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Journal articles on the topic 'Theatre – Production and direction'

Author: Grafiati

Published: 4 June 2021

Last updated: 20 February 2023

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1

Montecchi, Fabrizio. "Creation processes in contemporary shadow theatre." Móin-Móin - Revista de Estudos sobre Teatro de Formas Animadas 2, no. 21 (2019): 293–306. http://dx.doi.org/10.5965/2595034702212019293.

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Is there a particular form of stage writing and direction for contemporary shadow theatre? What are the processes involved in creation? What is the director’s role in designing and directing in shadow production? These are some of the questions that are dealt by Fabrizio Montecchi, according to his theatrical practice and his directing work and which falls within the merits of the most characteristic features of the shadow theatre.

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Kreicberga, Zane. "LATVIAN THEATRE IN TRANSITION . THE ROOTS IN THE 1990s." Culture Crossroads 19 (October 11, 2022): 78–88. http://dx.doi.org/10.55877/cc.vol19.30.

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This paper focuses on the emergence and evolution of the so-called independent theatre scene in Latvia in the radically changing socio-political and institutional context of the 1990s. The analysis concerns the question why in Latvia the independent theatres did not become a significant alternative from the inherited institutional repertory theatre system until the second decade of the new century. Examples of the independent theatres Kabata, Skatuve and Mūris help to illustrate the general tendencies showing that a lack of a strong artistic vision and managerial strategy in difficult economic

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Mojžišová, Michaela. "Peter Konwitschny, Opera and Theatre Director Shaping the Profile of the Bratislava Opera of a New Millennium." Slovenske divadlo /The Slovak Theatre 65, no. 3 (2017): 266–82. http://dx.doi.org/10.1515/sd-2017-0015.

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Abstract The paper examines the work of the acclaimed German opera and theatre director Peter Konwitschny at the Opera of the Slovak National Theatre. The authoress bases herself on an analysis of the productions of Eugen Onegin (2005) [Eugene Onegin], by Tchaikovsky, Puccini’s Madama Butterfly (2007) and Bohéma (2013) [La bohème], Janáček‘s Vec Makropulos (2015) [The Makropulos Affair], and Halévy‘s Židovka (2017) [La Juive], all of which, save for Janáček‘s opera, the Opera of the Slovak National Theatre has borrowed from foreign theatre scenes. The authoress makes a stocklist of the basic p

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Mark Gasper, Tekena. "Approaches to Play Directing in Contemporary Nigerian Theatre: A Study of Segun Adefila and Bolanle Austen-Peters." Journal of Contemporary Drama in English 7, no. 2 (2019): 314–32. http://dx.doi.org/10.1515/jcde-2019-0022.

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Abstract Documentation remains one of the major challenges of the Nigerian theatre; as a result many theatrical performances have gone into oblivion. Studies have been conducted that have given birth to the many approaches to play production and theories of directing in the Nigerian theatre. However, most of these studies focused on directors in educational theatres, as many directors outside the academia seem not to have attracted much scholarly interest in terms of documentation. This research documents the directorial approaches of two Nigerian directors – Segun Adefila and Bolanle Austen-P

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Jones, Nesta. "Looking at Lear: the Voice Work and Direction of Cicely Berry." New Theatre Quarterly 35, no. 02 (2019): 135–49. http://dx.doi.org/10.1017/s0266464x19000058.

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Since her death on 15 October 2018 at the age of 92 many tributes have been paid to Cicely Berry, and no doubt more will follow. Her legacy is assured, however, through the many actors, directors, and young people she encouraged, inspired, and transformed during her long and illustrious career as Director of Voice (and subsequently Advis ory Director) of the Royal Shakespeare Company, and other organizations where she shared her practice internationally, often with the assistance of translators in order to work in the language of the host communities. Moreover, her words and a myriad of exampl

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Lindovská, Nadežda. "Ján Jamnický’s Ten Days with Soviet Theatre." Slovenske divadlo /The Slovak Theatre 65, no. 2 (2017): 121–41. http://dx.doi.org/10.1515/sd-2017-0008.

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Abstract Art was perceived in the Soviet Union as a part of ideology and propaganda aimed not only at the domestic environment but also at foreign countries. State cultural policy was presented through a series of magnificent meetings and shows, to which also participants from abroad were invited. In the 1930s Moscow was the venue of several theatre festivals, which were attended by Czechoslovak theatre makers. In 1936 it was also attended by Ján Jamnický, the novice theatre director of the Slovak National Theatre in Bratislava. The Slovak theatre maker saw a lot of inspiring productions and e

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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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Podmaková, Dagmar. "Alexander Dubček Twice – An (Un)Known Side of Him." Slovenske divadlo /The Slovak Theatre 66, no. 3 (2018): 242–66. http://dx.doi.org/10.2478/sd-2018-0015.

