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1
Golubtsova, Liubov, Serhii Plutalov, and Maryna Musienko. "The Theater Art of Mariupol: Pages of History and Modern Realities." Bulletin of Kyiv National University of Culture and Arts. Series in Stage Art 3, no. 1 (2020): 66–77. https://doi.org/10.31866/2616-759x.3.1.2020.204359.
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The purpose of the research is to review the history of Mariupol's performing arts and to characterize the acting arts technologies (traditional and innovative), which the staff of the Mariupol Drama Theater relies on in its activity. Research methodology. The following methods have been used to achieve the goal of the research: historical is (to study the stages of the theatrical art formation of Donetsk region); analytical is (to identify the basic principles of the acting school as a result of its historical evolution); cultural studies is (to consider the acting school traditions in the context of the contemporary performing arts development in Mariupol); art studies is (in the analysis of acting schools and forms of directing technologies); source studies is (in the study of archival materials related to the theatrical life of the city). The scientific novelty is that the peculiarities of Mariupol contemporary acting art and its relation to the achievements of classical Ukrainian theater of luminaries have been revealed. Conclusions. The center of Donetsk region's theatrical culture is the Donetsk Academic Regional Drama Theater (Mariupol). The analysis of the theater activity at different stages of its functioning makes it possible to confirm that the historical realities of the acting school development of luminaries in Donetsk have fragmentary coverage in the historical, cultural, art and theatrical literature; the formation of repertoire preferences in the actors' troupes was influenced by the touring activities of the Coryphaeus Theater. A special role in this process was played over the principles of artistic images as a central element of the performance, which combines its composition and indirectly affect other components. Despite the period of the so-called "stagnation", in the Soviet theatrical practices in the late 70's we trace the tendency to return to the traditional forms of theatrical expressiveness for the Ukrainian theater, which helped to activate the directing and acting creativity in search of new variants of combining theatrical means of the Ukrainian everyday life inherent in classical and contemporary European drama and comedy theater. The main features of the Ukrainian Acting School of the Mariupol Theater are realistic approach to the creation of stage images; widespread use of music, singing, dance; the productive work of the actor over himself.
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Kokhan, Liudmyla, and Larysa Kokhan. "ABOUT FOLKLORE IN THE CREATIVE ACTIVITY OF MYKHAILO STARYTSKY AND MYKOLA LYSENKO AND ITS INFLUENCE ON THE FORMATION OF THE UKRAINIAN PROFESSIONAL MUSIC AND DRAMA THEATER." Creativity Studies 17, no. 1 (2024): 86–100. http://dx.doi.org/10.3846/cs.2024.15009.
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The article is devoted to the study of folklore activities of Ukrainian playwright, writer, poet, translator, theatrical and cultural figure, director, philanthropist, director of the first Ukrainian professional theater, the so-called “theater of luminaries”, Mykhailo Starytsky (1840–1904) and the founder of the Ukrainian national opera, composer, pianist, conductor, folklorist, public figure Mykola Lysenko (1842–1912). The main attention is paid to the analysis of the playwright’s use of descriptions of rituals, customs, traditions, folk morals of Ukrainians, as well as examples of the use of small folk genres, phraseology. It was found that for the Ukrainian community the study and preservation of folk traditions in the second half of the 19th century played an important role in the formation of national self-identification and national consciousness. The origins, features and functions of ethnography in Starytsky’s works are determined, in particular it is proved that the playwright’s use of descriptions of Christian and pre-Christian rites was primarily aimed at a true image of traditional Ukrainian society, an important component of which were ancient rituals, games, music and drama actions. It is shown how the rites of the winter and summer cycles of the folk calendar are reflected in various ways in the artist’s work, which is the most saturated with various bright rituals and customs. It is proved that the study of folk music significantly influenced the composer’s creativity. It is confirmed, that folklore in the works of Starytsky and Lysenko had a positive effect on the formation of the Ukrainian professional theater as a music and drama one.
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Slipushko, O. M., and A. O. Katyuzhynska. "THE INTEGRATION OF PANEUROPEAN THEATRIC TRADITIONS OF THE BAROQUE EPOCH INTO THE HISTORICAL DRAMA OF THE LUMINARIES." Literary Studies, no. 60 (2021): 199–210. http://dx.doi.org/10.17721/2520-6346.60.199-210.
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The article represents the study of the peculiarities of the integration of PanEuropean theatrical traditions of the Baroque epoch into the historical drama by Ukrainian coryphees. Particular attention is paid to the study of the specifics of the creation of baroque drama of the XVIII century and its influence on the formation of the dramatic tradition of the Coryphées. The main European tendencies represented in historical baroque dramas are singled out. It is proved, that succession is manifested primarily at the level of national identity. The historical dramas of F. Prokopovych “Volodymyr”, the anonymous author “God’s Grace” and M. Starytsky “Bogdan Khmelnytsky”, I. Karpenko-Kary “Sava Chaly” in the comparative aspect are analyzed. Common and different features in the interpretive models of the central images of statesmen are clarified. Actually, F. Prokopovich has developed his own theory of drama with a division into five acts. It was found out, that such a structure is also characteristic of the works of I. Karpenko-Kary “Sava Chaly” and M. Starytsky “Bogdan Khmelnytsky”, which testifies to the preservation of the baroque dramatic tradition. At the same time, the Coryphées have significantly deepened the compositional structure of the drama, adding new elements. The works of the anonymous author “God’s Grace” and M. Starytsky “Bogdan Khmelnytsky” have the genre of historical drama, the central image of hetman B. Khmelnytsky. However, in the historical drama of M. Starytsky “Bohdan Khmelnytsky” the interpretative model of the image of the statesman is significantly expanded, in particular, the psychological aspect of the figure of the hetman is deepened. At the same time, the idea of messianism, especially the interpretation of the National Liberation War as the highest level of self-sacrifice, is common in the interpretation of the image of B. Khmelnytsky by the anonymous author and M. Starytsky. Pan-European traditions of Ukrainian baroque drama of the XVIII century has become one of the sources for the formation of the original professional Theater of luminaries, in particular historical dramas.
