginative Anarchy." Maska 31, no. 177 (2016): 102–9. http://dx.doi.org/10.1386/maska.31.177-178.102_1.

Full text

Abstract:

Like numerous other festivals, the PUF festival in Croatia got its start as an experiment, in this case following the war and disintegration of Yugoslavia. In an era of great crisis in the Croatian theatre scene, this international festival introduced a new dramatic vocabulary. It was founded in 1994 by the directors of three non-institutional theatres: Branko Sušec (PUF), Nebojša Borojević (the Daska Theatre in Siska), and Roman Bogdan (the Čakovec Pinklec). In the war-torn 90s, the founders decided that the festival was to take place in Pula and not Dubrovnik because the war had largely spar

APA, Harvard, Vancouver, ISO, and other styles

8

RENIHAN, COLLEEN. "Pitching Opera: Innovating New Music Theater at Banff and Stratford, 1970–1990." Journal of the Society for American Music 14, no. 1 (2020): 33–50. http://dx.doi.org/10.1017/s1752196319000531.

Full text

Abstract:

AbstractThe Banff Summer Festival of the Arts and the Stratford Summer Music Festival have been unrecognized sites of operatic innovation in Canada. Indeed, the flourishing of what might be termed “new music theater” in Canada is imbricated with the history of these two festivals. Archival research reveals that the inventive, often revolutionary, approaches to music theater honed at Stratford and Banff from 1970–1990 ultimately defined the course of Canadian new music theatre in the decades that followed. Founded in 1953 as a Shakespeare festival, the Stratford Festival eventually became renow

APA, Harvard, Vancouver, ISO, and other styles

9

Paterson, Erika. "Exploring the Fringe / 1: The Self-Determined Audience." Canadian Theatre Review 67 (June 1991): 49–53. http://dx.doi.org/10.3138/ctr.67.009.

Full text

Abstract:

The Canadian Fringe Festivals are a uniquely new form of theatre within the realms of “fringe” theatre, other Fringe Festivals, and Canadian theatre in general. As a theatre event the Fringes are unique in terms of their actual and ideological relationship to institutionalized theatre; their economical and philosophical relationship with artists and audience, and most significantly, their neglect or rejections of “normally” imposed artistic value / criteria. As a festival event the Fringes are uniquely situated somewhere between official celebration and popular celebration. And the audience, w

APA, Harvard, Vancouver, ISO, and other styles

10

Harbuziuk, Maiia. "“We Could Have Ventured in the Opposite Direction”: Exploring the Legacy of Polish Theatre on the Festival Map of Independent Ukraine." Pamiętnik Teatralny 72, no. 4 (2023): 57–80. http://dx.doi.org/10.36744/pt.1550.

Full text

Abstract:

This article examines the representation of Polish theatre on the Ukrainian festival map. This study includes key stages, events, and trends, and aims to uncover both positive developments and underlying problems. The research is based on sources such as published material, information resources, and my experience as a theatre critic. The periods of individual “breakthroughs” (1992–2000), “local encounters” (2001–2011), and “dramaturgical and performative landing forces” (from 2011) are identified and briefly characterized. The article outlines a broad geographical and genre-specific range of

APA, Harvard, Vancouver, ISO, and other styles

11

Winkelhorn, Kathrine. "Københavns Internationale Teater – en banebryder for scenekunst." Peripeti 19 (October 11, 2022): 128–39. http://dx.doi.org/10.7146/peri.v19isaernummer2.134031.

Full text

Abstract:

Copenhagen Interanational Theatre – breaking new grounds in performing artsMetropolis is organized by Copenhagen International Theater (KIT), which has been the primary driving force behind international, cross-disciplinary performing arts in Denmark since 1980 with festivals, seminars, workshops, and residencies. KIT has organized the legendary Fools Festivals, Dancin’ City, Images of Africa, Sommerscene, Dancin’ World, New Circus Festival, etc. as a major international platform in the Nordic countries. Presently KIT is working as an art-based metropolitan laboratory for the performative, sit

APA, Harvard, Vancouver, ISO, and other styles

12

Van Belle, David. "“Festivalizing” Performance: Community and Aesthetics through the Lens of Three Festival Experiences." Canadian Theatre Review 138 (March 2009): 7–12. http://dx.doi.org/10.3138/ctr.138.001.