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Abstract The authoress, using two visual works, i.e. theatre production #dubček and film Dubček (both 2018), compares two different approaches to and forms of the work with the personality of Alexander Dubček against the backdrop of the reforms and political upheaval in Czecho-Slovakia1, in 1968. Theatre production #dubček (Aréna Theatre, Bratislava, direction Michal Skočovský) has three levels. The first one is acting game having the form of a rehearsal of a new text about the politician Alexander Dubček; its component part is the projection of period archival film shots. The second level inv

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JACOBSHAGEN, ARNOLD. "Staging at the Opéra-Comique in nineteenth-century Paris: Auber's Fra Diavolo and the livrets de mise-en-scène." Cambridge Opera Journal 13, no. 3 (2001): 239–60. http://dx.doi.org/10.1017/s0954586701002397.

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Printed stage-direction books, so-called livrets de mise-en-scène, count among the most important sources for the history of staging of nineteenth-century French opera. Their function was to document the then-current condition of a Paris production, and to serve as a model for provincial or foreign theatres. In this essay, a comparison of two such livrets for Auber's Fra Diavolo from Paris, by Vieillard Duverger and Louis Palianti, shows that the staging of successful works underwent significant changes over time. One cannot, however, assume that a published stage manual indicates the chronolo

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FitzPatrick Dean, Joan. "Hilton Edwards, Brecht and the Brechtian." Review of Irish Studies in Europe 4, no. 1 (2021): 82–98. http://dx.doi.org/10.32803/rise.v4i1.2622.

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The Dublin Gate Theatre Company’s repertory of international, often experimental plays offers perhaps the clearest distinction between the Gate and the Abbey in the mid-twentieth century. A growing body of scholarship focuses on how Hilton Edwards and Micheál mac Liammóir deployed innovative, non-realistic staging techniques and brought to Ireland design elements associated with European artists. The Gate’s international remit can also be seen in its production of plays not merely authored by foreign playwrights, but focused on issues outside the conventional purview of Irish politics, includi

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Anderson, Martin. "London, English national Opera: ‘The Handmaid's Tale’." Tempo 57, no. 225 (2003): 39. http://dx.doi.org/10.1017/s0040298203220246.

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Poul Ruders's opera The Handmaid's Tale is hardly an unknown quantity: its world-première production in Copenhagen in 2000 was recorded by da capo (8.224165–66) in a three-CD set that received justly loud encomia. But the UK stage première, transferring the Danish production for a run at the English National Opera that began on 3 April, revealed – in a way that the recording obviously could not – what a superior piece of theatre it is: music, libretto, direction, stage design, costumes and lighting all coalesce to thrilling effect. A depressing number of operatic productions sacrifice musical

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Yelchyk, Oksana. "Screen Adaptation of Theatrical Performances of the 1970–1980s: Preconditions, Trends of Formation and Development." Folk art and ethnology, no. 4 (December 30, 2022): 82–88. http://dx.doi.org/10.15407/nte2022.04.082.

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The first decades of the 20th century are marked with certain changes in the technologization of our society cultural development. In particular, during this time the cinematography absorbs ceaselessly – cinifies – the branches of artistic activity in the spheres of various arts. Undoubtedly, the development of cinema has one of the most perceptible effects on the theatre. It is known that the theatre art is often based on the events and plots, those are included already into the history, have a certain social resonance; its progressiveness is reduced to the systematic search for new forms of

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Stuart, Ian. "Revisiting ‘The Sea’: Bond's English Comedy in Toulouse." New Theatre Quarterly 15, no. 2 (1999): 178–82. http://dx.doi.org/10.1017/s0266464x00012859.

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Edward Bond's The Sea was first presented at the Royal Court Theatre under William Gaskill's direction in 1973, and later confirmed as a modern classic in its revival in 1991 at the National Theatre– where it was claimed that it could only have been written by an Englishman. But, as La Mer, it was chosen to open the Thėâtre de la Citė in Toulouse, where Bond scholar and editor Ian Stuart saw Jacques Rosner's production in October, and here reports on the resultant meeting between an English comedy and ‘French serenity’.