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Boiko, Tetiana, and Maryna Tatarenko. "Folk Mask in the Historical and Cultural Realities of Ukrainian Theatre." Bulletin of KNUKiM. Series in Arts, no. 44 (June 25, 2021): 127–34. https://doi.org/10.31866/2410-1176.44.2021.235391.
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The purpose of the article is to analyse the archetypal roots of Ukrainian folk masks, determine their features, characteristics, and transformations in the historical and cultural realities of Ukrainian theatre. To achieve this goal, the authors of the article apply general scientific methods: historical and comparative (to understand the processes of the formation of representative images-masks of the national scene) and phenomenological (to determine the characteristic features of the Ukrainian folk mask). Serhii Krymskyi’s ideas as to the definition of the archetypes of national culture became a separate methodological basis of the study. The scientific novelty of the article is to identify techniques for implementing a mask in the performing, dramatic and directing spheres of Ukrainian theatre. The article demonstrates that it is the folk mask that has archetypal roots and emphasizes in stage images the processes of socio-political transformations, historical and cultural development of Ukrainians. Conclusions. The evolution of Ukrainian performing arts has demonstrated different variations of the stage mask in the puppet nativity scene, the theater of luminaries, the experiments of artists of the Berezil Theatre and the art of socialist realism. The formation of many performing traditions of the Ukrainian theatre took place in the close interaction of national archetypesmasks with images of world drama. At the present stage, a considerable number of performances based on the classical works indicate the search for archetypal codes that determine the national self-identification of artists. The Ukrainian folk mask in the interpretation of modern playwrights, directors, actors, set designers acquires synthetic features that emphasize the features of both modern person and traditional images that are familiar to every Ukrainian. The use of mask techniques in stage practice encourages artists to turn to the deep foundations of theatre, the specifics of its metaphorical language, and the generation of new means of artistic expression.
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Golovashych, Eduard. "Oleksandr Myshuha's pedagogical school and philanthropy." Bulletin of Luhansk Taras Shevchenko National University, no. 6 (354) (2022): 12–17. http://dx.doi.org/10.12958/2227-2844-2022-6(354)-12-17.
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The materials of the article introduce the pedagogical school of an outstanding Ukrainian, the world-famous singer Oleksandr Pylypovich Myshuga, who managed to combine the national traditions of singing with the Italian professional school of bell canto, creating his own scientific and artistic vocal school. Oleksandr Pylypovich's pedagogical legacy still holds a deep place in the development of the vocal class of the National Music Academy of Ukraine, where two of his students – Mykhailo Venediktovych Mykysha and Maria Eduardivna Donets-Tesseir – once worked. Myshuga is known not only as an outstanding singer and teacher. He entered the history of art also as a patron, thanks to which many talented personalities were able to realize themselves. He gave almost all of his funds to the education of his own students, helped his fellow villagers and even invested money in the development of bursaries. His name is written in golden letters in the history of our people. M. Lysenko's Music and Drama School (Ukrainian educational institution) was the only one in tsarist Russia where teaching was conducted in the Ukrainian language and where the achievements of national drama and national musical theater were integrated. When a world- famous singer came to teach here, it greatly increased her authority. Having analyzed Oleksandr Myshuga's pedagogical ideas and his philanthropic activities, we can come to the conclusion that Maestro's teaching practice had an integrative character. Considering the fact that O. Myshuga had not only a musical, but also a pedagogical education, he tried to raise a comprehensively educated personality, an intellectual performer. While engaged in practical classes with students, he also found time for vocal lectures, tried to implement the principle of multilingualism – understanding the text of vocal works in the original language. As a philanthropist, O. Myshug helped the formation of many talented individuals – includin such bright personalities, luminaries of Ukrainian vocal pedagogy, as Mykhailo Mykysha and Maria Donets-Tesseir.
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Hordieiev, Serhiy. "THEATRICAL AND PEDAGOGICAL PRINCIPLES OF V. I. TSVIETKOV IN THE FORMATION OF THE UKRAINIAN ACTOR AND DIRECTOR." Aspects of Historical Musicology 25, no. 25 (2021): 192–220. http://dx.doi.org/10.34064/khnum2-25.09.
