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Journal articles on the topic 'Theatre'
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1
Samitov, Dmitry G. "THE FIRST REGIONAL THEATRES OF THE UNITED STATES AS AN ALTERNATIVE TO BROADWAY COMMERCIALISM." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 40 (2020): 190–96. http://dx.doi.org/10.17223/22220836/40/16.
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The article aims to draw attention to the problem of the emergence and development of creative troupes of a new type. Non-profit theatres became noticeable to the public after a ten-year dominance of Broadway productions played on stages of American the ater. Contrary to Broadway and its commercialism non-profit theatres turned to art, becoming its alternative. The venues mostly performed musicals, uncomplicated comedies, musical shows. Huge halls, high ticket prices led to the fact that the theatre turned to a major business. The desire of theatrical figures to realize their creative powers in the art theatre led many of them to the idea of creating their own companies in opposition to the Broadway theatre in many regions of the United States. It was the nascence of the movement of non-profit theatres that became an alternate to Broadway commercialism, attracted all the new creative forces of the American theatre. Analyzing the activities of number of non-profit theatres such as Cleveland Playhouse, Arena Stage, Alley Theater, the conclusion was made that they all played an important role in the development of the movement of the regional theatres of the United States. The famous “Arena Stage” Theatre, like other regional theaters, developed traditions of non-profit theatres of the USA, including the ideas of “little” and “arti” theatres. The study of non-commercial drama theatres in the United States is relevant for modern Russia. Exploring the process of evolution of noncommercial companies the author concluded that the theatre is primarily a creative, artistic institution, that is to be valued precisely for its contribution and influence on the spiritual life of the audience.
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Serdechnaia, Vera V. "“ACCESS POINT” – 2020: DIGITAL THEATER IN THE PANDEMIC CONDITIONS." Practices & Interpretations: A Journal of Philology, Teaching and Cultural Studies 6, no. 4 (December 1, 2021): 83–91. http://dx.doi.org/10.18522/2415-8852-2021-4-83-91.
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The article is devoted to the phenomenon of digital theatre, that is a theatre created via digital technologies. Digital theatre needs to be distinguished from a “traditional” one, and a broadcast theatre, using digital technologies (online broadcasting). Digital theater, which had been developing even before the 2020 pandemic, flourished during the lockdown period, when theatres found themselves in a situation of forced isolation. The article analyzes examples of Russian and foreign performances, in particular, those been included in the program of the “Access Point” (“Tochka dostupa”) festival, which took place online in 2020. Digital theatre is created in particular formats via digital means and tools; it can use cross-platform instant messengers and videoconferencing software such as “Whatsapp” and “Zoom”, mailing and calling services, audio recordings; Minecraft, Sims and other creative media; augmented reality technologies.
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van den Berg, Klaus. "The Geometry of Culture: Urban Space and Theatre Buildings in Twentieth-Century Berlin." Theatre Research International 16, no. 1 (1991): 1–17. http://dx.doi.org/10.1017/s0307883300009986.
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In her 1983 book, Semiotik des Theaters, Erika Fischer-Lichte referred to theatre as part of ‘die Geometrie der Kultur’, a network of relationships materialized in space that symbolizes cultural experience. The concept of the geometry of culture may enable us to show how, in an urban space, different strands of human activities find their expression in the outline of urban space. Lewis Mumford demonstrates in The City in History that political programmes, economic interests, and cultural concepts influence the city's organization as well as the functions which individual buildings take in the urban environment. Cultural historians and semioticians such as Mary Henderson, Monika Steinhauser, Michael Hays, and Marvin Carlson have adopted this perspective for their investigations of the history of theatre in various metropolitan areas. For example, Henderson studies the relationship between the theatres and the financial district in New York City; Michael Hays and Monika Steinhauser analyse particular urban monuments, such as the Lincoln Center in New York and the Paris Opera. Marvin Carlson analyses how theatre buildings have been integrated historically as public monuments in various urban settings. Within the context of such studies I will examine the spatial and aesthetic re-alignments that World War II forced upon the integration of theatre buildings in Berlin, taking as case studies four major theatres: the Theater am Schiffbauerdamm, the Deutsches Theater, the Schillertheater and the Volksbühne.
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Markovic-Bozovic, Ksenija. "Theatre audience development as a social function of contemporary theatres." Zbornik Matice srpske za drustvene nauke, no. 175 (2020): 437–51. http://dx.doi.org/10.2298/zmsdn2075437m.
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From the last decades of the previous century, the re-examination of the social functions of cultural institutions began - especially the institutions of elite art, to which the theatre belongs. In this regard, numerous researches are conducted focusing on the ?broader? social role of the theatre, as well as exploring the dynamics and quality of the relationship between theatre and its audience. Their outcomes are the recommendations of innovative strategic activities, by which the theatre can establish deeper relations with the existing and attract new audiences, i.e. more efficiently realize its cultural-emancipatory, social-inclusive, social-cohesive, educational, and other similar potentials. Extensive research of the functional type, which combines the analysis of the process of theatre production, distribution and reception, and sheds light on the ways in which theatre functions in the community, has not been conducted in Serbia so far. However, for many years, there have been conducted researches that provide sufficiently relevant answers, analysing this topic from individual aspects of the audience, marketing activities, cultural policy and theatre management. Their overall conclusion is that theatres in Serbia must (re)orient themselves to the external environment - (re)define their social mission and actively approach the process of diversification of the audience. However, the practical implementation of such recommendations is still lacking, theatre organizations find it difficult to adopt the idea that changes must be initiated by themselves, which brings us to the question of the attitudes on which these organizations establish their work. In this regard, the paper maps of and analyzes the opinions of managers and employees of Belgrade theatres on the topic of the role of theatre in the audience development and generation of the ?additional? social value, contextualizing the opinions in relation to the current circumstances, i. e. specific practices of these institutions. In conclusion, an original theoretical model of ?two-way adaptation of public city theatres? is developed, recognizing the importance of strategic action in culture both ?bottom-up? and ?top-down?, and proposing exact activities and approaches to theatre and cultural policy in the field of theater audience development.
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Kollár, Zsuzsanna. "Az akadémia hatása az intézményesülő magyar színjátszásra az 1830-as években." Theatron 16, no. 1 (2022): 93–112. http://dx.doi.org/10.55502/the.2022.1.93.
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From the beginning, the Hungarian Academy of Sciences considered it its task to oversee the Hungarian-speaking theatres. From the 1830’s the Academy tried to provide original dramas and translations, and the task of the “Standing Committee on Theatre” was to review the dramas and repertoire presented in permanent Hungarian-speaking theatres. Pest County also set up a permanent delegation, which exercised a supervisory role similar to that of the Academy. The directory board of the Magyar Theatre of Pest, that opened in 1837, and the body called the Acting Committee were also responsible for artistic and operational matters. These committees, looking at their model from the 18th century, hindered the institutionalization of the Hungarian-speaking theatre in various ways, albeit the Academy primarily sought to provide professional assistance to a developing social institution. This paper presents the connection between the Academy and the Hungarian-speaking theater from the point of view of institutional history.
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Vojnović, Milica. "Arts marketing: Choice criteria of theatre visitors." Marketing 54, no. 4 (2023): 264–70. http://dx.doi.org/10.5937/mkng2304264v.
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The purpose of this research is to identify key choice criteria of theater visitors in Serbia. The method used to conduct the research was the survey method, with statistical analysis of the obtained results. Key results suggest that the most important choice criteria of theatres are the plot of the play, personal recommendations and the genre of the play. A special focus was set on examining if there are differences in evaluation of observed criteria between respondents from generational cohorts X and Z, as well as between rare and frequent decision makers. In both cases, differences between the observed groups were discovered. Results of this research are useful for better understanding of consumer behavior of theater visitors and the way they make decisions. This can be helpful for decision-makers in theatre organizations for creating theatre marketing strategies to attract different market segments.