Full text

Abstract:

Although the history of Canadian theatre has been greatly shaped by the existence of the long-established Stratford and Shaw Festivals, a new creative energy is coming from a crop of alternatives to them. These newer festivals are an increasingly important part of the Canadian performance landscape, in part precipitated by a renaissance in performance-creation work by independent artists and performance collectives who eschew the “season and theatre building” model of performance. Instead, these creators favour fluid creation methodologies and presentation arrangements that are well suited to

APA, Harvard, Vancouver, ISO, and other styles

13

Johnson, Chris, and Bill Kerr. "A Master Playwright Festival? In Winnipeg?" Canadian Theatre Review 138 (March 2009): 28–32. http://dx.doi.org/10.3138/ctr.138.005.

Full text

Abstract:

Every January for the past eight years, Winnipeg theatre-goers have been offered twelve to fifteen different productions of plays by a major twentieth-century playwright, staged by as many different theatre companies, over a period of about two weeks. Ticket sales remain steady at about 10,000, in a city of 650,000. Beckett was the subject of the first festival, in 2001; festivals that followed were devoted to the works of Brecht, Pinter, Albee, Tremblay, O’Neill, Stoppard, and Mamet. In 2009, it’s Miller. “The audiences are fascinating,” says festival founder Bertram Schneider. “They’re group

APA, Harvard, Vancouver, ISO, and other styles

14

Thiesen, Lene. "”Hvad laver en festivalarrangør om vinteren?”." Peripeti 19 (October 11, 2022): 110–19. http://dx.doi.org/10.7146/peri.v19isaernummer2.134028.

Full text

Abstract:

“What does a festival producer do during winter?”In this essay, Lene Thiesen offers insights into the job of festival programming in Copenhagen International Theatre (KIT) in the years from 1983 to 1997. Providing a perspective from inside the organization, it touches upon the lack of cultural political support for international exchanges, which was luckily outweighed by the enthusiasm of the artists, the volunteers, the audience, and the press. It also tracks the shifts in KIT’s artistic profile from the street theatre of the Fools Festivals through the thematized bilateral festivals with Fre

APA, Harvard, Vancouver, ISO, and other styles

15

Seymour, Jasmine. "From Armenia to Poland ‘with love’s light wings’." Cahiers Élisabéthains: A Journal of English Renaissance Studies 104, no. 1 (2021): 95–104. http://dx.doi.org/10.1177/0184767821991553.

Full text

Abstract:

On 30 July 2019, Yerevan State Chamber Theatre’s unconventional version of Romeo and Juliet was performed at the annual Gdańsk Shakespeare Theatre Festival in Poland, after successfully premiering in Yerevan, Armenia, in 2017. Following the overwhelming success of the production with local and international audiences and critics, invitations from other European festivals followed. When the current devastating restrictions imposed on theatres worldwide by the Covid-19 pandemic are finally lifted, the journey of the world’s best-known love story retold by this innovative theatre troupe will resu

APA, Harvard, Vancouver, ISO, and other styles

16

Harvie, Jennifer. "Canadian Drama and Performance in the UK: Featuring Quebec and a Canon." Canadian Theatre Review 105 (January 2001): 5–9. http://dx.doi.org/10.3138/ctr.105.001.

Full text

Abstract:

According to Todd Marciniak, Cultural Industries Officer responsible for the performing arts in the Cultural Relations office at the Canadian High Commission, London, there is now three times as much production of Canadian drama and performance in Britain - by both British and Canadian companies - as there was ten years ago.2 Regularly visiting Canadian companies include theatre companies Ex Machina and One Yellow Rabbit, the circuses Cirque du Soleil and Cirque Eloize, dance companies La La La Human Steps and O Vertigo and children’s theatre companies Les Deux Mondes and Théâtre Sans Fil. Bri

APA, Harvard, Vancouver, ISO, and other styles

17

Edmond, Murray. "A Saturated Time: Three Festivals in Poland, 2007." New Theatre Quarterly 24, no. 4 (2008): 307–21. http://dx.doi.org/10.1017/s0266464x08000468.