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Vsevolod Ivanovych Tsvietkov (1918–2011) belongs to the famous artists of Kharkiv region. His name is associated with an extremely fruitful period in the activities of the leading theatres and theatre universities, in particular, O. S. Pushkin Kharkiv Drama Theatre, Kharkiv Institute of Arts (now – I. P. Kotlyarevsky Kharkiv National University of Arts) and Kharkiv State Academy of Culture. V. I. Tsvietkov’s acting, directing and pedagogical activity dates back to 1937–2005, he acted as a teacher in the 1960s. The background of V. I. Tsvietkov’s pedagogical principles was, first of all, his own creative experience gained during acting and directing, theoretical and practical achievements of outstanding masters from the school of psychological theatre (K. Stanislavsky, V. Petrov, A. Kramov, F. Shishigin, G. Tovstonohov). In the critical heritage dedicated to V. Tsvietkov, the problems of the stage originality and pedagogical creativity based on the specifics of his directorial views, are revealed only fragmentary (Sedunova, 2005; Kolchanova, 2015; Botunova, 2017). The stage and pedagogical activity of the artist has not yet become the subject of in-depth scientific research, so this article is the first attempt in this direction. The author of the article sets the purpose to systematize, generalize, supplement and expand information about the work of V. Tsvietkov and his principles of educating acting and directing youth, with the aim to reproduce his image of an actor, musician, director, and theatre teacher, addressing, first of all, to personal archival materials and previous works. V. Tsvietkov’s scenic searches are rooted in the creative discoveries of outstanding masters of Ukrainian and foreign theatre of the XX and the beginning of the XXI century, his “personal” page of aesthetic, professional, methodological research in the field of acting and directing, which are organically continued in theatrical pedagogy. The main part of the article examines the stages of formation and creative activity of V. Tsvietkov as an actor, director and theatre teacher. Summed up, that V. Tsvietkov, a talented director who was long seeking his way in directing theatre and cinema, methods of upbringing the actor, and finally found it, basing on the pedagogical discoveries of K. S. Stanislavsky, staged 80 plays, brought up a whole galaxy of Ukrainian actors, directors, theatre teachers, who nowadays successfully work in national theatres and abroad. Based on the analysis of the creative and pedagogical work of V. Tsvietkov, his contribution to the formation and development of the Ukrainian theatre school is determined. The artist successfully embodied the traditions of K. Stanislavsky and heuristic discoveries in the psychology of creativity in his directing and pedagogical method. Not least important for V. Tsvietkov’s creative method was the experience of joint pedagogical work with the luminaries of the Ukrainian theatre, who passed the school of Les Kurbas on educating a “synthetic actor”. V. Tsvietkov’s multifaceted scenic and pedagogical activity, which unfolded in 1937–2005, significantly expanded creative possibilities of acting and directing, and became an integral part of domestic theatrical culture.
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Sangirov, Botir. "The Jadid Theater andEthnic Traditions." International Journal Of Literature And Languages 5, no. 5 (2025): 7–9. https://doi.org/10.37547/ijll/volume05issue05-02.
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This article explores the development of the Jadid theater as a significant cultural phenomenon in the early 20th century, particularly in Central Asia. The study analyzes how Jadid reformers utilized theater as a medium for enlightenment and modernization while incorporating local ethnic traditions and folklore to ensure cultural continuity. The research examines theatricalperformances, scripts, and staging practices to highlight how Jadid theater served both pedagogical and national purposes. It also addresses the tension between traditional performance elements and modern dramaturgical innovations introduced by Jadid intellectuals. The findings underscore the role of the Jadid theater in shaping national identity, fostering social reform, and preserving ethnic cultural values through performative expression.
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Zaatov, Ismet A. "Crym Girey I – the founder of the classical theater in the Crimea (on the issue of 257 years experience of the Crimean Tatar`s first theatrical productions of the European type theater)." Crimean Historical Review, no. 1 (2020): 100–135. http://dx.doi.org/10.22378/kio.2020.1.100-135.
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The formation process of the Crimean Tatar theater can be divided into the following periods: medieval – folk theater (the initial round dance and toy puppet theater of shadows “Karagoz”, the theater of one actor “meddah”, the arena theater “orta oyuny”); Khan`s theater in the middle of the XVIII century (penetration into the Crimea of European theater traditions in the era of the Crimean Khan Crym Girey I); the revival of traditions of the Crimean Tatar theater late XIX–XX centuries (the activities of a theater-goers group of the Jadidist Crimean Tatar youth–followers of I. Gasprinsky, under the leadership of J. Meinov – the efforts of the Crimean Tatar noblewoman-myrzachkas under the leadership of A. Taiganskaya; organization of a professional Simferopol Tatar theater troupe under the People’s Commissar of Education of the Crimean ASSR in 1921 and creation and activities of the Crimean Tatar Drama Theater, headed by A. Taigan, and the Crimean Tatar amateur movement in the Crimea, and among the Crimean Tatar foreign diaspora of 1923–1944 (Soviet pre-deportation period); recreation and current activities of the Crimean Tatar theater in the Crimea,1989 (post deportation period). In this article, for the first time in the art history, is revealed the so-called Khan`s period in the formation of the Crimean Tatar theater, discussed the revolutionary activity in the field of Crimean Tatar art, the ascetic activity of the Crimean Khan Crym Girey I to promote the ideas of European theater traditions and create a classical theater in the Crimea. The picture of the actions undertaken by the Crimean ruler in the construction of theater business in the Crimea, as well as his thoughts and statements about the theater, was recreated according to the text published in the XVIII century, memories of personal meetings and conversations with Crym Girey I of European authors: German – von der Goltz, Polish – Pilshtynova, Russian – Nikiforov, Frenchman – de Tott, Austrian – Kleeman. Based on these recollections is built a clear and explicit picture of a role of Crym Girey I as a pioneer in bringing European theater traditions and creation of a classical theater in the culture of the Crimea, the Turkic and Muslim worlds.
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Damrhung, Pornrat. "Cultivating the Garden of Theater Culture: A New Perspective on Traditional Theater in Thailand." MANUSYA 2, no. 2 (1999): 29–60. http://dx.doi.org/10.1163/26659077-00202003.
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After questioning the conventional distinction between traditional and modem theater in Asia, this essay suggests that it may be more fruitful to view today’s live theater traditions as part of a garden of theater culture that includes both native and imported elements and both deep-rooted and recently transplanted traditions. The remainder of the essay amplifies this perspective using examples from Thailand’s theater traditions during the last century and a half. This prepares the way to consider the strengths and weaknesses of traditional theater staged in Thailand during the last decade or so, whether centered on juxtaposing various artistic forms onstage or performing artistic reinterpretations of traditional stories. In seeking to strengthen these approaches for future performances, the author suggests the need for pooling the discipline and creativity performers have in order to fashion patterns of artistic expression that convey significance both among artists and to their audiences.