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Morozova, Irina Pavlovna. "Theatre activity in the southern Urals at the initial period of the thaw." Samara Journal of Science 6, no. 4 (December 1, 2017): 169–73. http://dx.doi.org/10.17816/snv201764211.
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The paper deals with the problems of theatre activity development in the southern Urals at the initial period of the thaw. The research objective is to define what changes happened in the theatre activity in the Southern Urals after Stalins repressions in 1953-1964. For the research the author used periodicals, archival documents, books about the theater. The research has shown that after Stalins personality cult exposure there were big theater changes in the southern Urals. People became more interested in the theatre. It was in Bashkiria where the theater developed greatly. The paper examines the creative activity of theatres in the southern Urals, Orenburg Region and Bashkortostan, reveals specific features and problems in the functioning of the studied institutions in the era of the thaw, studies repertoire policy of theaters. The repertoire updated and new theaters opened. Actors and directors found new forms of art self-expression. Drama art stops being the weapon of the political propaganda. The author has no opportunity to carry out a comparative analysis of this research with other researches as the subject has not been investigated by anybody yet.
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Kauffmann, Stanley. "Broadway and the Necessity for ‘Bad Theatre’." New Theatre Quarterly 1, no. 4 (November 1985): 359–63. http://dx.doi.org/10.1017/s0266464x00001779.
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Is Broadway necessary? As the focus for new writing and major experimental work in the USA shifts ever further from the old theatre district around Times Square – first to off- and then to off-off-Broadway, more recently to the flourishing regional theatres – many critics have come to regard Broadway either as an economic anachronism, failing to perpetuate past glories, or simply as an irrelevance to ‘real’ theatre. Yet Stanley Kauffmann argues that a focal point for a nation's theatre is more than the sum of sometimes fraying parts, and works on the imagination in ways that cannot be evaluated by the fragmentary assessment of succeeding productions; and here he analyses the ‘organism’ that Broadway remains, and the function it performs. Stanley Kauffmann has been theatre critic for the New York Times, the New Republic, and the Saturday Review, while the most recent of his full-length works is Theater Criticisms (1984).
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Jory, E. J. "Gladiators in the Theatre." Classical Quarterly 36, no. 2 (December 1986): 537–39. http://dx.doi.org/10.1017/s0009838800012301.
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While restating the correct interpretation of the prologue to the Hecyra of Terence in CQ 32 (1982), 134 F. H. Sandbach has this to say: ‘Possibly the widespread view which the translators and I reject has been encouraged by disbelief that the theatre could be used for gladiatorial combat. It is true that there is no reliable evidence for such use at Rome, for Donatus' statement “hoc abhorret a nostra consuetudine uerumtamen apud antiquos gladiatores in theatro spectabantur” may be no more than inference from Terence's text.’ There is, in fact, a certain amount of evidence for gladiatorial combats in the theatres at Rome, that is at venues where ludi scaenici were performed, which it is difficult to regard as unreliable and which is consistent with what we know of the relationship between the theatre and gladiatorial games.
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Patonay, Anita. "The Development of Children’s and Youth Theatre in Hungary: the Path of Institutionalization and Beyond the Professional Sphere (1949–1989/1992)." Theatron 17, no. 4 (2023): 40–52. http://dx.doi.org/10.55502/the.2023.4.40.
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It was after the Second World War and the nationalisations that autonomous theatres for children and youth and theatre performances targeting this age group were first established in Hungary. In my study, I will present the institutional history of children’s and youth theatres in the period 1949–1989/1992 and the children’s and youth theatre-makers who were amateur theatre-makers alongside the institutionalised theatres. I will give an insight into the productions that were produced during this period, the problems faced by the children’s and youth theatre community, and the contradictions that creators had to face during the period of state socialism. I will look at decisions, decrees, and laws on the medium of children’s and youth theatre productions from 1949 to 1989/1992, in order to gain a better understanding of the cultural context in which amateur theatre groups produced performances in the context of children’s and youth theatre culture, alongside the institutionalised children’s and youth theatres.
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Meilinda, Satrya Wibawa, and Stefanny Irawan. "Indonesian Performing Arts in the Era of Covid-19: Digitizing Campus Theatre." Asiascape: Digital Asia 11, no. 1-2 (November 11, 2024): 85–101. http://dx.doi.org/10.1163/22142312-bja10057.
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Abstract In Indonesia, the Covid-19 pandemic dramatically affected many sectors, in particular modern theatre and higher education institutions that host campus theatres. This study focuses on the strategies employed by campus theatres to survive the pandemic, focusing on digital theatre productions by Petra Theatre (formerly Petra Little Theatre) in Surabaya, Play Performance Class in Yogyakarta, and Teater Kampus in Makassar posted on YouTube in 2020–2022. Taking the perspectives by Matthew Causey on digital performance, supported by Sarah Bay-Cheng’s dramaturgy of distortion of mediated theatre, and by Philip Auslander on liveness in mediatized performance, we analyze the emergence of certain aspects of mediatized/digital theatre that pertain to actor-audience relation and time-space relations exemplified by the digital performance offered by these three campus theatres.
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KNOWLES, D. "Armand Gatti's Two Theatres: 'Theatre institutionnel' and 'Theatre d'intervention'." French Studies 49, no. 1 (January 1, 1995): 49–62. http://dx.doi.org/10.1093/fs/49.1.49.
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Laganovska, Evija. "Prozas dramatizējumi latviešu profesionālajos teātros (2000–2020): kvantitatīvi statistiskais aspekts." Aktuālās problēmas literatūras un kultūras pētniecībā rakstu krājums, no. 30 (March 24, 2025): 277–90. https://doi.org/10.37384/aplkp.2025.30.277.
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In the 21st century, Latvian theatre processes have been characterised by the search for various new stage interpretations. One result of these explorations is the dramatisation and staging of prose works, contributing an additional segment to the theatrical language. These dramatisations of prose not only promote and enhance the artistic growth of theatres but also aid in preserving cultural heritage and revitalising various literary periods in contemporary society. In the 2010s and 2020s, theatre productions, prose dramatisation, a socially active position and marginal phenomena, contemporary poetics, geopolitical actualities, desire for content depth, actualisation and reevaluation of national themes, the ability to balance a bright staging with a meaningful message are put forward. This article focuses on the quantitative and statistical aspects of prose dramatisations of the first twenty years of the 21st century. As part of the research for the article, 178 units of Latvian and foreign prose dramatisations have been excerpted from six theatres: Latvian National Theatre, Dailes Theatre, New Riga Theatre, Valmiera Drama Theatre, Liepāja Theatre and Daugavpils Theatre; Latvian puppet theatres are not included in this study. In the article, descriptive statistics is used to analyse the excerpted units. The result provides an insight into the dynamic relations of mutual influence between literature and theatre art in Latvia and the adaptation of prose dramatisation in the repertoires of the stage art in Riga and regional theatres.
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Braun, Kazimierz. "Druga Reforma Teatru." Zarządzanie w Kulturze 25, no. 1-2 (November 2024): 181–97. http://dx.doi.org/10.4467/20843976zk.24.019.20137.