Full text

Abstract:

What different kinds of festival are to be found on the ever-expanding international circuit? What companies are invited or gatecrash the events? What is the role of festivals and festival-going in a global theatrical economy? In this article Murray Edmond describes three festivals which he attended in Poland in the summer of 2007 – the exemplary Malta Festival, held in Poznan; the Warsaw Festival of Street Performance; and the Brave Festival (‘Against Cultural Exile’) in Wroclaw – and through an analysis of specific events and productions suggests ways of distinguishing and assessing their ai

APA, Harvard, Vancouver, ISO, and other styles

18

Tyszka, Juliusz. "The School of Being Together: Festivals as National Therapy during the Polish ‘Period of Transition’." New Theatre Quarterly 13, no. 50 (1997): 171–82. http://dx.doi.org/10.1017/s0266464x00011039.

Full text

Abstract:

For most western theatre people, accustomed to the festival as an institutionalized annual ritual, the notion of a theatre festival as a celebration of true, holiday festivity – as signifying freedom from institutionalized ritual – comes alive more often in the pages of Bakhtin than on the stages of Edinburgh or other ‘festive’ cities. Yet Juliusz Tyszka, surveying no fewer than a hundred and fifty festivals that have sprung up or renewed themselves in his native Poland during the post-Cold War ‘period of transition’, finds that, while their economic success has been surprising in a straitened

APA, Harvard, Vancouver, ISO, and other styles

19

Jászay, Tamás. "Shakespeare Matrix Across the Continent." Theatron 16, no. 4 (2022): 170–75. http://dx.doi.org/10.55502/the.2022.4.170.

Full text

Abstract:

The volume offers a representative collection of Shakespeare festivals from the European continent in the form of individual case studies. The book makes the case for a “pan-European and post-English” Shakespeare by providing evaluative and interpretative accounts of both well-known and less-focused festivals in Eastern and Western Europe. The essays combine an external, objective eye with an internal perspective, in just the right balance. Shakespeare on European Festival Stages is a high-quality travel companion, providing a brand-new Shakespearean Grand Tour for all interested theatre schol

APA, Harvard, Vancouver, ISO, and other styles

20

Goršič, Niko. "To the last breath." Maska 31, no. 181 (2016): 146–49. http://dx.doi.org/10.1386/maska.31.181-182.146_7.

Full text

Abstract:

While still a student of sociology, Damir Domitrović co-founded Club B-51 on Gerbičeva Street, a nexus of the subculture in Ljubljana. In 1991, during the beginnings of the wars in former Yugoslavia, he conceived the B-51 Cultural Society, then two years later started the EX PONTO festival as a sort of creative-spiritual meeting point of refugee artists from the Balkan Wars. In the 22 years since, it has grown into an important international festival of the performing arts. He supported the Rajvosa project, which was dedicated to the Bosnian minority community in Slovenia, was an instigator of

APA, Harvard, Vancouver, ISO, and other styles

21

Ferraz, Leidson Malan Monteiro de Castro. "CONTRIBUIÇÃO À HISTÓRIA DOS FESTIVAIS DE TEATRO NO BRASIL." Arteriais - Revista do Programa de Pós-Gradução em Artes 5, no. 9 (2021): 124. http://dx.doi.org/10.18542/arteriais.v5i9.9821.

Full text

Abstract:

ResumoPara colaborar com a investigação histórica, a proposta é reunir dados sobre os primeiros festivais de teatro no Brasil, partindo de uma certa trajetória temporal que vai dos festivais artísticos ainda em benefício aos eventos em reverência a autores, passando depois a ter o conceito moderno de reunião de atrações variadas em período e local constantes, além de atividades extras programadas. O artigo também presta homenagem àqueles que pioneiramente deram dinâmica à realização destes encontros festivos do teatro amador ou profissional de então, nos mais diversos pontos deste país, destac

APA, Harvard, Vancouver, ISO, and other styles

22

Boni, Franco, and Peter Dickinson. "Rhubarb-o-rama! Plays and Playwrights From the Rhubarb! Festival." Canadian Theatre Review 97 (December 1998): 91–92. http://dx.doi.org/10.3138/ctr.97.017.

Full text

Abstract:

As theatre festivals go in Canada, Toronto’s Rhubarb! has always been something of an anomaly. Not only does it take place at the wrong time of year (late January or early February, instead of the customary summer months), it absolutely refuses to take itself too seriously, or to let others do so: a loosely juried, Equity-exempt showcase for independent theatre, Rhubarb! has also, since 1986, banned critics from reviewing performances. The more dissident meanings attached to the name itself encapsulate something of the original festival participants’ sense of anarchy and spirit of experimentat

APA, Harvard, Vancouver, ISO, and other styles

23

Lane, Harry. "Editorial." Canadian Theatre Review 138 (March 2009): 4–6. http://dx.doi.org/10.3138/ctr.138.fm.