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Afandiyeva, Nazrin R. "Turandot by Carlo Gozzi in the Russian theatre reception of the 1910-1920s." Imagologiya i komparativistika, no. 18 (2022): 154–67. http://dx.doi.org/10.17223/24099554/18/8.

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The article discusses the staging of the play Turandot by C. Gozzi in Russia in the 1910-1920s. The reasons why Russian directors turned to the play of C. Gozzi at that time were determined by the theatre aesthetics of the Silver Age, when the plots of the Italian comedy and its characters were perceived as a manifestation of a pure comedy aesthetics. The author analyses the productions by Fyodor Komissarzhevsky in 1912 and Evgeniy Vakhtangov in 1922 and concludes that Komissarzhevsky brought the comedy of masks closer to the comedy of characters, which resulted in an aesthetically contradicto

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Pekkala, Laura, and Riku Roihankorpi. "An Artistic Community and a Workplace." Nordic Theatre Studies 30, no. 1 (2018): 115–43. http://dx.doi.org/10.7146/nts.v30i1.106926.

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The article analyzes how money interacts with the practices and organizational activities of independent theatres in Finland in the 2010s. It discusses what kind of development the interaction entails or favors in the wider context of Finnish cultural policy. We share the results of Visio (2015-16), an empirical study and development project funded by the Ministry of Education and Culture and carried out with four professional independent theatres, which originated as group theatres, but are now institutionalized and operate with discretionary state subsidies. During the development project su

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Cantrell, Tom. "Directing actors in continuing drama." Critical Studies in Television: The International Journal of Television Studies 13, no. 3 (2018): 297–314. http://dx.doi.org/10.1177/1749602018781312.

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This article examines how three directors approach working with actors in one of the most exacting creative contexts – long-running television. Via new interviews with three directors of the flagship BBC continuing drama, EastEnders (1985–), this article explores their approaches in the context of the time constraints in production which preclude rehearsal and where directors and actors alike must work with great speed and precision. The three directors interviewed, Sophie Lifschutz, Kate Saxon and Rebecca Gatward, all trained in and have significant experience of theatre. This article thus ex

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Marowitz, Charles. "Otherness: the Director and the Discovery of the Actor." New Theatre Quarterly 14, no. 53 (1998): 3–8. http://dx.doi.org/10.1017/s0266464x00011684.

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Charles Marowitz worked extensively as a director in Britain from the late 'fifties through the 'seventies, and was one of the editors of the influential Encore magazine in the formative years of the ‘new wave’. His free-lance work included the co-direction with Peter Brook of the seminal ‘Theatre of Cruelty’ season, and the premiere production of Joe Orton's Loot. Later, in partnership with Jim Haynes, a season at the London Traverse Theatre led to the creation of his own, more enduring Open Space Theatre in a basement in Tottenham Court Road – one of the identifying events of 1968 and its th

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Smart, Billy. "Three Different Cherry Orchards, Three Different Worlds: Chekhov at the BBC, 1962–81." Critical Studies in Television: The International Journal of Television Studies 9, no. 3 (2014): 65–76. http://dx.doi.org/10.7227/cst.9.3.7.

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Unlike the theatre, there is no established tradition of plays being revived (new productions made from existing scripts) on television. The only instance of this mode of production in Britain has been the regular adaptation of classic theatrical plays. The existence of three separate BBC versions of Chekhov's The Cherry Orchard (1962, 1971, 1981) creates a rare opportunity to trace developing styles of direction and performance in studio television drama through three different interpretations of the same scene. Through close analysis of The Cherry Orchard, I outline the aesthetic and technol

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Izvarina, О. M. "Opera directing in the Ukrainian Musical Theatre in 20s of 20th century." Musical art in the educological discourse, no. 3 (2018): 66–70. http://dx.doi.org/10.28925/2518-766x.2018.3.6670.

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The article highlights the prerequisites for the formation of Ukrainian opera directing on the basis of materials from rare editions, musical criticism of the 1920s, memoirs of contemporaries, modern scientific research. The close connection of the Ukrainian opera direction with the traditions of the direction of the Ukrainian music and drama theatre is considered. The assimilation of the experience and creative achievements of the directors of the «theatre of the coryphaeuses» M. Staritsky, M. Kropiwnicki and M. Sadovsky is covered. The features of the stage life of operas of the classical re

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20

Stuart, Ian. "Answering to the Dead: Edward Bond's ‘Jackets’, 1989–90." New Theatre Quarterly 7, no. 26 (1991): 171–83. http://dx.doi.org/10.1017/s0266464x00005443.