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Maryam Khamidovna Ashurova. "Theater is a sacred place." International Journal on Integrated Education 3, no. 8 (2020): 152–54. http://dx.doi.org/10.31149/ijie.v3i8.554.
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Puppet theater is an integral part of our ancient and rich culture, which differs from other types of art through its colorful and unique creativity. At the same time it is the cradle of all theatrical art forms. Its roots have been enriched, polished and developed by preserving the folklore, traditions, customs and national traditions of our people.
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Kovalchuk, Olena, and Daryna Bogdan. "SCENOGRAPHY AND COSTUME IN JAPANESE KABUKI THEATER: TRADITIONS AND MODERNITY." Research and methodological works of the National Academy of Visual Arts and Architecture, no. 30 (December 9, 2021): 45–51. http://dx.doi.org/10.33838/naoma.30.2021.45-51.
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Abstract. The article explores the history of traditional Japanese Kabuki theater, the stages of its formation and the basic principles of dramaturgy in retrospective and in modern times, the role and symbolic value of costumes, as well as the general features of theater performances. The modern trends of the theater were analyzed and issues of the space of its scene were investigated. Obvious conservatism of kabuki and its fundamental dissimilarity to the theater of the European model were noted. The process of evolution of the Kabuki theater was studied, which responding to the challenges of modernity, acquires new elements and features, together give rise to the fundamentally new phenomenon in the theatrical art. It has been determined that the logic of construction and development of the theater and stage space in Japanese traditional Kabuki theater derived from the need for specific interaction between the performer and the audience. With the formation of the theater, its audience expanded at the same time, in particular due to the privileged strata. The premises of theater and its stage also evolved. Eventually, the design features of Kabuki theater space became not only a prominent element in the interaction between the performers and spectators, but also an important factor that predominantly determined the characteristics of dramaturgy. In Japanese Kabuki theater, such methods as makeup, hair pieces and costumes are simultaneously those means of expression that are necessarily included in the process of staging a performance, and determine its content and storyline, as well as determine the nature of the performer’s acting. These means are kind of sign and symbolic system, which has to be read by the spectator in order to fully understand the nature of performance. The peculiarities of the costume allow us to read in advance nature of the character in performance, to guess his or her actions, etc. The peculiarity of Kabuki is that the play script is dictated by the performers themselves, but not by the scriptwriter. The director as an independent figure in Kabuki theater comes to the first plan only in the modern era, and it is mostly characteristic of innovative and experimental theaters. It is worth noting that given the challenges of modernity, Kabuki still acquires new elements and features, together generating a fundamentally new phenomenon in the art of theater, and in general, Kabuki remains a traditional theater.
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Podkovyroff, Nanouchka Tatiana Sonia, and Lesia Voitenko. "French drama of the second half 20th century: traditions and innovation." Current issues of social sciences and history of medicine, no. 2 (June 13, 2025): 132–37. https://doi.org/10.24061/2411-6181.2.2024.446.
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French dramaturgy of the second half of the 20th century continues to develop within the framework of the director's theater, when the role of the playwright decreases, theatricality prevails over literaryity. The purpose of the article is to investigate the features of the development of French dramaturgy and theater of the second half of the 20th century as one of the vectors of the development of French fiction. The relevance of the study is due to the experiments of playwrights and directors associated with textual modifications (theater of the word, everyday theater, theater of the text). Directors, using an allusive-figurative series and through the verbal expression of the feelings and emotions of the characters, update theatrical language, which provides new forms of communication with the audience. The play with the director's words develops in the theater of the word into a game with the audience. In the 60s, the play-performance becomes particularly popular in France, as a result of collective creativity, which indicates avant-garde tendencies, which provide the opportunity for experimentation. The commercial direction in French drama is associated with the boulevard theater, cabaret theater, entertainment, where works are staged as long as they are interesting to the public, these are well-made plays, with literary language and clear composition. Academic theater has state support in France, it is a theater where classical music prevails, repertoire, a permanent troupe, that is, academic theater ensures the permanence of tradition, stage socially oriented plays, implement cultural and educational programs (lectures on art, theatrical discussions). Conclusions. The multi-vector nature of the development of French drama in the second half of the twentieth century provides it with a connection with traditions and the possibility of experimentation, which indicates the progress of this type of art
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Lobko, Nataliia, and Karina Kartava. "Stages of the Life and Work of Anna Zatyrkevich-Karpynska." Sums'ka Starovyna (Ancient Sumy Land), no. 63 (2023): 76–86. http://dx.doi.org/10.21272/starovyna.2023.63.7.
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The article examines the main stages of the life and work of the outstanding Ukrainian artist, teacher, and theater actor Hanna Petrivna Zatyrkevich-Karpynska. The sources of writing the article are materials from periodicals, memories of her contemporaries, and materials from the Romny Museum of Local History. Hanna Petrivna was born on February 20, 1855, in the noble family of the Kovtunenkos in the town of Srybny, Prylutsky District. At first, she participated in amateur performances. Since 1883, Hanna Petrivna Zatyrkevich began to perform with luminaries of the Ukrainian theater and their colleagues. She worked in professional Ukrainian theaters under the leadership of M. Kropyvnytskyi, M. Starytskyi, M. Sadovskyi, M. Starytskyi, P. Saksaganskyi, and I. Kavaleridze. It was found that the factors that influenced her development as an actress, in particular, were her environment – a serf nanny and peasants with whom she communicated all her life. Her parents and studies at the Kyiv Institute of Noble Girls contributed to her interest in the theater. During her almost forty years of work in the theater, H. Zatyrkevich-Karpynska played about 130 roles and created a whole gallery of the most diverse and unsurpassed stage images. She was famous as a comical, characteristic actress. Her work and talent contributed to the formation of the Ukrainian National Theater. The outstanding actress educated a whole constellation of students, most of whom became leading masters of the Ukrainian theater. She spent the last years of her life in the city of Romny, where she took an active part in the theater created there. H. Zatyrkevich-Karpynska is buried in Romny Central Cemetery.