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The history of theatre in the twentieth century distinguishes two theatre reforms. The first took place from the final years of the nineteenth century into the late 1930s. The second was from the mid-1950s to the late 1980s. These were movements of renewal and modernization of the art of theatre. Started by individual artists and small groups and assisted by playwrights and theorists – who were often the artists themselves – both reforms gradually reached wider areas of theatre life. The Second Reform was a reformist movement of young, avant-garde, rebellious and experimental theatre in a searching state. The movement originated in the 1950s in Poland within student and alternative theatres as well as in the United States, as Off-Broadway and then Off-Off-Broadway. It reached tremendous level of expression in the 1960s through the work of Jerzy Grotowski’s Laboratory Theatre, Bread and Puppet Theater, Living Theatre and several other companies in many countries all around the world. It matured in the 1970s, bringing out the theatre of Tadeusz Kantor. In the 1980s, it resulted in Włodzimierz Staniewski’s “Gardzienice.” However, it did not reach some areas of theatre at all. Throughout the West, in South America, Australia and in Japan, the Second Reform was a challenge and an alternative to commercial, popular and traditional theatre. In the part of Europe that was under Soviet Union’s control, the Second Reform was a challenge to totalitarian regimes; it undermined totalitarian censorship and disregarded the communist iron curtain. Its productions were manifestations of freedom. In the field of performance’s creation, the Second Reform brought out and accentuated the communality and processuality of theatre art. In the field of directing, the Second Reform decisively placed the director at the head of the team of creators preparing and executing a theatrical performance. In the field of acting, the Second Reform introduced “acting of being” in place of “acting of character.” In the aspect of space, the Second Reform sought out to integrate the playing area and the observation area of the show; its lasting achievement became a theatre with variable space, “the black box.” In the field of literature, the Second Reform questioned the underlying function of drama in the theatre, practiced “writing on stage” as well as “creating” the text of the show by the actors themselves, and “adapting” existing dramas by the director. The author of this article witnessed, chronicled and participated in the Second Theater Reform. He created productions in its spirit and wrote about it.
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Shevtsova, Maria. "Political Theatre in Europe: East to West, 2007–2014." New Theatre Quarterly 32, no. 2 (April 13, 2016): 142–56. http://dx.doi.org/10.1017/s0266464x1600004x.
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What political theatre may be in contemporary times and in what sense it is ‘political’ are the core issues of this article. Maria Shevtsova discusses examples from within a restricted period, 2007 to 2014, but from a wide area that begins in Eastern Europe – Russia, Romania, Hungary, Poland – and moves to Germany and France. Her examples are principally productions by established ensemble theatre companies and her analysis is framed by a brief discussion concerning independent theatres, ‘counter-cultural’ positions, and institutional and institutionalized theatres. This latter group is in focus to indicate how political theatre in the seven years specified has been far from alien to, or sidelined from, national theatres, state theatres, or other prestigious companies in receipt of state subsidy. Two main profiles of recent political theatre emerge from this research, one that acknowledges political history, while the other critiques neoliberal capitalism; there is some unpronounced overlap between the two. Productions of Shakespeare feature significantly in the delineated theatrescape. Maria Shevtsova is co-editor of New Theatre Quarterly and Professor of Drama and Theatre Arts at Goldsmiths, University of London. Her most recent book (co-authored) is The Cambridge Introduction to Theatre Directing (2013).
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Cornford, Tom. "Reconstructing Theatre: the Globe under Dominic Dromgoole." New Theatre Quarterly 26, no. 4 (November 2010): 319–28. http://dx.doi.org/10.1017/s0266464x1000062x.
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In this article Tom Cornford examines the policy of extending and adapting the permanent stage of Shakespeare's Globe for each new production, as pursued by Dominic Dromgoole since the beginning of his tenure as Artistic Director in 2006. The article responds initially to John Russell Brown's equation in NTQ 102 of a particular kind of ‘intimate’ acting with ‘small theatres’. Cornford resists this conflation of acting and building, seeing in it a tendency to obscure both the role of reconstructed theatres to challenge contemporary notions of the ‘rightness’ of theatre spaces and the role of directors and actors to convert their apparent problems into opportunities. He explores the transformation of the Globe since 2006, using interviews given by Dromgoole and the directors working with the Globe's research team to critique the theory underpinning the ‘permanently temporary’ alterations to the theatre, and takes the evidence of performances to examine their use of the space in practice. Cornford offers a selection of staging solutions to the apparent ‘problems’ identified by Dromgoole and his team, and proposes an alternative model of reconstruction: not the rebuilding of the theatre, but the constant reviewing of theatre practice, including training. Tom Cornford is a freelance director and teacher of acting for the Guthrie Theater/University of Minnesota BFA Program, the Actors' Centre in London, and Globe Education at Shakespeare's Globe. He was, until recently, Artist in Residence at the CAPITAL Centre in the University of Warwick, where he is undertaking PhD research.
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Matvieieva, Kateryna. "REPERTOIRE TRADITION OF THE UKRAINIAN DRAMA THEATRE: HISTORICAL AND CULTURAL ASPECT." CULTURE AND ARTS IN THE MODERN WORLD, no. 22 (June 30, 2021): 71–84. http://dx.doi.org/10.31866/2410-1915.22.2021.235896.
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The purpose of the article is to find out the repertoire traditions of Ukrainian theatre from the first professional theatre to the present day. The research methodology applies an interdisciplinary approach. In particular, the principle of historicism is an opportunity to trace the change in the repertoire policy of theatres under the influence of sociopolitical circumstances. Structural-functional and macrodynamic methods to study the theatre at different stages of development are methods of analysis and synthesis used to identify the main artistic phenomena and trends in theatrical activities. Scientific novelty. Based on the analysis of the repertoire plays of five Ukrainian theatres: the Theatre of Coryphaei, Taras Shevchenko Kharkiv Academic Ukrainian Drama Theatre, Taras Shevchenko Dnipro National Academic Ukrainian Music and Drama Theatre, Ivan Franko National Academic Drama Theatre, Maria Zankovetska Theatre — trends in the development of the repertoire policy of the Ukrainian theatre are identified, the influence of traditions and society on the work of leading Ukrainian theatre figures is justified; the boundaries of the concept of “repertoire traditions” are expanded. Conclusions. The article examines the peculiarities of the development of Ukrainian theatre from the creation of the first professional theatre in Ukraine to the present day, highlights the impact of repertoire censorship. Five stages of the formation of the repertoire traditions of Ukrainian drama theatres are described: the period of the birth of Ukrainian drama (I. Kotliarevsky); further repertoire traditions in Tsarist Russia era; the formation of modern Ukrainian theatre (Les Kurbas); the period of World War II and post-war times, when there were attempts to transform the Ukrainian theatre into a Soviet one. It was found out that a unique feature of modern Ukrainian theatre is performances on second stages, one-person production, and the use of advanced technology.
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Georgopoulou, Xenia, Eleni Pilla, Urszula Kizelbach, and Jacek Fabiszak. "Theatre Reviews." Multicultural Shakespeare: Translation, Appropriation and Performance 12, no. 27 (June 26, 2015): 147–65. http://dx.doi.org/10.1515/mstap-2015-0012.
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Romeo and Juliet for Two. Dir. Kostas Gakis, Athina Moustaka, Konstantinos Bibis. 104 Theatre, Athens, Greece.
Lady Macbeth. Dir. Marios Mettis. Theatro Thentro, Nicosia, Cyprus
Hamlet. Dir. Jan Klata. Gdańsk Shakespeare Theatre, Gdańsk, Poland
The Taming of the Shrew [Poskromienie złośnicy]. Dir. Katarzyna Deszcz. Stefan Żeromski Theatre, Kielce, Poland
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Delikonstantinidou, Aikaterini. "The Learning Potential of the Alliance Between Theatre and Digital Games." Contemporary Educational Researches Journal 14, no. 2 (May 20, 2024): 69–78. http://dx.doi.org/10.18844/cerj.v14i2.9310.