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Sustaining his reputation for production work that is both original and challenging, Edward Bond worked closely with the directors ofJacketsduring its productions at Lancaster and in Leicester and London in 1989–90. After a mixed experience with the RSC directing hisWar Plays, Bond continued to develop his concept of ‘theatre events’, and to work towards the particular style of acting that is necessary for his work in performance. Ian Stuart, a doctoral candidate in dramatic art at the University of California, Santa Barbara, analyzes here how the resulting twin concepts of ‘theatre events’ an

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Brewster, Yvonne. "Drawing the Black and White Line: Defining Black Women's Theatre." New Theatre Quarterly 7, no. 28 (1991): 361–68. http://dx.doi.org/10.1017/s0266464x00006060.

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Yvonne Brewster is best known in Britain as artistic director of Talawa Theatre, but she has also been active in the theatres of Jamaica, Africa, and America, having worked as a drama teacher, television production assistant and presenter, and film director in Jamaica before beginning her international theatre directing career. Talawa was founded in 1985 by four women, with Yvonne Brewster as director, and with the aim of using ‘the ancient African ritual and black political experience of our forebears to inform, enrich, and enlighten British theatre’. Although Talawa has as yet been unable to

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Husin, Fazilah, Nik Fazli Mohamad, Zulkifli Mohamad, and Mohd Zariat Abdul Rani. "A PERFORMANCE APPROACH FOR DINSMAN's ISLAMIC THEATRES." International Journal of Creative Industries 1, no. 2 (2019): 18–28. http://dx.doi.org/10.35631/ijcrei.12002.

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The study focuses on a performance approach by Dinsman in his “Menunggu Kata Dari Tuhan” (Waiting for the Word of God's) (2016) and “Tamu Dari Medan Perang” (Guests of the Battlefield) (2017). Both theatres are analyzed based on the “Teater Fitrah” (Theatre of Fitrah) approach which outlined six principles in theatre production from the Islamic perspective. This approach is based on the principle that the essence of human life (nature) is to submit to the Creator i.e. Allah SWT including via theatre performance. According to “Teater Fitrah” (Theatre of Fitrah) approach, theatre performance can

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Mathers, Pete. "Edward Bond Directs ‘Summer’ at the Cottesloe, 1982." New Theatre Quarterly 2, no. 6 (1986): 136–53. http://dx.doi.org/10.1017/s0266464x00002025.

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The early issues of the original Theatre Quarterly carried extensive coverage of the work of Edward Bond – a conscious editorial emphasis, which it became less important to maintain as Bond's work acquired its present international recognition and a corresponding share of critical attention. Yet the very distinctiveness of Bond's dramaturgy demands a no less distinctive approach from its critics – notably, a recognition and evaluation of the many non-literary strands of the ‘text’ as performed, especially when under the author's own direction. Pete Mathers, who teaches in the Film and Drama Di

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Shevtsova, Maria. "Lev Dodin's ‘Musical Dramatic Art’ and the World of Opera." New Theatre Quarterly 20, no. 4 (2004): 341–53. http://dx.doi.org/10.1017/s0266464x04000235.

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Lev Dodin has broken numerous boundaries with the Maly Drama Theatre of St Petersburg, the company he has directed since 1983. Their collective devising, explorations, and discoveries for a repertory theatre based on the long-term development of its actors and the change, over time, of its productions make Dodin and the Maly unique on the international stage. Maria Shevtsova, whose recently published book Dodin and the Maly Drama Theatre: Process to Performance (Routledge, 2004) closely follows the company's work, here details Dodin's direction of opera, which, she argues, is inextricable from

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ABELIOVICH, RUTHIE. "Work and Play: Rolf Hochhuth's The Representative in Tel Aviv (1964)." Theatre Research International 45, no. 3 (2020): 326–31. http://dx.doi.org/10.1017/s0307883320000334.

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This paper probes into the 1964 Israeli performance of Rolf Hochhuth's controversial drama The Representative. Staged by Habima National Theatre under the direction of Avraham Ninio, the majority of the cast engaged in this production comprised European-born Jewish refugees and Holocaust survivors. In its cultural context, the theatrical image of Jewish refugees dressed in Nazi uniforms or, conversely, staging visual, gestural or aural markers of Auschwitz prisoners imbued the drama with political meanings, triggering a debate about agency and forms of social and material participation in the

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Tugbokorowei, Martins Uze E., and Tunde Obado Oliogu. "The Director’s craft in the Nigerian Educational Theatre: A Study of Henry Leopold Bell-Gam’s Directorial Approach." Global Journal of Arts, Humanities and Social Sciences 10, no. 9 (2022): 20–33. http://dx.doi.org/10.37745/gjahss.2013/vol10n92033.