Full text

Abstract:

To borrow a term from David van Belle’s contribution to this issue, Canadian theatre has been pervasively “festivalized” in recent decades. To most readers, Robertson Davies’s 1980 reminiscence would now sound quaint. We are offered festivals almost all year long and almost everywhere. True, not everyone would agree that this is an improvement on the remoteness (both geographic and cultural) of Davies’s enchantments. When Patrice Pavis came to revise his 1980 Dictionnaire du théâtre in 1996, he added an entry on “Festival,” in which he draws a rather damning distinction between “such tradition

APA, Harvard, Vancouver, ISO, and other styles

24

Iacobuţe, Ramona-Petronela. "Theater Festivals - a Collective Archive." Theatrical Colloquia 9, no. 2 (2019): 216–23. http://dx.doi.org/10.2478/tco-2019-0028.

Full text

Abstract:

Abstract Theatre can also be viewed as a collective archive that we go to when we need to better understand the world around us, artistic movements and trends, the state of mankind. Each participant in a theatrical act, whether spectator or creator, loads it with emotions and, therefore, with memories. Theatre, in all its forms, strengthens communities, and theatre festivals are a very good opportunity to popularize theatrical productions, from the level of some small communities, to the macro level. Diversity is an essential ingredient for stimulating imagination and a better understanding of

APA, Harvard, Vancouver, ISO, and other styles

25

Cottreau, Deborah. "The Montreal Fringe: Success on a Mountain of Suds." Canadian Theatre Review 82 (March 1995): 86–89. http://dx.doi.org/10.3138/ctr.82.017.

Full text

Abstract:

Unknown to most people in Quebec, westerner Kris Kieren and her partner, Nick Morra, have become two vital, albeit youthful, contributors to Montreal’s cultural scene. Four years ago, against all financial and political odds, with a little sweat, a lot of hard work, and an impressive team of volunteers, Kieren and Morra found an answer to Montreal’s alternative theatre needs by successfully launching the first Montreal Fringe Festival. Today, the Fringe is an annual event, firmly entrenched both municipally as one of the city’s many summer festivals, despite a paucity of local and provincial f

APA, Harvard, Vancouver, ISO, and other styles

26

Xu, Zhenyi. "Construction and Image Communication of Urban Cultural Space under the Collision of Modern Art Elements and Chinese Traditional Culture: A Case Study of the Wuzhen Theatre Festival." Advances in Social Science and Culture 6, no. 2 (2024): p186. http://dx.doi.org/10.22158/assc.v6n2p186.

Full text

Abstract:

Since its inception in 2013, the Wuzhen Theatre Festival has gradually grown into one of the most influential theatre festivals at home and abroad. As one of the brand characteristic events, it has helped Wuzhen transition from a traditional Jiangnan ancient town to a well-known cultural landmark through media communication. This paper aims to analyze the multiple cultural spaces presented in the Wuzhen Theatre Festival, explore how this medium combines modern art elements with Jiangnan culture, builds a bridge between high art and ordinary people, thereby endowing Wuzhen with a more diversifi

APA, Harvard, Vancouver, ISO, and other styles

27

Leonard, Paul. "Around the Festivals / 1: Redefining “the Americas”." Canadian Theatre Review 61 (December 1989): 19–23. http://dx.doi.org/10.3138/ctr.61.004.

Full text

Abstract:

One of the challenges of mounting an “international theatre festival” is to come up with a conceptual framework that can profitably link diverse shows from a variety of countries. Most frequently, and rather simplistically, artistic directors use “excellence” as the common denominator, and choose “the best” shows that are available, programming a festival with hit shows from other festivals they have attended around the world. When Le Festival de théâtre des Amériques began in Montreal in 1985, the mandate was more precise: as the name implies, the biannual event was to bring together theatre

APA, Harvard, Vancouver, ISO, and other styles

28

Morison, Thomas. "Domestic International Theatre Festivals." Canadian Theatre Review 125 (January 2006): 120–24. http://dx.doi.org/10.3138/ctr.125.021.