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Sher, Stella A. "CONTRIBUTION OF A.A KISSEL AND G.N. SPERANSKY TO FORMATION AND DEVELOPMENT OF ALL-UNION SOCIETY OF PEDIATRICIANS." Russian Pediatric Journal 20, no. 3 (2019): 184–88. http://dx.doi.org/10.18821/1560-9561-2017-20-3-184-188.
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Article is devoted to the professional activity of two luminaries of domestic pediatrics: A.A. Kisel and G.N. Speransky. Being adherents of succession in science, they had transferred best traditions of pre-revolutionary domestic medicine to the Soviet pediatrics and became a link between Imperial and Soviet medicine. This article shows the powerful contribution of scientists to the formation and development of the Scientific Society of Pediatricians of Russia.
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Rant, Tjaša. "Russian artists in Slovenia after the October revolution." Russian-Slovenian relations in the twentieth century, no. IV (2018): 276–91. http://dx.doi.org/10.31168/2618-8562.2018.4.3.5.
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This article presents selected Russian artists in theater, opera and ballet, which have been working in Ljubljana Theater since 1920. In the article are presented Russian actors, dancers, singers, choreographers and teachers who brought to the Slovenian land two hundred years old traditions of Russian culture and contributed to the success of Slovenian theater, opera and ballet.
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Gerdova, T. S. "Theater Art in Oleksandrivsk (Zaporizhzhya): end of the 19th – beginning of the 20th сenturies". Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 57, № 57 (2020): 228–45. http://dx.doi.org/10.34064/khnum1-57.14.
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Introduction. Theoretical background. The territorial formation and economic development of Оlexandrivsk and the district is associated with the activation of social, including artistic, life all aspects in the Russian Empire. The creative potential of small towns, including Olexandrivsk, has become a fertile ground for the development of the principles and means of theatrical and stage creativity. Theater, as the most democratic form of art, is directly connected with changes in public life. The theater significant social role and insufficient knowledge on it in the Olexandrivsk conditions and its district determined the relevance of the research topic. The researches by S. Voitkovsky (2014), G. Dadamyan (1987), M. Yevreinov (2019) constitute the scientific and theoretical basis of the work. The study of theatrical art in the Oleksandrivsk (Zaporizhzhya) region is based on the works of O. Antonenko (2017), S. Grushkina (2011), T. Martynyuk (2003). The aim of the research is to study the theater art in Olexandrivsk and the district of the same name as an integral phenomenon of a certain time. The tasks of the work are determine the origins of the theater art in the region, coverage of the features of this phenomenon, identification of theater companies’ organizational forms, study of the theater groups’ repertoire and genre priorities, consideration of theater art professionalization issues in the region. The methodology involves the application of the basic dialectic principles (to reveal the internal contradictions of the research subject and the sources of its development); historical principle (to study the theater’ development as a process of changes in existence’ some forms); comparative method (to identify the theater art characteristics in the region); source study method (to create an archival and historical base for studying the problem); axiological approach (to identify of the theater artistic troupes’ value orientations in the region). Results of the research. Historical materials contain a few facts about the theatrical entertainment of the local population long before the foundation of Olexandrivsk. Similar to the more inhabited neighboring regions, in these territories the existence of a folk theater is likely, the roots of which M. Yevreinov sees in magical actions, rituals and buffoonery. The researcher considers the theater of Russia, the roots of which are in the theatrical art of Europe, to be a counterbalance to folk theater. At the state level, these traditions have been inculcated since the 17th century. This process in the region began from the time of Olexandrivsk foundation. There are two most stable groups of theater collectives in the theater environment of the region. Domestic and foreign drama and opera troupes, which were guided by the Western European theater traditions, are made up the first group. Ukrainian artists’ association and local amateur drama circles that further developed the traditions of folk theater consisted the second group. They united by the idea of national dramatic art. The factors of theater collective’ differentiation in this region are the form of organization of theater business, repertoire and genre priorities, issues of professionalization. The sole proprietorship form is characteristic for the Western European tradition collectives. In Olexandrivsk and the district, the private enterprise was the dominant form, as the most active organization type of theater business. This type of enterprise does not have the conventions of imperial, state, municipal and other theaters in terms of repertoire and personnel relations. This provided it with freedom, mobility and ingenuity. The organizational form of the partnership is characteristic for the troupes oriented towards the traditions of folk theater. Democracy of this form manifested itself in collective decisionmaking. The next factor in differentiating theater groups is repertoire and genre priorities. The Western European tradition troupes gave preference to the works of Western European and Russian authors. Ukrainian authors’ works, Ukrainian song and dance folklore dominated in the repertoire of Ukrainian associations, which continued the traditions of folk theater. These groups preferred works of a pronounced national orientation. The repertoire differences between the two groups reflected to the methods and skills of acting. It is necessary to master Italian vocal technique, classic instrumental technique, conducting symphonic skills in the Western European tradition troupes. In Ukrainian troupes’ music and dramatic performances, universal training actor is needed, equally skillful in stage speech, the folk dance, the style of folk singing. The theater groups’ genre preferences repertoire related to an orientation towards the original artistic traditions. The Western European tradition’ collectives repertoire abounded in dramas, operas, operettas and the romances, arias, opera scenes in the concert departments. The Ukrainian folk-theater tradition repertoire dominated by music and drama plays, simple Ukrainian opera and Ukrainian folk songs, romances by domestic composers in concert departments. In Olexandrivsk and the district, questions of theater art’ professionalization were not publicly raised widely. Some striving for the performances artistic level increase we can saw in the practice of inviting famous artists for touring performances. Thanks to this, acting