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Directing involves the art and craft of coordinating the artistic and non-artistic personnel in a production in order to creatively and effectively communicate to the audience the intended meaning of a play. Dramatists, actors, and theatre managers have all attempted to direct or manage the process of coordinating play production over the years, but it wasn't until 1874 that the Duke of Saxe Meiningen entered the picture and assumed official responsibility as a director in guiding the affairs of the stage business as we now know it. In this study, the directing style of South South Nigerian ed

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Jirglová, Lucie. "The Correspondence of Bohuslav Martinů with Josef Munclinger and his Comments on the Stage Direction of the Four-Part Opera Hry o Marii in the Collections of the National Museum." Musicalia 10, no. 1-2 (2018): 149–75. http://dx.doi.org/10.1515/muscz-2018-0005.

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Abstract The collections of the Theatre Department at the National Museum in Prague contain a set of sources that allow us to see how Bohuslav Martinů participated in preparing productions of his stage works. This is a collection of the composer’s correspondence and comments on stage direction written on the occasion of the first Prague performance of the four-part opera Hry o Marii (The Plays of Mary), H 236 in 1936. The text publishes full transcripts of all of these sources with critical commentary. This involves two letters from Bohuslav Martinů addressed to Josef Munclinger, one letter fr

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Pogrebnіak, Galyna. "Topical Issues of Modern Directing Education." Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production 5, no. 2 (2022): 189–98. http://dx.doi.org/10.31866/2617-2674.5.2.2022.269526.

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The purpose of the research is to identify the problems of training directors in the field of audiovisual art and production; to outline the prospects for modernization of the educational process in higher educational institutions of artistic direction in Ukraine. The research methodology is based on the methods of scientific analysis, comparison, and generalization. Analytical and systematic methods were used to study the art historical aspect of the problem. The empirical method was used to observe and study the educational process and production practice in the Kyiv National I K. Karpenko-K

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Glytzouris, Antonis. "Karolos Koun in the 1930s and the Birth of Modernist Shakespeare in Greece." New Theatre Quarterly 30, no. 1 (2014): 40–50. http://dx.doi.org/10.1017/s0266464x14000062.

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The author aims in this article is to highlight a significant moment in the history of the reception of Shakespeare in modern Greek theatre. The article outlines the main developments in the perception of Shakespeare's work in Greece from the mid-nineteenth century until the Second World War, and examines Karolos Koun's early experiments in Shakespearean production. Koun's initiatives were diametrically opposed to local theatre traditions, which emphasized psychological or historical realism and pictorial or spectacular illusion. The use of non-realistic stage conventions such as masks and sim

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Quinn, Michael L. "‘Reading‘ and Directing the Play." New Theatre Quarterly 3, no. 11 (1987): 218–23. http://dx.doi.org/10.1017/s0266464x00015190.

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A director's ‘reading’ of the play – the hierarchical implications of which were discussed by Peter Holland in the preceding article – normally begins with just that: a reading, of the printed or typewritten text. Here. Michael Quinn discusses the various factors through which this initial acquaintance becomes a stage production carrying the stamp of the resulting perceptions – some of which go unrecognized, as much by the director as by those who evaluate his work. These may vary from preconceptions (or a lack of them) about the writer himself to the prevailing modes of the director's own wor

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Gudkov, Maxim M. "Leonid Snegoff as Vakhtangov’s follower in the USA and his Broadway production of Dmitry Scheglov’s play “The Blizzard”." ТЕАТР. ЖИВОПИСЬ. КИНО. МУЗЫКА, no. 2 (2022): 10–33. http://dx.doi.org/10.35852/2588-0144-2022-2-10-33.

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The study focuses on the export of Eugene Vakhtangov’s theatrical methodology to American stage practices. The problem is specifically discussed based on the the acting and directing activities of Vakhtangov’s follower Leonid Snegoff. He staged the play by the Soviet playwright Dmitry Scheglov “The Blizzard” (“Purga”) on Broadway in 1929. The deep interest in Russian theatrical ideas and systems (Konstantin Stanislavsky, Eugene Vakhtangov, Vsevolod Meyerhold and Michael Chekhov) of the US practitioners in the interwar period are explained. The main two reasons are the absence of national actin

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Smole, Simon. "Dangerous promises." Maska 34, no. 198 (2019): 60–63. http://dx.doi.org/10.1386/maska.34.198-199.60_1.