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The affinities, interaction, and cross-fertilization of theatre art with games date back at least to the early modern period. However, since the 1990s, a pronounced and promising interconnection has been fostered between theatre and digital games, in theory, and practice, manifesting in fields like theater in education. In the present paper, we set forth some of the key constitutive elements of the said interconnection, underlining the benefits of studying digital gaming using theater as a basic reference model. Next, we turn to the affordances of the theatre-digital games alliance for the theatre and its reception by a diverse public. Finally, we discuss the presence of the said alliance in learning environments, zooming in on a few well-documented and effective methods through which it has been integrated into the praxis of theatre in education. Keywords: Digital games; performance; theatre; theatre in education
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Veksler, Asya F. "Nadezhda Bromley and Boris Sushkevich: Actors, Directors, Vakhtangov Followers (Materials for a Creative Biography)." Observatory of Culture 17, no. 5 (November 12, 2020): 526–37. http://dx.doi.org/10.25281/2072-3156-2020-17-5-526-537.
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Boris Sushkevich and Nadezhda Bromley (Sushkevich-Bromley) are remarkable theatrical figures, actors and directors whose lot was connected with the bright and dramatic periods of our country’s theatrical life from the beginning to the middle of the 20th century. They devoted a part of their professional life to the 1st Studio of the Moscow Art Theatre (from 1919 — Moscow Art Academic Theatre), which later became a separate theater (Moscow Art Academic Theatre II, 1924—1936). Since the middle of the 1930s, they worked in leading Leningrad theaters — the Leningrad State Academic Drama Theater (Alexandrinsky Theatre) and the New Theater (1933—1953, now the Saint Petersburg Lensoviet Theatre). This article introduces little-studied archival sources of biographical nature related to the work of these outstanding cultural figures.Nadezhda Nikolayevna Bromley was a heiress of the Bromley — Sherwood creative dynasties, which had made a significant contribution to Russian culture. She joined the troupe of the Moscow Art Theater in 1908, performed on the stage of the 1st Studio (1918—1924), was one of the leading actresses of the Moscow Art Academic Theatre II after its separation, participated in its Directing Department being in charge of the literary part. Generously gifted by nature, N. Bromley wrote poems, short stories, novels; her fictional works “From the Notes of the Last God” (1927) and “Gargantua’s Descendant” (1930) earned critical acclaim. Two plays by N. Bromley were staged in the Moscow Art Academic Theatre II. One of them — the full of hyperbole and grotesque “Archangel Michael” — was passionately accepted by E.B. Vakhtangov and A.V. Lunacharsky, though never shown to a wide audience. At the Leningrad State Academic Drama Theater and the New Theater, N. Bromley not only successfully played, but also staged performances based on the works by A.P. Chekhov, A. Tolstoy, M. Gorky, F. Schiller, and W. Shakespeare.Boris Mikhailovich Sushkevich, brought up by the Theater School of the Moscow Art Academic Theatre and in the Vakhtangov tradition of the playing grotesque, is one of the most interesting and original theater directors of his time. His directorial work in the play “The Cricket on the Hearth” based on a Christmas fairy tale by Charles Dickens became the hallmark of the 1st Studio (and later of the Moscow Art Academic Theatre II as well). This play remained in the theatre’s repertoire until January 1936. B. Sushkevich was a recognized theatre teacher — with his help, the Leningrad Theater Institute (now the Russian State Institute of Performing Arts) was established in 1939. Together with N. Bromley, he managed to fill the New Theater with bright creative content and make it a favorite of the Leningrad audience.This research expands the understanding of a number of yet unexplored aspects of the history of theater in our country and recreates the event context of the era.
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Brown, John. "Tomorrow's Theatre – and How to Get There from Today's." New Theatre Quarterly 18, no. 4 (November 2002): 334–42. http://dx.doi.org/10.1017/s0266464x02000441.
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Taking a wide-ranging look at the aesthetics and economics of theatre on both sides of the Atlantic, and highlighting the increasing interest in learning about theatre in the educational sphere at a time when institutional theatre appears to be floundering, John Russell Brown here draws on his own visits over the past decade to traditional and contemporary theatres in China, India, Japan, Korea, and Indonesia to suggest how new approaches to and locations for theatre might build on forms which continue to draw audiences worldwide. John Russell Brown founded the Department of Drama and Theatre Arts at Birmingham University, and for fifteen years was an Associate Director of the Royal National Theatre. His New Sites for Shakespeare: Theatre, the Audience, and Asia was published by Routledge in 1999. His articles on Asian theatres and their influence in Europe and America have appeared in recent years in New Theatre Quarterly and several Indian journals. He edited and contributed to The Oxford Illustrated History of Theatre (1995) and has been General Editor of the ‘Theatre Production Studies’ and ‘Theatre Concepts’ series, both for Routledge. This article is based upon his inaugural lecture at Middlesex University, where he is currently Visiting Professor.
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Aprent (Vienna/Munich), Patrick, and Magret Berger (Vienna/St. Pölten). "Female Theatre Managers in ‘Peripheral Spaces’. Re-Mapping the 19th-Century Habsburg Monarchy Theatre Landscape." Forum Modernes Theater 35, no. 1-2 (2024): 39–54. https://doi.org/10.1353/fmt.2024.a957525.
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Abstract: This article focuses on female theatre managers in the nineteenth-century Habsburg Monarchy, specifically within the territory of present-day Austria. Combining qualitative and quantitative research and utilising methods from geography and the digital humanities, it aims to reintroduce the many women who led theatres and thereby made substantial contributions to the theatrical and cultural life of their time, but who have been excluded or inaccurately represented in later theatre history writing. By analysing the content of around 230 theatre almanacs, this article illustrates the gender relations of the historical theatre landscape and demonstrates that women disproportionately often occupied ‘peripheral spaces’, leading theatre ventures in the suburbs, on smaller provincial stages and in travelling theatres.
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Rodiņa, Ieva. "Actors as Co-Creators in Contemporary Latvian Theatre." Nordic Theatre Studies 34, no. 1 (June 20, 2023): 78–89. http://dx.doi.org/10.7146/nts.v34i1.137927.
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In Latvian theatre, the last decade has been a time of significant changes regarding the working methods of independent theatre movements. Two of the oldest independent theatres in Riga – Dirty Deal Teatro and Ģertrūde Street Theatre – have become a centre for various theatre productions, therefore moving towards the model of state repertoire theatres. Meanwhile, in recent years, several new theatre companies and creative groups have appeared in the field. Theatre troupe KVADRIFRONS, formed by four young actors having just graduated from the Latvian Academy of Culture, as well as the theatre company esARTe, led by director and teacher Elmārs Seņkovs and the ‘scandalous’ young actors trained in the so-called puppet theatre course at the Latvian Academy of Culture, – these are just a few examples of the new creative formations in Latvian theatre. While in repertoire theatre the creative process mostly lies on the shoulders of the stage director, the aforementioned theatre companies highlight the importance of the actor as co-creator – both in the artistic (devised theatre methods), and the administrative process (actors as managers, etc.). Has the profession of actor changed from performer to administrator? How does the administrative status of the newly founded theatre companies influence the work of freelance actors? How has the status of the actor changed in today’s society? The research tackles the topic of actor as co-creators focusing on the examples and experiences of new independent Latvian theatre companies and including significant social, as well as aesthetical aspects.