skills, methods of working on the role and the performance as a whole enriched. Invitations to participation in the performance of famous performers of the folk-theatrical tradition to Ukrainian troupes were episodic. An indicative fact of development was the director’s position emergence in the Western European tradition troupes. Conclusions. The peculiarity of theater art in the Olexandrivsk region is the absence of a local professional theater, represented, on the one hand, by the work of guest domestic and foreign troupes, on the other – by Ukrainian artistic societies and local amateur associations. The dominant groups of groups embodied two types of theater: Western European tradition and folk tradition. These types of theater functioned in various organizational forms. Dramatic and operatic corpses of the European tradition were characterized by a form of individual private enterprise; Ukrainian groups that developed the traditions of folk theater – a form of acting society. Theater troupes of these two traditions distinguished by their repertoire priorities. The core of the repertoire of the Western European tradition groups was the Russian and Western European authors’ works. The groups, which developed the folk theater, staged mainly plays by Ukrainian and local authors. The vector of theatrical art development in the Olexandrivsk and region is not clear enough at the historical period under consideration. An organized and purposeful movement towards the theater art professionalization in the region of this historical period is not visible. Certain facts of attracting famous artists and interaction with other groups as well as the emergence of the directed theater can be considered as elements of а professionalization.
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PLAKHOTNYUK, Oleksandr. "CHOREOGRAPHERS OF THE STATE THEATER OF MUSICAL COMEDY IN LVIV FROM 1946-1953." Bulletin of the Lviv University. Series of Arts Studies 280, no. 20 (2019): 203–11. http://dx.doi.org/10.30970/vas.20.2019.10625.
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A study is conducted of the historical processes of the formation of dance traditions in musical theaters, as well as operetta theaters on the example of the activities of choreographers of the Lviv Theater of Musical Comedy in the period from 1946 to 1953. The study outlines the historical processes of the formation of the above dance traditions. This study identifies the personalities of the choreographers of the directors of this theater and their creative result; there is a careful attitude to the traditions of the past and the introduction of modern techniques of theatrical choreographer. In the context of the features of choreographic numbers and their significance for the opera performance, their repertoire is considered. Definition of research. At the beginning of the 21st century, the event of the separation of choreography as a separate scientific specialty called “Choreographic Art” took place in Ukrainian art, which in turn requires a deep and meaningful study of the choreographic art of Ukraine in all its aspects and the development perspective. One of the aspects of this study is the study of the activities of the theatrical choreographer. The purpose of this study is to track the historical processes of the formation of dance traditions in musical theaters using the example of the Lviv Theater of Musical Comedy in the period 1946-1953. Main objective of the study. To personify the choreographers of the theater and to indicate the result of their activities; to trace their careful attitude to the traditions of the past and modern traditions in the context of the activities of the theatrical choreographer; determine the prospect of further scientific research. Methodology. The general scientific methods of objectivity, historicism, systemicity and observation are applicable here. The method of objectivity and historicism provided an opportunity to trace the conditions and the main stages of the creative activity of the choreographers of the State Theater of Musical Comedy in Lviv. The comparative method is suitable for use in the analysis of the creative work of choreographers of the Musical Comedy Theater in Lviv, because such a method provides an opportunity to discover common and different features. The systematic approach allowed us to study this phenomenon comprehensively. The observation method, which was used for a comparative analysis of the activities of choreographers in the post-war years in Lviv with modern ballet activity, revealed the nature and inheritance of the traditions of musical theater. Conclusions. So, the dance became the main axis for the whole drama performance, on which interconnected episodes were strung together in pop and musical theaters. The introduction of choreography into theatrical performances by the choreographers released the energy, musicality, plasticity contained in it, and endowed the performance with dynamism. The dance introduced into the musical theater became the starting point for the use of dance in the cinema, avant-garde ballet, performances, installations and so on.All this was subtly felt and skillfully used in their activities by the choreographers of the Lviv Musical Comedy Theater O. Opanasenko, I. Brzhinsky, B. Tairov, N. Denson. It is pleasant to realize that the results of their activities and their choreographic inventions used in musical performances certainly found their response in the activities of theatrical choreographers of Ukraine in the modern environment. We consider the prospects for further research in the study of biographical facts from life, from the legacy of the work of choreographers of Lviv theaters of the 20-21 centuries. All this will provide an opportunity to determine the basis for the formation of the theater-choreographic school of Lviv in particular and Ukraine as a whole.
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Constantinescu Dranca, Părăscuța-Minodora. "Tradițional și actual în obiceiurile de iarnă din Cajvana, județul Suceava." Analele Bucovinei 60, no. 2 (2023): 533–45. http://dx.doi.org/10.56308/ab.2023.2.12.
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This article presents the customs and traditions of the winter holidays in Cajvana, with references to the transformations that have occurred in the last 50 years, the disappearance of some customs, the renewal of others, and the identification of the causes that have produced these changes. The winter holidays encompass most of the traditions and customs specific to the three major holidays: Christmas, New Year, and Epiphany. The article aims to structure the New Year's traditions and customs in Cajvana into three branches: the popular theater of the “outlaws”; the popular religious theater, which includes the religious drama “Irozii”, and the popular masked theater, which encompasses the customs of “Mascații”, “Jocul Caprei”, and “Căiuții”. The article also presents magical practices/rituals for predicting fate, weather or crops, prosperity, and health specific to this period, which was the richest in this regard. This material is based on data obtained from practitioners or knowledgeable individuals of the customs in the locality of Cajvana, Suceava County.