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Abstract The article aims to look at the current Serbian theatre scene from several perspectives; in addition to its poetic and culturological level, it highlights the relations of domination in theatre and, more broadly, within the transitional and post-transitional cultural model of Serbia. It finds the novelty of the so-called »new Serbian drama« in its break with the Serbian theatre tradition and its representational and aesthetic conventions, while at the same time taking a critical stance on the lack of changes to the paradigm of how theatre works (its manners of directing, acting, organ

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Carroll, Kathleen L. "The Americanization of Beatrice: Nineteenth-Century Style." Theatre Survey 31, no. 1 (1990): 67–84. http://dx.doi.org/10.1017/s0040557400000995.

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To nineteenth-century theatre managers, who believed in the play as a commercial venture rather than an aesthetic one, portrayal of the modern American woman presented a dilemma. Sophisticated theatregoers, familiar with the rhetoric of the women's suffrage movement, looked to female role models for direction on how to maintain a delicate balance between independence and subservience: to project strength of convictions without loss of femininity (traditionally measured by male desirability), and to remain dependent on the economic necessity of marriage (Ziff, 278–80). Speculative theatre manag

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Braun, Kazimierz. "Wprowadzenie do „Za kulisami” Cypriana Norwida." Tematy i Konteksty 16, no. 11 (2021): 400–413. http://dx.doi.org/10.15584/tik.2021.26.

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Kazimierz Braun introduces his stage adaptation of “Behind the Wings”, a drama considered the crowning achievement of the poet/playwright, Cyprian Norwid (1821–1883). Behind the Wings is composed of two parts. The action of one part takes place in the 19th Century in Warsaw. The other is situated in ancient Greece around the 7th Century BC. Both parts are bound by the structure of “theatre within theatre”, popularized by Shakespeare in Hamlet. The Danish Prince uses the production of “The Murder of Gonzago” to unmask the murderer King. The hero of “Behind the Wings”, Omegitt, uses his play Tyr

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Chatterjee, Sudipto. "SOUTH ASIAN AMERICAN THEATRE: (UN/RE-)PAINTING THE TOWN BROWN." Theatre Survey 49, no. 1 (2008): 109–17. http://dx.doi.org/10.1017/s0040557408000069.

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In his second year at the University of California, Berkeley, Arthur William Ryder (1877–1938), the Ohio-born Harvard scholar of Sanskrit language and literature, collaborated with the campus English Club and Garnet Holme, an English actor, to stage Ryder's translation of the Sanskrit classic Mrichchhakatikam, by Shudraka, as The Little Clay Cart. The 1907 production was described as “presented in true Hindu style. Under the direction of Garnet Holme, who … studied with Swamis of San Francisco … [and] the assistance of many Indian students of the university.” However, in the twenty-five-plus c

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Spivakovskyi, Oleksandr. "Ukrainian performances of small form operas in the era of the 2000s." Ukrainian musicology 46 (October 27, 2020): 75–85. http://dx.doi.org/10.31318/0130-5298.2020.46.234597.

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The purpose of the work. The article defines the role of the small form operas in the development of Ukrainian music and drama theatre of the 2000s. The research methodology is based on key provisions, concepts of music directing, developed during the twentieth century and their diversification in today's realities. Such general scientific methods as art history, history, analysis and synthesis, and comparative methods were chosen to compare Ukrainian productions of small form operas of the 2000s. The scientific novelty of the work lies in rethinking functioning of small opera forms according

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Mitchell, Katie, and Mario Frendo. "A Conversation on Directing Opera." New Theatre Quarterly 37, no. 3 (2021): 246–55. http://dx.doi.org/10.1017/s0266464x21000142.

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Katie Mitchell has been directing opera since 1996, when she debuted on the operatic stage with Mozart and Da Ponte’s Don Giovanni at the Welsh National Opera. Since then, she has directed more than twenty-nine operas in major opera houses around the world. Mitchell here speaks of her directorial approach when working with the genre, addressing various aspects of interest for those who want a better grasp of the dynamics of opera-making in the twenty-first century. Ranging from the director’s imprint, or signature on the work they put on the stage, to the relationships forged with people runni

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Saldivar, Nicholas, Thomas C. Varkey, Brianna J. Rafidi, Jack B. Ding, Taydan Tran, and Kartik Akkihal. "The Use of Scent Within the Changing Landscape of Theatre and Its Application to Long-Term Rehabilitation." International Journal of Medical Science and Clinical Invention 9, no. 09 (2022): 6256–62. http://dx.doi.org/10.18535/ijmsci/v9i09.05.