Full text

Abstract:

The FTA is a biannual theatre festival that presents work by national and international artists/companies. There are three categories in which the shows presented can participate: the “principle” shows, the secondary, “off” performances for emerging Québec companies (called Nouvelles Scènes), and a workshop series of works-in-progress.

APA, Harvard, Vancouver, ISO, and other styles

29

Goffin, Jeffrey. "Around the Festivals / 4: I Saw the Future at the Children’s Festival." Canadian Theatre Review 61 (December 1989): 31–32. http://dx.doi.org/10.3138/ctr.61.007.

Full text

Abstract:

It was the end of May. I found myself at the Olympic Plaza in downtown Calgary. Instead of a handful of office workers enjoying their lunchtime reprieve in a quiet sunny spot, there were thousands of children. Colourful tents, balloons and banners decorated the block. Clowns, jugglers, singers, mimes, musicians and artists lead the children in various activities. Even the adjoining Centre for the Performing Arts and the Glenbow Museum were awash with children. In the Max Bell Theatre, Mermaid Theatre performed a black light show. In the Martha Cohen Theatre the Youth Drama Society of Soweto pr

APA, Harvard, Vancouver, ISO, and other styles

30

Wallace, Robert. "Festival Follies." Canadian Theatre Review 49 (December 1986): 111–16. http://dx.doi.org/10.3138/ctr.49.013.

Full text

Abstract:

In the midst of the trials and triumphs of the winter theatre season, the reminder that theatre in Canada has become a year-round activity can be both irksome and welcome. While some artistic directors are just beginning to see the light at the end of this season’s tunnel, others are quickly organizing their summer schedules, hedging bets on late-season hold-overs, and brushing up their spring brochure copy. For organizers of theatre festivals such as Le Festival de théâtre des Amériques that opens in Montreal next 26 May, this time is even more fraught; travel and accommodation arrangements f

APA, Harvard, Vancouver, ISO, and other styles

31

Knowles, Ric. "IMPACT, Interculturalism, and the International Theatre Festival Model." Theatre Research in Canada 43, no. 2 (2022): 206–38. http://dx.doi.org/10.3138/tric.43.2.a03.

Full text

Abstract:

Cet article propose une étude de cas du festival IMPACT de Kitchener, en Ontario, pour illustrer ce que permet un tel festival ainsi que les obstacles à surmonter dans l’organisation de festivals de théâtre internationaux au Canada, en particulier ceux qui tentent de promouvoir la négociation et l’échange interculturels. Le texte présente d’abord l’histoire du festival et un aperçu des conditions matérielles de son fonctionnement, y compris le financement, les questions relatives à la traduction, la politique internationale, l’espace, les pratiques professionnelles et les différences culturell

APA, Harvard, Vancouver, ISO, and other styles

32

Sadavoy, Daniel. "Canada’s Raciest Festival." Canadian Theatre Review 138 (March 2009): 53–56. http://dx.doi.org/10.3138/ctr.138.010.

Full text

Abstract:

Theatre festivals are fun. Feeling hegemonically excluded from them is not. Just ask Andrew Moodie, a playwright whose work was rejected by the Shaw Festival ostensibly because of the number of black characters in the script.

APA, Harvard, Vancouver, ISO, and other styles

33

Seničić, Maša, and Ognjen Obradović. "Online theatre and film festivals: (Un)sustainability of digital gatherings in a time of crisis." Kultura, no. 169 (2020): 63–85. http://dx.doi.org/10.5937/kultura2069063s.

Full text

Abstract:

Applying interdisciplinary theoretical analysis within a framework that cross-references studies in the fields of performance, cultural policy, film and screen media, this paper examines transformations of festivals in digital environment during the Covid-19 pandemic. Festivals are cultural and artistic showcases that present and value certain content, as well as places of public gathering and critical debate, on which we particularly focus in this study. After a brief theoretical remark on what theatre and film encounters represent as places of real physical meetings, we move on to online fes

APA, Harvard, Vancouver, ISO, and other styles

34

Gomez-Casero, Gema, Carol Angélica Jara Alba, Javier Jiménez Beltrán, and Jaime Roldán Nogueras. "Cultural Events: Case Study of a Theatre Festival as an Element of Tourist Attraction." Mediterranean Journal of Social Sciences 9, no. 4 (2018): 177–85. http://dx.doi.org/10.2478/mjss-2018-0127.