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Tikhomirov, Vladimir V. "Comedy "The Forest" by Alexander Ostrovsky: holding out for a hero. Experience of a comment." Vestnik of Kostroma State University, no. 3 (2019): 84–88. http://dx.doi.org/10.34216/1998-0817-2019-25-3-84-88.
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The publication of comedy "The Forest" and its premier performances in St. Petersburg and Moscow in 1871 germinated considerable number of critical responses; at that, in most of them there was lack of understanding of artistic-moral and psychological problems the playwright was uneasy about and showed in his play. Alexander Ostrovsky was considered to be, first of all, a portrayer of ordinary life who was keeping exposing the cloyed social sores of the Russian life. Only few reviewers paid attention that in the comedy, luminaries of art were opposed to the spiritless world of powers that be. They were not ideal, but capable to rise beyond mercantile interests, and their restless existence was, in the opinion of the author, more attractive, than life of men in the street filled with falseness, intrigues and lie. Alexander Ostrovsky understands that art, unfortunately, is not omnipotent, but it also is not powerless; it well influences the person. The comedy "The Forest" carries on tradition of search of the positive fundamentals in the Russian life by the playwright and opens the important topic of theatre and figures of theatre – carriers of humanistic values – in his creative work; it plans a new vector of holding out for the hero.
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Khlystun, Olena. "The Les Kurbas Theater: the New Expressive Means of Acting." Issues in Cultural Studies, no. 32 (November 16, 2016): 187–204. https://doi.org/10.31866/2410-1311.32.2016.155726.
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The purpose of the article is to reveal the characteristic features of acting skills, using the new expressive means of acting in the context of the development of the new Les Kurbas Theater. The research methodology was based on the principle of the cultural-historical approach, which allows for highlighting the cultural process during the 1920s–1930s. The following methods were used: evolutionary, comparative-historical, and functional. The scientific novelty of the work lies in the disclosure of the features of L. Kurbas’s idea of impersonation of a stage image and the new means of acting skills associated with it. Conclusions. The new expressive means of acting in the context of the formation of the new Les Kurbas Theater multiplied the contemporary world experience of theatrical culture, strengthened and continued the hereditary chain of creative search for the ways of actor’s impersonation. The experience of acting skills of the famous Ukrainian and foreign theater luminaries, such as Bertolt Brecht, Nicholas Evreinov, Gordon Craig, Les Kurbas, Vsevolod Meyerhold, Konstantin Stanislavsky, Hnat Yura, etc., which allows for revealing the reformist ideas of the art of acting, differentiating their essence and finding a school with the corresponding principles and methods of acting skills, is very important for the modern generation of actors.
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Sidoní López and Hanane Belali. "Native American Theater: A Concise History." Miscelánea: A Journal of English and American Studies 54 (December 15, 2016): 93–111. http://dx.doi.org/10.26754/ojs_misc/mj.20166882.
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This paper provides a concise and brief history of Native American theater from its beginnings in indigenous oral traditions to its consolidation in the 21st century. To start with, the essay will deal with the origins of American Indian theater in Native oral traditions through storytelling and its performance. The paper will then explore the dark period of Native American drama during the emergence of Native American writing in the 18th and 19th centuries. In like manner, the essay will deal with the emergence of contemporary Native American theater as a genre during the second part of the 20th century through the numerous and multiple Native theater companies and plays. Finally, the paper will conclude with the path towards the consolidation of contemporary indigenous theater during the new millennium and will attempt to shed light on the collections and anthologies of Native American plays, a considerable body of scholarship which has just started to gain momentum, and the promotion of the genre through different institutions, companies and festivals across the country. As will be demonstrated, although Native drama is a relatively new phenomenon in the American literary landscape, the history of its development is long, complex and still developing.
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Talajooy, Saeed. "Indigenous Performing Traditions in Post-Revolutionary Iranian Theater." Iranian Studies 44, no. 4 (2011): 497–519. http://dx.doi.org/10.1080/00210862.2011.569328.
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Sears, Laurie J. "Rethinking Indian Influence in Javanese Shadow Theater Traditions." Comparative Drama 28, no. 1 (1994): 90–114. http://dx.doi.org/10.1353/cdr.1994.0004.
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Daddario, Will. "«Lemma»: Jay Wright’s Idiorrhythmic American Theater." Pamiętnik Teatralny 70, no. 4 (2021): 121–40. http://dx.doi.org/10.36744/pt.985.
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This essay presents Jay Wright’s play Lemma as a historiographical challenge and also as a piece of idiorrhythmic American theater. Consonant with his life’s work of poetry, dramatic literature, and philosophical writing, Lemma showcases Wright’s expansive intellectual framework with which he constructs vivid, dynamic, and complex visions of American life. The “America” conjured here is steeped in many traditions, traditions typically kept distinct by academic discourse, such as West African cosmology, Enlightenment philosophy, jazz music theory, Ancient Greek theater, neo-Baroque modifications of Christian theology, pre-Columbian indigenous ways of knowing, etymological connections between Spanish and Gaelic, the materiality of John Donne’s poetry, and the lives of enslaved Africans in the New World. What is the purpose of Wright’s theatrical conjuration? How do we approach a text with such a diverse body of intellectual and literary sources? The author answers these questions and ends with a call to treat Lemma as a much needed point of view that opens lines of sight into Black and American theater far outside the well-worn territory of the Black Arts Movement.