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The intentional and unintentional use of scents have long been implemented in the arts. As an element of design, the use of fragrances may increase audience immersion by engaging the sense of smell through the olfactory receptors, in addition to becoming a tool for the performers. Since the COVID-19 pandemic began, most performing companies have been forced to shift the showcasing of work primarily online. Many of the subtle effects produced by both the cast and the design team that one may appreciate in-person are inevitably lost in virtual theatre, falling secondary to the screen. One potent

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Allen, David. "Jonathan Miller Directs Chekhov." New Theatre Quarterly 5, no. 17 (1989): 52–66. http://dx.doi.org/10.1017/s0266464x00015335.

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David Allen's sequence of features for NTQ on modern British approaches to directing Chekhov began in No. 8 (1986) with a documentary study of Mike Alfreds's productions, and continued with a reconstruction of David Jones's production ofIvanovfor the RSC in No. 15 (1988). Here, he explores the approach to Chekhov of Jonathan Miller (currently artistic director at the Old Vic), mainly through an analysis of Miller's production ofThree Sisters, first seen at Guildford in April 1976, and subsequently transferred to the Cambridge Theatre, London, on 22 June of that year. This is complemented by or

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Merolla, Daniela. "De La Parole aux Videos. Oralite, Ecriture et Oralite Mediatique Dans la Production Culturelle Amazigh (Berbere)." Afrika Focus 18, no. 1-2 (2005): 33–58. http://dx.doi.org/10.1163/2031356x-0180102004.

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From the Spoken Word to Video: Orality, Literacy, Mediated Orality, and the Amazigh (Berber) Cultural Production This article presents new directions in Tamazight/Berber artistic productions. The development of theatre, films and videos in Tamazight are set in the framework of the historical and literary background in the Maghreb and in the lands of Amazigh Diaspora. It also includes the interview with the video-maker and director Agouram Salout.

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Romanska, Magda. "BETWEEN HISTORY AND MEMORY: AUSCHWITZ IN AKROPOLIS, AKROPOLIS IN AUSCHWITZ." Theatre Survey 50, no. 2 (2009): 223–50. http://dx.doi.org/10.1017/s0040557409990056.

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In 1962, Polish director Jerzy Grotowski mounted an adaptation of playwright Stanisław Wyspiański's 1904 play Akropolis. When James MacTaggart filmed it in 1968, the production gained immediate cult status among American theatre critics, scholars, and practitioners. Although Grotowski's production had already been seen internationally (though by a very limited audience), the film made it available to those outside major theatre centers. Notwithstanding the buzz that surrounded the film's release, most of the interest was focused on the acting and the set design; the fact that the show was base

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Chebotarev, Sergey A. "Art of theater direction in the 20th–21st centuries." Neophilology, no. 28 (2021): 718–25. http://dx.doi.org/10.20310/2587-6953-2021-7-28-718-725.

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We analyze the cultural and historical development of art of theater direction in the 20th–21st centuries. We consider the features of director’s theater on the example of Anatoly Vasiliev’s theater, Mark Zakharov’s theater, Zhenovach’s theater, Pyotr Fomenko’s theater, etc. We note that throughout the entire period there is a transformation of the role of the director in the theater. We note that throughout the entire period there is a transformation of director’s role in the theater. The significance of the theater director – artist grows into more complex forms of his existence: the playwri

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Tulloch, John, Tom Burvill, and Andrew Hood. "Reinhabiting ‘The Cherry Orchard’: Class and History in Performing Chekhov." New Theatre Quarterly 13, no. 52 (1997): 318–28. http://dx.doi.org/10.1017/s0266464x00011441.

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Chekhov's The Cherry Orchard is clearly ‘about’ the end of one social order – about time changing and time static. Yet different interpretive communities – academics in journal articles and students in their classrooms, newspaper reviewers, theatre writers like Trevor Griffiths and David Mamet, and theatre directors like Adrian Noble and Richard Eyre – ‘read’ Chekhov's representation of history and class change in different ways. The authors of this study have been exploring these different reading formations in a three-year project funded by the Australian Research Council, ‘Chekhov: in Criti

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Woźniak, Katarzyna. "Pirandello jako widz zawodowy." Annales Universitatis Paedagogicae Cracoviensis | Studia Historicolitteraria 17 (October 12, 2018): 126–34. http://dx.doi.org/10.24917/20811853.17.11.