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Olatunji, Olalekan F., and Olumide J. OKI. "Creating the Contemporary Christian Theatre: An X-Ray of Sight & Sound Theatres." Global Academic Journal of Humanities and Social Sciences 6, no. 02 (March 20, 2024): 69–78. http://dx.doi.org/10.36348/gajhss.2024.v06i02.004.
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The proliferation of media technologies has redefined theatre performance in contemporary times. This modification which includes mixed-media and mediatization; interactive media; social media; aesthetic communication and spectacle have resulted in a high level of change. As audiences visit the theatre with an increased level of aesthetic taste and newer lens to view performance, theatre directors and designers struggle to find newer methods to tell the dramatic story and create performances to meet the high demand. Sadly, for Christian theatres, especially in Nigeria, the handful of theatre directors and designers actually embracing these new developments have barely scratched the surface of the ongoing renaissance in theatre performance. And this is due to a dearth of documentation on the modus operandi necessary for the creation of these contemporary Christian theatre performances. Sight & Sound Theatres (USA), is a faith-based Christian Theatre in the league of Broadway Theatre with several biblical stories presented on sophisticated stages. This paper engages Ole Thyssen’s ‘Aesthetic Communication theory’ as theoretical framework. It is a descriptive study which engages a content analysis of Sight & Sound’s performance of “Joseph”, and documents the technical details of creating contemporary Christian performances with the example of “Joseph”. Observably, Sight & Sound Theatres prioritizes the inclusion of media and technical elements into performance to enhance performance quality and ensure effective communication of the dramatic story. Hence, by documenting these elements, Sight & Sound Theatres provide a template for the creation of performance in contemporary times, indeed, Christian theatrical productions around the globe.
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Filewod, Alan. "Popular Theatre." Canadian Theatre Review 53 (December 1987): 3. http://dx.doi.org/10.3138/ctr.53.fm.
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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 1987) have done much to legitimize the work of Canadian popular theatres.
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Shaver, Andrew. "Thoughts for the New Alternative: Histories, Boundaries and the Space Apart." Canadian Theatre Review 126 (March 2006): 130–33. http://dx.doi.org/10.3138/ctr.126.030.
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In Canada, underground and alte rnat ive th eatres, driven by the strong cur re nts of a newl y vocal and increasingly nationalistic generation, blossomed in the 1960s, matured in the 1970s, and subsequently found a reasonably assured place in the mainstream over the course of the 1980s. At the foreground of this movement were the theatres and companies of Toronto, such household names as Theatre Passe Muraille (emerging from the contro versial and now-defun ct Rochd ale College), Factory Theatre Lab, Toronto Free Theatre and Tarragon Theatre, in addition to some lesser-known companies such as Global Village Theatre, New Theatre and the Phoenix Theatre. The 1990s thinned their ranks Significantly (one notable loss being the Toronto Free Theatre), but the surviving companies were soon to be counted among the same Canadian theatre establishment to which they had once so effectively provided an alternative. It is now a commonplace for these mid-sized companies and their counterparts across the country to coproduce new works with major regional theatres such as the National Arts Cent re (the old status quo). Yesterday’s alternative is today’s mainstream.
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Chubrei, Anastasiia. "THE UKRAINIAN PRESS OF GALYCIA OF THE 20–30’s OF THE XXth CENTURY AS THE RESOURCE OF THE INVESTIGATION OF THE PUBLISHING THEATRICAL POLICY OF THE REPERTOIRE." Proceedings of Research and Scientific Institute for Periodicals, no. 11(29) (2021): 291–306. http://dx.doi.org/10.37222/2524-0331-2021-11(29)-13.
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The level of the publishing policy for the theatrical repertoire of the professional and amateur theatres according to the points of view of the authors of the Galycia press of the internal period of the theatrical, socio-politicaland other directions is found, the value of the Ukrainian theater in the context of the socio-political situation in the Eastern Galycia and ideological views of the certain edition or appendix is in vestigated. According to the analysis of the messages devoted to the existing theatrical repertoire on the publisher’s market the precedence of the quantity (meaning that the providing of the repertoire for the professional and amateur theatres was sufficient) is established. The reflections upon the quality index were defined by the editor’s policy and the opinions on the meaning of the theatre. Either important was the attitude in the discussion on the implementation of the achievements of the European drama or the further domination of the folklore genres which were often used during the previous periods of the development of the Ukrainian theatre. It was established according to the editions, which were published in the beginning, during and in the end of the interwar twenties of the XXth century. Keywords: history of publishing, theater, Galycia, interwar period, publishers, repertoire.
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Pukelytė, Ina. "Reconstructing a Nomadic Network: Itineraries of Jewish Actors during the First Lithuanian Independence." Nordic Theatre Studies 27, no. 1 (May 12, 2015): 78. http://dx.doi.org/10.7146/nts.v27i1.24241.
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This article discusses the phenomenon of openness and its nomadic nature in the activities of Jewish actors performing in Kaunas during the first Lithuanian independence. Jewish theatre between the two world wars had an active and intense life in Kaunas. Two to four independent theatres existed at one time and international stars were often touring in Lithuania. Nevertheless, Lithuanian Jewish theatre life was never regarded by Lithuanian or European theatre society as significant since Jewish theatre never had sufficient ambition and resources to become such. On the one hand, Jewish theatre organized itself in a nomadic way, that is, Jewish actors and directors were constantly on the road, touring from one country to another. On the other hand, there was a tense competition between the local Jewish theatres both for subsidies and for audiences. This competition did not allow the Jewish community to create a theatre that could represent Jewish culture convincingly. Being a theatre of an ethnic minority, Jewish theatre did not enjoy the same attention from the state that was given to the Lithuanian National Theatre. The nomadic nature of the Jewish theatre is shown through the perspective of the concept of nomadic as developed by Deleuze and Guattari.
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Haddad, Naif Adel, Leen Adeeb Fakhoury, and Talal S. Akasheh. "Notes on anthropogenic risks mitigation management and recovery of ancient theatres’ heritage." Journal of Cultural Heritage Management and Sustainable Development 8, no. 3 (August 20, 2018): 222–56. http://dx.doi.org/10.1108/jchmsd-11-2016-0062.
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Purpose Ancient theatres and odea are one of the most significant and creative socio-cultural edutainment centres of human history that are still in use. They stood and served as huge multi-functional structures for social, religious, propaganda and political meeting space. Meanwhile, ancient theatres’ sites have an intrinsic value for all people, and as a vital basis for cultural diversity, social and economic development, they should continue to be a source of information for future generations. Though, all places with ancient theatre heritage should be assessed as to their potential risk from any anthropogenic or natural process. The paper aims to discuss these issues. Design/methodology/approach The main paper’s objective is to discuss mainly the anthropogenic and technical risks, vulnerability and impact issues on the ancient classical theatres. While elaborating on relevant recent studies, where the authors were involved in ERATO and ATHENA European projects for ancient theatres and odea, this paper provides a brief overview of the main aspects of the anthropogenic qualitative risks and related issues for selected classical antiquity theatres. Some relevant cases are critically presented and investigated in order to examine and clarify the main risk mitigation issues as an essential prerequisite for theatre heritage preservation and its interface with heritage reuse. Findings Theatre risk mitigation is an ongoing and challenging task. By preventive conservation, theatre anthropogenic qualitative risks’ management can provide a framework for decision making. The needed related guidelines and recommendations that provide a systematic approach for sustainable management and planning in relation mainly to “ancient theatre compatible use” and “theatre technical risks” are analysed and presented. This is based on identification, classification and assessment of the theatre risk causes and contributing factors and their mitigation. Originality/value The paper also suggests a new methodological approach for the theatre anthropogenic qualitative risk assessment and mitigation management, and develop some recommendations that provide a systematic approach for theatre site managers and heritage experts to understand, assess, and mitigate risks mainly due to anthropogenic and technical threats.