Full text

Abstract:

Abstract Events have increasingly become more relevant in scientific literature. Festivals are considered a part of event tourism, and they are emerging as a subfield largely because they occupy a special place in each culture. There are few profound studies regarding cultural festivals and, particularly, theatre. The main aim of this research is to contribute to the current scientific literature related to festivals as an instrument for cultural and tourist development. The findings of the study show the most relevant characteristics of the tourist who attends an event with more than forty ed

APA, Harvard, Vancouver, ISO, and other styles

35

Shevtsova, Maria. "The Baltic House Theatre Festival, St Petersburg: Twenty-Five Years On." New Theatre Quarterly 32, no. 1 (2016): 61–67. http://dx.doi.org/10.1017/s0266464x1500086x.

Full text

Abstract:

One of the most important theatre festivals in Russia, the Baltic House Theatre Festival has a well-defined focus, as its name suggests. During the twenty-five years of its existence, it has showcased and in other ways nurtured and encouraged some of the greatest talents – actors, directors, designers – of the Baltic region. It has invited such leading directors as Eimuntas Nekrosius to prepare and rehearse works in its theatre – in the case of Boris Godunov in 2015, performed by the National Theatre of Vilnius. The Festival has also financed co-productions, to extend the reach of its own thea

APA, Harvard, Vancouver, ISO, and other styles

36

Morrow, Martin. "Calgary’s Wild Ride: How the High Performance Rodeo Inspired and Transformed a Theatre Community." Canadian Theatre Review 124 (September 2005): 35–38. http://dx.doi.org/10.3138/ctr.124.004.

Full text

Abstract:

Looking back, 1987 was a momentous year for theatre in Calgary. Two years before, the city had opened its impressive, multi-venue Centre for Performing Arts; in a year to come, it would host the XV Olympic Winter Games and Arts Festival. Now, in a general mood of optimism and anticipation, three major theatre-based festivals were launched: playRites, a showcase for new Canadian plays produced by Alberta Theatre Projects, the Calgary International Children’s Festival and the High Performance Rodeo. However, had you referred to the last one as “major” in 1987, people would have just laughed. And

APA, Harvard, Vancouver, ISO, and other styles

37

Day, Moira. "The Edmonton Fringe Festival: Home on the Fringe." Canadian Theatre Review 45 (December 1985): 36–43. http://dx.doi.org/10.3138/ctr.45.005.

Full text

Abstract:

In 1980 the city of Edmonton organized Summerfest to help alleviate the cultural aridity of the summer months. While Summerfest’s two musical festivals, Jazz City and International Folk, caught fire immediately, its theatre festival was slower to ignite. A plan to run a summer-long repertory season of primarily Shakespearean plays out of a large tent in a city park worked well in 1981. The programme fell through in 1982 when the city offered Northern Lights Theatre, the sponsoring company, only half its previous budget. Enter Brian Paisley, founder and artistic director of Chinook Theatre, a t

APA, Harvard, Vancouver, ISO, and other styles

38

Epner, Luule, and Anneli Saro. "Constructing Finno-Ugric Identity through Theatre." Nordic Theatre Studies 32, no. 2 (2021): 156–73. http://dx.doi.org/10.7146/nts.v32i2.124358.

Full text

Abstract:

The article investigates the construction of transnational Finno-Ugric identity through the theatre festival Mayatul and different performative strategies. This kind of identity construction is investigated through the framework of identity politics and transnationalism. The definition of the Finno-Ugric peoples (Finns, Estonians, Hungarians, Samis, Mordvins, Komi, Udmurts and others) is based foremost on their language kinship. It is believed that similar characteristics of languages and a similar natural environment and climate have shaped the close-to-nature lifestyle and the particular per

APA, Harvard, Vancouver, ISO, and other styles

39

Foreman, Kathleen, and John Poulsen. "Transforming Traditions: Commedia dell’Arte and masQuirx (Contemporary Mask Performance)." Canadian Theatre Review 104 (September 2000): 93–97. http://dx.doi.org/10.3138/ctr.104.014.