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Pirandello as professional spectatorAbstractLuigio Pirandello’s drama were unfailingly popular with Polish directors between the beginningof the 1960s until the 1970s. Native creators have undertaken dramas from differentperiods of the Nobelist’s output and covering various topics – bourgeois comedy to metatheatricalworks. Most probably those do not include all that were staged then.It appears that an increased interest in the author is to be connected with the 25th anniversaryof his death, as is suggested by Mieczysław Brahmer in the 1961 Tak jest, jak się państwu zdaje(directed by Zofia Wier

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Ghelardi, Marco. "Doing Things with Words: Directing Dario Fo in the UK." New Theatre Quarterly 18, no. 3 (2002): 222–33. http://dx.doi.org/10.1017/s0266464x02000313.

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By the early 'eighties, Dario Fo seemed to have achieved a unique place in British theatre, with both Accidental Death of an Anarchist and Can't Pay? Won't Pay! enjoying long West End runs, while he himself retained the respect of the alternative and fringe community for his radical politics and championship of popular theatre forms. Yet although he was subsequently awarded the Nobel Prize for Literature, interest in Fo's work seems to have gone into a steady decline in Britain. This is only in part attributable, argues Marco Ghelardi, to a less favourable political and theatrical climate: it

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Shishkin, Andrei Gennadievich. "Repertory theater of production type – trends in the dialogue of cultures in modern music and theater culture (on the example of the Ural Opera Ballet Theater)." Культура и искусство, no. 5 (May 2021): 37–46. http://dx.doi.org/10.7256/2454-0625.2021.5.35614.

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This article reviews a new model of repertory opera theater of production type, which has emerged at the intersection of traditional repertoire and project, or production theaters: it represents a special channel of intercultural communication. Opera performance creates a space simultaneously in several dimensions &ndash; musical, verbal, and visual; it resembles a form of polylogue of the authors and stage directors of the performance, becomes a realization of the dialogue of cultures, and turns into a unique form of art involving the representatives of different cultural systems. This is

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Laird, Andrew. "Roman Epic Theatre? Reception, performance, and the poet in Virgil'sAeneid." Proceedings of the Cambridge Philological Society 49 (2003): 19–39. http://dx.doi.org/10.1017/s0068673500000936.

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Past responses to ancient literature and the reading practices of previous centuries are of central relevance to the contemporary exegesis of Greek and Roman authors. Professional classicists have at last come to recognise this. However, accounts of reception still tend to engage in a traditional form ofNachleben, as they unselfconsciously describe the extent of classical influences on later literary production. This process of influence is not as straightforward as it may first seem. It is often taken for granted in practice, if not in theory, that the movement is in one direction only – from

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Lēvalde, Vēsma. "Digimodernisms teātrī: perspektīva un naratīvs." Aktuālās problēmas literatūras un kultūras pētniecībā: rakstu krājums, no. 25 (March 4, 2020): 276–85. http://dx.doi.org/10.37384/aplkp.2020.25.276.

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The digital era has created a new form of textuality, defined ten years ago by British cultural critic Alan Kirby as digimodernism, manifested in both literature and art, and gradually replacing postmodernism. The new media-language theorist Lev Manovich sees similarities in digital art and the aesthetics of the Left Avant-Garde of the 1920s, as well as cinema. In the early and middle 20th-century cinema development produced an impact on modernism art. In the 21st century, digital technologies emerging from film aesthetics leave the footprints in contemporary art and theatre. Identifying the k

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Adeoye, ARA. "The Thesis and Synthesis of Production Philosophy in the African Literary Theatre Directing." African Research Review 9, no. 2 (2015): 13. http://dx.doi.org/10.4314/afrrev.v9i2.2.

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Gow, Sherrill. "Queering Brechtian feminism: Breaking down gender binaries in musical theatre pedagogical performance practices." Studies in Musical Theatre 12, no. 3 (2018): 343–53. http://dx.doi.org/10.1386/smt.12.3.343_1.

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This article explores how musical theatre pedagogy might begin to dismantle modes of practice that perpetuate exclusion and a dualistic, gendered perspective. I draw on my experience of directing postgraduate musical theatre students at Mountview in a production of Pippin (1972). Casting a trans man as Pippin – in many respects an archetypal male hero role – set in motion a process of queering and subverting norms. However, casting is only one element of creating an inclusive practice: in this work, I developed a hybrid approach that honoured students’ identities and experiences and took a cri

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