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Kim Hyung Ki. "De-territorialisation of Theatres in the Multimedia Age: Director's Theatre, Dance Theatre, and Media Theatre." Journal of korean theatre studies association ll, no. 34 (April 2008): 39–99. http://dx.doi.org/10.18396/ktsa.2008..34.002.
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Stefanova, Kalina. "When drama theatre meets puppetry: How a unique symbiosis brought about distinctive changes in Bulgaria’s theatre." Maska 31, no. 181 (December 1, 2016): 120–28. http://dx.doi.org/10.1386/maska.31.181-182.120_1.
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The text outlines the unique symbiosis between drama and puppetry that started taking shape on Bulgarian theatre stages in the mid-1990s and gradually became a distinctive new theatre reality that changed the face of Bulgarian theatre. It was created by Alexander Morfov, CREDO Theatre and Stefan Moskov, along with a number of actors – all of them puppet theatre graduates – in their collaboration with the Bulgarian National (and other drama) Theater(s).
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Cofur-Machura, Ewa, Magdalena Sobocińska, and Łukasz Wróblewski. "Relationship Marketing in the Theatre Market – Theoretical and Empirical Aspects." Cultural Management: Science and Education 8, no. 2 (January 7, 2024): 25–38. https://doi.org/10.30819/cmse.8-2.02.
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Theatre management is undergoing changes connected with the implementation of a marketing appro-ach in this sphere, which is directed at building and deepening relationships with the surroundings, and especially with the theatre audience. The concept of relationship marketing and the instruments related with it are applicable in this sphere. The purpose of this article is to present how relationship marketing is perceived by theatre managers and the role attributed to it, as well as the impact of related marke-ting communication activities on the significance of the theatre offer for theatre-goers. This article was based on a literature study and an analysis of qualitative and quantitative empirical research. The quan-titative research covered 502 theatre-goers. In the scope of qualitative research, 5 in-depth individual interviews were conducted with the representatives of managerial staff of the selected theatres in Po-land. Empirical research indicates that there is a need for the application of relationship marketing in theatres, whose assumption is the creation of long-term bonds between a cultural institution and the recipients of its offer. This involves creating value bundles which are attractive for those participating in cultural events and theatres improving their offer.
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Stefanović, Milena, and Milena Dragićević Šešić. "Leadership in Independent Art Organisations: Entrepreneurship and Regional Embeddedness." Cultural Management: Science and Education 8, no. 2 (January 7, 2024): 9–24. https://doi.org/10.30819/cmse.8-2.01.
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Theatre management is undergoing changes connected with the implementation of a marketing appro-ach in this sphere, which is directed at building and deepening relationships with the surroundings, and especially with the theatre audience. The concept of relationship marketing and the instruments related with it are applicable in this sphere. The purpose of this article is to present how relationship marketing is perceived by theatre managers and the role attributed to it, as well as the impact of related marke-ting communication activities on the significance of the theatre offer for theatre-goers. This article was based on a literature study and an analysis of qualitative and quantitative empirical research. The quan-titative research covered 502 theatre-goers. In the scope of qualitative research, 5 in-depth individual interviews were conducted with the representatives of managerial staff of the selected theatres in Po-land. Empirical research indicates that there is a need for the application of relationship marketing in theatres, whose assumption is the creation of long-term bonds between a cultural institution and the recipients of its offer. This involves creating value bundles which are attractive for those participating in cultural events and theatres improving their offer.
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Gajdó, Tamás. "Vígszínházi történetek – újraírva : Heltai Gyöngyi: Pesti magánszínházak a két világháború között. Transzatlanti hatások, lokális érdekvédelem. Budapest: L’Harmattan Kiadó, 2021." Theatron 16, no. 1 (2022): 140–44. http://dx.doi.org/10.55502/the.2022.1.140.
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The archives of the Víg Theatre survived the siege of Budapest unscathed in the Second World War, which Gyöngyi Heltai has been researching for a few years with passion and tirelessness. By raising new questions, she analyzes the sources of the most successful private theatre from a completely new perspective. In her latest book, Private Theatres in Pest Between the World Wars, she identified completely new aspects for the study of the Víg Theatre and the private theatres in the Hungarian capital. The book is indispensable, not only for those who want to examine the world of private theatres in Pest between the two world wars, but with its fresh approach and sure methodological foundations, one of the most significant works of recent years can be of interest to all those dealing with theatre.
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Cairoli, Maria, and Gino Iannace. "A Single Acoustic Quantity Index as Part of an Early-Stage Digitalized Procedure for the Restoration of Baroque Theatres to Be Used as Multipurpose Spaces." Heritage 7, no. 12 (November 28, 2024): 6749–71. http://dx.doi.org/10.3390/heritage7120312.
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Historic theatres with a horseshoe shape, the so-called baroque theatres, constitute an architectural heritage and are of enormous importance. For these reasons, this paper aimed to identify a single acoustic quantity index as part of an early-stage digitalized procedure to improve the management of the complexity of their restoration process, both better preserving the original room acoustic field and making it variable for new different uses of the theatre space. The procedure introduces technical policies and design tools in a BIM execution plan (BEP) and is supported by a digitalization that inserts the restoration of theatres into industry 4.0. This choice was taken according to the new design goals and the new Procurement Code Directives, which underlie the use of digital technologies in this context. The described acoustic single number quantity, called a “multipurpose index”, summarizes the main room acoustic goals for when a baroque theatre is used as a multipurpose space after renovation, specifying and better controlling the requested room acoustic quality for people other than acoustics specialists, such as theater directors, and more generally for the management. As an example of this possible transition, the case study of “Teatro Ristori” is presented.
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Bogdańska, Olga, Verónica D’Auria, Coen Heijes, and Xenia Georgopoulou. "Theatre Reviews." Multicultural Shakespeare: Translation, Appropriation and Performance 10, no. 25 (December 31, 2013): 133–52. http://dx.doi.org/10.2478/mstap-2013-0010.
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The Tempest. Dir. Silviu Purcarete. The National Theatre “Marin Sorescu” of Craiova, Romania. 16th Shakespeare Festival, Gdansk, Poland
Richard III. Dir. Gabriel Villela. Blanes Museum Garden, Montevideo, Uruguay
Henry V. Dir. Des McAnuff. Stratford Shakespeare Festival, Ontario, Canada
Julius Caesar. Dir. Gregory Doran. Royal Shakespeare Company
A Midsummer Night’s Dream. Adapted and dir. Georgina Kakoudaki. Theatre groups _2 and 4Frontal, Theatro tou Neou Kosmou, Greece
Julius Caesar: Scripta Femina. Dir. Roubini Moschochoriti. Theatre group Anima Kinitiras Studio, Greece
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Wilmer, S. E. "Performing «Polishness»." Pamiętnik Teatralny 70, no. 2 (June 23, 2021): 165–69. http://dx.doi.org/10.36744/pt.823.
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This article is a review of Dariusz Kosiński’s Performing Poland: Rethinking Histories and Theatres (Aberystwyth 2019). The author points out that the book is an attempt at introducing several centuries of Polish theatre and performance to an international reader. It is divided into five sections which overlap chronologically, altogether creating a comprehensive presentation of Polish theatre. These sections are: theatre of festivities, theatre of fundamental questions, national theatre, political theatre, and theatre of the cultural metropolis. The author, however, draws attention to a problematic issue in Kosiński’s approach. Throughout the book he emphasizes the role of theatre and performance in asserting Polish national identity while ignoring the complex, multi-faceted character of any national identity.