Full text

Abstract:

masQuirx is a collective of seven artists from a variety of visual and performing arts backgrounds—theatre, painting, dance, photography, mime and improvisation. Working together since 1991, our work has been described as “Jim Henson meets Hieronymus Bosch” (Raby). We create and exhibit masks, and perform in a variety of venues: theatres, art galleries, theatre festivals and roving street performances. Based in Alberta, we have toured nationally and internationally offering audiences our unique blend of visual art and physical theatre.

APA, Harvard, Vancouver, ISO, and other styles

40

Budde, Antje, and Sebastian Samur. "Making Knowledge/Playing Culture." Theatre Research in Canada 40, no. 1-2 (2020): 83–101. http://dx.doi.org/10.7202/1068259ar.

Full text

Abstract:

(A project of the Digital Dramaturgy Lab at the Centre for Drama, Theatre and Performance Studies, University of Toronto) This article discusses the 2017 festival-based undergraduate course, “Theatre Criticism and Festival Dramaturgy in the Digital Age in the Context of Globalization—A Cultural-Comparative Approach” as a platform for experiential learning. The course, hosted by the University of Toronto’s Centre for Drama, Theatre and Performance Studies, and based on principles of our Digital Dramaturgy Lab, invited a small group of undergraduate students to critically investigate two festiva

APA, Harvard, Vancouver, ISO, and other styles

41

Zhao, Xiaohuan. "Form Follows Function in Community Rituals in North China: Temples and Temple Festivals in Jiacun Village." Religions 12, no. 12 (2021): 1105. http://dx.doi.org/10.3390/rel12121105.

Full text

Abstract:

Yingshen saishe or saishe is a general name for all types of temple festivals held to offer sacrifices to deities of local communities. With its roots traceable to ancient shamanic beliefs and practices, saishe demonstrates itself as a closely integrated form of religious ritual performance and musical/theatrical performance and proves to be instrumental in the development of Chinese theatre from ritual to drama. Based on my fieldwork on Jiacun Double-Fourth Temple Festival in May 2016, this paper offers a close examination of Jiacun temple culture and temple theatre with focus on the religiou

APA, Harvard, Vancouver, ISO, and other styles

42

Knowles, Ric, and Skip Shand. "Editorial." Canadian Theatre Review 108 (October 2001): 3. http://dx.doi.org/10.3138/ctr.108.fm.

Full text

Abstract:

Tours, remounts and co-productions constitute an increasing percentage of theatrical activity in Canada, cutting across traditional distinctions between commercial and not-for-profit theatre, professional, educational and “community” theatre, even regional, Regional, national and international theatrical production. At one end of the scale, large-scale commercial producers such as David Mirvish are remounting, co-producing and touring such successful shows as The Drawer Boy, Two Pianos, Four Hands and Zaidie’s Shoes, shows that have emerged from small, not-for-profit play-development houses su

APA, Harvard, Vancouver, ISO, and other styles

43

Sasho Ognenovski. "Paralinguism in the Theatre and the International Theatre Festivals." Journal of Intercultural Communication 1, no. 1 (1999): 1–04. http://dx.doi.org/10.36923/jicc.v1i1.358.

Full text

Abstract:

The paralingual structure of the theatrical concepts,particulary those of the postmodernist trends,successfully break the linguistic barriers in the communication of the theatrical play - spectator - recipient in the art of thetre.I would say that the international theatre festivals who are treated assuch in their programs,in their own way,manage to maintain complete communication between the artistic forms on several culture structures taking into account that paralinguistic which is particulary present in this form of performances is in close relation to the roots of the national identity of

APA, Harvard, Vancouver, ISO, and other styles

44

Odutsa, Evans Nyongesa. "CRITICAL REVIEW OF LITERARINESS IN CULTURAL CREATIVE DANCES PERFORMED IN THE KENYA SCHOOLS AND COLLEGES DRAMA FESTIVALS." International Journal of Education and Social Science Research 06, no. 06 (2023): 198–209. http://dx.doi.org/10.37500/ijessr.2023.6613.

Full text

Abstract:

The Kenya Schools and Colleges Drama Festival is a series of student-theatre competitions in, held from January to April annually. Students across all learning institutions take part in these festivals. The competitive nature of these festivals provides an opportunity for participants to be creative in their submissions. The festivals feature many genres, including cultural creative dances. Traditional dances, as a sub-genre of orature, play are integral to the appreciation and maintenance of traditional cultures. They tell creative or literary stories orally and in a modern context. Therefore

APA, Harvard, Vancouver, ISO, and other styles

45

Rewa, Natalie. "Le Festival international du théâtre de jeune publics: Growing Up." Canadian Theatre Review 45 (December 1985): 44–49. http://dx.doi.org/10.3138/ctr.45.006.