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Golovlev, Alexander. "Political Control, Administrative Simplicity, or Economies of Scale? Four Cases of the Reunification of Nationalized Theatres in Russia, Germany, Austria, and France (1918–45)." New Theatre Quarterly 38, no. 2 (April 20, 2022): 107–24. http://dx.doi.org/10.1017/s0266464x22000021.
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In 1917–18, the new republican governments of Russia, Germany, and Austria nationalized their former court property. A monarchic-turned-national heritage of prestigious opera and dramatic theatres weighed heavily on national and regional budgets, prompting first attempts to create centralized forms of theatre governance. In a second wave of theatre reorganization in the mid-1930s, the Soviet government created ‘union theatres’ under a Committee for Arts Affairs; the German and Austrian theatres underwent the Nazi Gleichschaltung (1933–35 and 1938); and France, a ‘democratic outlier’, opted for nationalizing the Opéra and Opéra-Comique under the Réunion des théâtres lyriques nationaux. These conglomerates have so far been little studied as historically specific forms of theatre management, particularly from a comparative, trans-regime perspective. What balance can be struck between economic, political, and ‘artistic’ costs and benefits? How does ‘Baumol’s law’ of decreasing theatre profitability apply to these very different politico-economic systems, as well as to war economies? Dictatorships reveal an economic seduction power, while this essay argues for confirming a long-term ‘great European convergence’ of state-centred theatre management, internal structure, and accountability, both in peace and war. Here, the stated goals and short-term contingencies yielded to trends originating from the logic of theatre production itself, and the compromises that the state, theatre professionals, and the public accepted in exchange for the capital of prestige. Alexander Golovlev (PhD, European University Institute in Florence, 2017) is a senior research fellow at the HSE Institute for Advanced Soviet and Post-Soviet Studies at the University of Moscow. His recent publications include, for New Theatre Quarterly, ‘Theatre Policies of Soviet Stalinism and Italian Fascism Compared, 1920–1940s’ (2019), and ‘Balancing the Books and Staging Operas under Duress: Bolshoi Theatre Management, Wartime Economy, and State Sponsorship in 1941–1945’, Russian History XLVII, No. 4 (2020).
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Bečica, Jiří. "Income Self-Sufficiency and Profitability of Professional Theatres in the Czech Republic." Review of Economic Perspectives 18, no. 3 (September 1, 2018): 285–99. http://dx.doi.org/10.2478/revecp-2018-0014.
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Abstract The paper assesses the professional theatres operating under the Association of Professional Theatres in the Czech Republic in the period 2011-2015 using the financial analysis, particularly the profitability indicator ratio (ROA, ROCE, ROE, ROS) and the rate of income self-sufficiency. The reason for this economic exploration of theatres is in the fact that the service they provide fall under collectively provided public goods (a common feature of most cultural institutions), and that the market is not able to effectively secure these goods on the profit principle. The J. K. Tyl Theatre in Pilsen, the Drak Theatre in Hradec Králové and the Moravian Slovakia Theatre in Uherské Hradiště have reported the best results of profitability indicators. Whereas the worst results in profitability have been reported for the North Bohemian Theatre of Opera and Ballet in Ústí nad Labem, the Antonín Dvořák Theatre in Příbram and the South Bohemian Theatre in České Budějovice. The rate of income self-sufficiency within 2011-2015 ranges from 12-55% of the total budget volume, and volume and shows a strong dependency of professional theatres on foreign resources, particularly from public resources of the local levels of the government being the most common funder of these cultural institutions. It turns out that, from the economic point of view, it is illogical to transform non-profit contributory organizations in culture with a public funder into a different legal form when the purpose of the establishment and the funder remain preserved. Better results are generally obtained from single-genre theatres and, in terms of the auditorium size, smaller theatres focusing on drama or children's production.
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Jesenko, Primož. "Balbina’s “theatre in the round”." Maska 31, no. 181 (December 1, 2016): 160–65. http://dx.doi.org/10.1386/maska.31.181-182.160_7.
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With an overview of the life and work of Balbina Battelino Baranovič (1921–2015), the article emphasises her role in the Slovenian theatre scene. She founded theatres, researched contemporary theatrical practices, and, thanks to a strong connection to French and American theatre, broadened the horizons of the Slovenian and Yugoslav theatre of the time, while enabling actors to flourish under contemporary approaches. The founder of the Experimental Theatre, she also introduced theatre in the round to the Slovenian artistic space.
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Seppälä, Mikko-Olavi. "S.O.S. - A Pacifist Intervention in Helsinki 1929. The Intercrossing of Modernism and Socialism." Nordic Theatre Studies 28, no. 1 (June 22, 2016): 39. http://dx.doi.org/10.7146/nts.v28i1.23971.
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The article examines the co-operation between a (Swedish-speaking) modernist author with a (Finnish-speaking) workers’ theatre in 1920s Finland. It shows how modernist aesthetics and the socialist movement met in the practices of the workers’ theatres and what dangers lay in this combination. I am especially interested in the moments when the radical intelligentsia - artists, writers, and theatre directors - joined forces with the workers’ theatres in order to create political theatre. Political turmoil was about to occur when Hagar Olsson’s play S.O.S. premiered in Helsinki in March 1929. The venue was the Koitto Theatre (in Finnish ”Koiton Näyttämö”), a semi-professional workers’ theatre run by a socialist temperance association, already known for its performances of German expressionist plays. In my paper, I ask what goals lay behind the co-operation between Olsson and Koitto – and what came out of it?
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Bartoshevich, Alexey V. "Named after Chekhov. For the thirtieth anniversary of the International Theatre Festival." ТЕАТР. ЖИВОПИСЬ. КИНО. МУЗЫКА, no. 4 (2022): 190–96. http://dx.doi.org/10.35852/2588-0144-2022-4-190-196.
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The Anton Chekhov International Theatre Festival celebrated its 30th anniversary. The festival was first held in the fall of 1992, and soon became one of world theatre culture’s greatest events. Its audience could see performances by legendary foreign theatres in the country’s main cities. Over the years of the festival’s existence, the spectators have seen over 600 performances from 54 countries. Viewers in Russia had the opportunity to witness the elite of the world stage engaged in the best performances created from recent decades in theatres of Europe, Asia, Africa, and both Americas. And it has been most significant to see that Russian theatre exists within the context of the processes happening in the world’s performing arts. From the first steps of its history, the Chekhov Festival has been organizing the tours of Russian theatre groups around the world. A few years after the Chekhov Festival started, international co-productions, created by Russian and foreign theatres, became a usual venue. Among them there were Oresteia by Peter Stein, Boris Godunov, Twelfth Night and The Tempestby Declan Donnellan. The Chekhov International Festival has an incredibly rich past, with an equally bountiful future awaiting. The basis of modern theatre is in its universality and capacity to unify people, which is the highest goal of theatre art.
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Paškevica, Beata. "ANNA (ASJA) LĀCIS AT THE CROSSROADS OF CULTURES AND IDEOLOGIES." Culture Crossroads 8 (November 13, 2022): 63–69. http://dx.doi.org/10.55877/cc.vol8.161.
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The article explores the course of formation of the positions of Asja Lācis’s theatre aesthetics in the early period of her activity, mainly in Riga during the 1920s. The article takes a chronological look at the first theatre impressions of German and Latvian theatres in Riga. Special attention is paid to Asja Lācis’s change of aesthetic views under the influence of the Russian avant-garde. In contrast to the exuberance of Hedda Gabler and the existential loneliness in Ibsen’s psychological theatre, the new Russian avant-garde theatrical search stressed the biomechanical conception and the role of the actor as a player in a theatre company. The key position in Asja Lācis’s personal work of directing in Riga amateur theatre of the leftist trade unions was the aesthetic requirements of the proletarian cult and the theatre of October. She tried to create a radical avant-garde theatre and expressed her aesthetic views in a number of articles in the Latvian leftist press. Anna Lācis’s experiments in Oryol and the Riga theatres, which were based on her acquired experience of the Russian avant-garde, served as a catalyst for her further cooperation with Walter Benjamin and Bertolt Brecht; it also influenced the development of different contemporary theatre trends.
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Lupu, Andreea Gabriela. "The Reconfiguration of the Theatre Space and the Relationship between Public and Private in the Case of Apartment Theatre." Romanian Journal of Communication and Public Relations 18, no. 3 (January 25, 2017): 77. http://dx.doi.org/10.21018/rjcpr.2016.3.217.
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<p>This article tackles the means of theatre space reconfiguration in the apartment theater (<em>lorgean theater</em>), simultaneously analyzing the relation between public and private specific to this form of art. Structured around both a theoretical analysis and a qualitative empirical investigation, this paper emphasizes the traits of the theatre space as component of an artistic product received by the audience, and its value in the process of artistic production, within the theatre sector. The case study of <em>lorgean theater, </em>including a participant observation and an individual interview, enables the understanding of these two aspects of the spatial configuration, emphasizing its hybrid nature in terms of spatial configuration and the public-private relation as well as the act of reappropriation of the domestic space through an alternative practice of theatre consumption.</p>
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Hadar, Misha. "Jonas Tinius. State of the Arts: An Ethnography of German Theatre and Migration." Modern Drama 67, no. 4 (December 1, 2024): 506–9. https://doi.org/10.3138/md-67-4-rev7.
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Jonas Tinius’s State of the Arts: An Ethnography of German Theatre and Migration investigates the Theater an der Ruhr, in Mülheim, Germany, to challenge the role of the theatre as a public institution, as well as the place of travel and collaboration with migrants and refugees in contemporary German theatre.
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Pukelytė, Ina. "Front Theatre and Variety Theatre in Lithuania During World War II." Art History & Criticism 16, no. 1 (December 1, 2020): 95–104. http://dx.doi.org/10.2478/mik-2020-0006.
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SummaryThis article reveals how theatre on small stages functioned in Lithuania during World War II and what was its impact on different audiences. It discusses two topics: 1) specificities of the front theatre intended for German soldiers and their administration; 2) specificities of variety theatre intended to all kinds of audiences. Front theatres in the Third Reich were a well-structured and well-financed organisation that served not only German soldiers and army officials but was an attractive job place for artists. Shows were given in all the occupied territories and thus the morale of the German army was supposed to be maintained. Variety theatres, that is small stage performances, were dedicated to lower class audiences; these shows demanded no intellectual effort and were meant to entertain. Journalists, writing about this type of theatre, avoided to criticise it, because it nevertheless fulfilled its duty to stimulate citizens’ optimism and to make them more loyal to the Nazi government.
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Johnston, Denis. "CyberShaw: A 19th-Century Mandate Meets 20th-century Technology." Canadian Theatre Review 81 (December 1994): 32–35. http://dx.doi.org/10.3138/ctr.81.007.
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The Shaw Festival is unique among Canadian theatres, and virtually unique among world theatres as well. It is one of only five major repertory theatres in the English-speaking world: the others are the Stratford Festival, the Guthrie Theater in Minneapolis, and the twin flagships of British classical theatre, the Royal Shakespeare Company and the National. In addition, the Shaw Festival is the only one of these companies to have chosen a specific period of history as its mandate: it produces only plays written during the lifetime of Bernard Shaw. The company describes this mandate as “plays by Bernard Shaw and his contemporaries (1856-1950) – plays about the beginning of the modern world”.
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Starzyk, Agnieszka, Kinga Rybak-Niedziółka, Janusz Marchwiński, Ewa Rykała, and Elena Lucchi. "Spatial Relations between the Theatre and Its Surroundings: An Assessment Protocol on the Example of Warsaw (Poland)." Land 12, no. 6 (June 13, 2023): 1225. http://dx.doi.org/10.3390/land12061225.
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Theater as a place, but also as a field of human and team activity involving the creation of performances performed in the presence of the viewer, has a centuries-old history. This study aims at examining the links between theatre architecture/space and public spaces, trying to answer to what extent these objects have become attractors in its space and how they affect the activity of cultural and social life. The subjects of the study are Warsaw theatres, both historical and contemporary, in the context of their impact on the surrounding public spaces. A specific methodology was elaborated to evaluate potential impacts. According to the spatial relations between the theatre and its surroundings, they are clustered in the following typologies: emanation, isolation, and interference theatre. The research methods applied for defining and solving the scientific problem are: (i) critical analysis, (ii) comparative analysis, (iii) observation without intervention, and (iv) intuitive method based on the author’s personal experience. The conclusions are based on empirical research, with particular emphasis on the research material obtained by field research. The results of the research allow one to draw conclusions regarding the influence of theatrical places on public spaces in the city structure. The mission of the theater is changed, activating events and building social bonds. Theater space and its surroundings are shaped in accordance with these new standards and social expectations to be transformed into a public space of a cultural nature. Thus, presently, urban theatrical space is a site for spectacle, with a social and cultural mission. Theater space and its surroundings should be shaped in accordance with changing standards and social expectations, and it should be a public space of a cultural nature.
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Burton, Rebecca. "Dispelling the Myth of Equality: A Report on the Status of Women in Canadian Theatre." Canadian Theatre Review 132 (December 2007): 3–8. http://dx.doi.org/10.3138/ctr.132.001.
Full textAbstract:
In 2003, the Women’s Caucus of the Playwrights Guild of Canada partnered with Nightwood Theatre to support a new study on the status of women in Canadian theatre. The discouraging findings of preliminary investigations, the passionate responses encountered at community events, the added involvement of organizations like the Professional Association of Canadian Theatres (PACT) and the support of the Canada Council for the Arts led to the launch, in the following year, of Equity in Canadian Theatre: The Women’s Initiative. Modelling its efforts on Rina Fraticelli’s landmark report, “The Status of Women in the Canadian Theatre” (1982), the Initiative developed a two-fold mandate: to assess the status of women in Canadian theatre and to create social action plans to help eliminate remaining obstacles. To gather the necessary information, in the summer of 2005, the Initiative sent a survey on employment and production practices to Canadian theatres, the results of which form the backbone of the research study, posted on line in the final report, “Adding It Up: The Status of Women in Canadian Theatre” (2006).1
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Climenhaga, Lily. "Globalized Theatre | Tokenized Performance: Milo Rau’s German Intercultural Theatre in Belgium." Seminar 60, no. 4 (November 1, 2024): 388–408. https://doi.org/10.3138/seminar.60.4.6.
Full textAbstract:
This article examines Swiss-German theatre maker Milo Rau’s work at Nederlands Toneel Gent (NTG) and looks at Rau’s work as director and artistic director through the frame of institutional dramaturgy, migratory aesthetics, and postmigrant theatre. It first engages with Rau’s institutional critique of German public theatres by positioning the Flemish theatre as distinct from its German counterpart and exploring preceding institutional innovations in the region. It continues to situate Rau’s innovations among those instigated in Germany by artistic directors, and these innovations as part of a larger institutional debate tied up with questions of diversifying and opening public theatres. Finally, considering Rau’s institutional migratory aesthetics, this article looks at the intercultural interlocutors of Orestes in Mosul (2019) and Antigone in the Amazon (2023) and their relation to issues of diversity, inclusion, and integration.