Full text

Abstract:

From 16 to 25 August, Parc Lafontaine, in east-end Montreal, was once again the site of the annual festival of theatre for young audiences (TYA). Outdoors, “Le Festival international du théâtre de jeunes publics du Québec” was a real celebration of entertainment for children: the open-air festival featured over 100 performances by 12 companies of tap dancers, jugglers, clowns and acrobats on two stages. Indoors, more formally, 65 full-scale performances of 13 plays by 11 companies entertained audiences in seven temporary theatres in the buildings near the park: participating were six Québécois

APA, Harvard, Vancouver, ISO, and other styles

46

Hunter, Mary Ann. "Youth Arts Festivals and the Politics of Participation." Canadian Theatre Review 106 (March 2001): 16–20. http://dx.doi.org/10.3138/ctr.106.003.

Full text

Abstract:

Artrage, Next Wave, Take Over, Come Out, Loud and Fried are just some of the myriad youth arts festivals held in Australia in recent years. Usually supported by government arts funding and curated by professional producers, these festivals attract young artists, young audiences and lots of attention from those interested in new or emerging performance practices. Festival participation is increasingly popular among Australians, with over 30 per cent of eighteen-to-twenty-four-year-olds having attended a festival in the year prior to the last population census (Bureau of Statistics). Each state

APA, Harvard, Vancouver, ISO, and other styles

47

Willems-Braun, Bruce. "Situating Cultural Politics: Fringe Festivals and the Production of Spaces of Intersubjectivity." Environment and Planning D: Society and Space 12, no. 1 (1994): 75–104. http://dx.doi.org/10.1068/d120075.

Full text

Abstract:

Canada's fringe festivals are important interventions in the discourses and institutions framing Canadian theatre, leading some to recognize them as sites of a radical cultural politics. Most commentators have placed their attention on performance at these events, but in this paper, the focus is on the manner in which these events reorganize urban spaces into festival spaces, constructing informal discursive arenas within which the interaction of patrons, artists, and organizers is encouraged, and which situates performance, display, and the negotiation of social identities within an intersubj

APA, Harvard, Vancouver, ISO, and other styles

48

Carlson, Marvin. "Theatre Festivals in the Arab World." Contemporary Theatre Review 13, no. 4 (2003): 42–47. http://dx.doi.org/10.1080/1048680032000118396.

Full text

APA, Harvard, Vancouver, ISO, and other styles

49

Brilli, Stefano, and Laura Gemini. "Trailers as mediatized performances: Investigating the use of promotional videos among Italian contemporary theatre artists." Journal of Italian Cinema & Media Studies 10, no. 1 (2022): 77–95. http://dx.doi.org/10.1386/jicms_00103_1.

Full text

Abstract:

In the theatre sector, many companies, festivals and theatres have integrated promotional videos into their communication strategies. This recent development is undoubtedly due to the rise of social media and the increasing accessibility of video technologies, but also to the need for theatre companies to publicize their work in a media that combines creative autonomy with economic efficiency. Despite this widespread use, trailers in the performing arts have received little attention in academic literature. This article offers the first, exploratory study on the use of promotional videos in th

APA, Harvard, Vancouver, ISO, and other styles

50

Irobi, Esiaba. "A Theatre for Cannibals: Images of Europe in Indigenous African Theatre of the Colonial Period." New Theatre Quarterly 22, no. 3 (2006): 268–82. http://dx.doi.org/10.1017/s0266464x06000479.

Full text

Abstract:

Europe’s colonial presence on the African continent from 1885 to the 1960s produced complex discourses about race and its representation. Whereas the Europeans constructed their putative images of Africans as inferior beings through radio, television, film, and print, for a predominantly literate sector, Africans deployed a more complex and mixed set of literacies. As well as conventional forms of literature, Africans used iconographic, kinaesthetic, proxemic, sonic, linguistic, tactile, calligraphic and sartorial literacies in their indigenous festivals and ritual theatres to resist, historic

APA, Harvard, Vancouver, ISO, and other styles

We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!