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Saefudin, NFN. "TEATER TUTUR BAPANDUNG DALAM MASYARAKAT BANJAR." UNDAS: Jurnal Hasil Penelitian Bahasa dan Sastra 15, no. 2 (2019): 107. http://dx.doi.org/10.26499/und.v15i2.1525.
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The problem discusses in this study is how does the form of narrative theater bapandung (monologue) in Banjar society. The aim of this study is to reveal the form of narrative theater bapandung (monologue) in Banjar society. Banjar society in South Kalimantan has lots of oral traditions, one of them is narrative theater bapandung. A man is called story teller because of his cleverness telling a story in monologue way and playing several characters, that man is called pamandungan. The story in bapandung has lots of jokes played by pamandungan or the performance player. This study uses descriptive qualitative method. It is a method to get information about narrative theater bapandung in Banjar society deeply. The result shows about the description of narrative theater bapandung in Banjar society.
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Poskakalova, T. A. "The history of the development of theatre practices in education: foreign and Russian experience." Современная зарубежная психология 10, no. 2 (2021): 96–104. http://dx.doi.org/10.17759/jmfp.2021100210.
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The article briefly describes the history of the development of theatrical practices in education in Russia and abroad. The main dimensions of theater and drama in contemporary pedagogy are considered. The article demonstrates that various forms of theater in education are more widespread and better developed in foreign pedagogy, where theater is not limited to the framework of school disciplines as it is used as a means for providing complex solutions of problems related to development, learning and socialization. It is substantiated that in the practice of Russian schools, theater is much less in use, since it is so far applied exclusively as a means of introduction to culture, its traditions and values.
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Indah, Zulhidayati, Sunarmi, Sarwanto, and Sudarwanto Aan. "The Existence of Bangsawan Theatre in Palembang Viewed From the Demographic Aspect." International Journal of Social Science and Human Research 07, no. 01 (2024): 286–91. https://doi.org/10.5281/zenodo.10500921.
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Teater Bangsawan has a long history and is an important part of Palembang's cultural heritage. Its existence reflects the continuity of culture and traditions passed down from generation to generation and becomes a symbol of the cultural identity of the local community. This performance includes various traditional elements such as music, dance, traditional clothing, and Palembang language . The existence of Bangsawan theater also plays an important role in education and learning. This performance is not only entertainment, but also a learning medium that teaches moral values, history, and art skills to the performers and audience. Bangsawan theater became a place to study culture and develop creativity in the realm of performing arts. Palembang as a multicultural city has a strong ethnic influence in the theater of nobility. The performance combines elements of Malay, Chinese, Arab, and Indian cultures, creating a wealth of diverse arts and representing the diversity of Palembang society. The Bangsawan theater is an important forum for the people of Palembang to convey and strengthen Palembang's cultural identity. This performance reflects the values, stories, and traditions cherished by the people of Palembang, thus becoming a means to maintain and bring cultural heritage to life. The demographic development of the population has influenced the existence of the aristocratic theater. Changes in age composition, increased urbanization, and shifts in cultural values have an impact on people's interest and participation in traditional performing arts. With the onset of significant demographic changes, aristocratic theater experienced a decline in popularity due to the younger generation being more interested in modern forms of entertainment.
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Yusupov, Dr Azat A. "FEATURES OF THEATER-SPECTATOR INTERACTION." CURRENT RESEARCH JOURNAL OF HISTORY 02, no. 11 (2021): 68–72. http://dx.doi.org/10.37547/history-crjh-02-11-14.
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In this article, the traditions of perceiving the relationship between the theater and the actor exclusively as a performance and the artists playing in it were studied and analyzed, that the theatrical product is perceived by the theater workers themselves not as a volumetric and stereoscopic phenomenon, but, as a rule, is traditionally one-dimensional. Meanwhile, in modern society, theater acquires significance for the public not only as an art phenomenon, but also as an element of fashion, prestige, social status, the context of certain behavior, as a way of spending leisure time, self-presentation, education, etc.
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BAIRAMOVA, Ulker Veli. "Traditions of national theater costume in Azerbaijan and modernity." Humanities science current issues, no. 50 (2022): 71–76. http://dx.doi.org/10.24919/2308-4863/50-10.
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BAIRAMOVA, Ulker Veli. "Traditions of national theater costume in Azerbaijan and modernity." Humanities science current issues, no. 50 (2022): 71–76. http://dx.doi.org/10.24919/2308-4863/50-10.
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Stakhorskiy, Sergey V. "PATTERNS OF THE ANCIENT THEATER AND THEIR ARTISTIC TRADITIONS." Articult, no. 1 (2017): 73–79. http://dx.doi.org/10.28995/2227-6165-2017-1-73-79.
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I Gusti Putu Sudarta and Dru Hendro. "Tutur Candra Bherawa Pakeliran Theater: A New Process of Creation For Traditional Theater." Lekesan: Interdisciplinary Journal of Asia Pacific Arts 6, no. 2 (2023): 84–94. http://dx.doi.org/10.31091/lekesan.v6i2.2362.
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Tutur Candra Bherawa Pakeliran Theatre is a total theatre work that explores and uses the elements of the art in Balinese Traditional theatre. This work uses a song as a means for storytelling, becoming a theatrical music presentation. The melodies and vocals are not only based on Balinese and Javanese traditions but also adapt and transform the styles of qawwali music (Sufi songs) and other spiritual songs. It is presented in the Sangita song form, accompanied by instrumental music and dance. The concept of this work is ngarcana sarining lango, described as bukti-mukti-jiwan mukti. The method of creation utilizes the Gandha Sesa composition technique. Bhasma Sesa is the framework for the play, dramatic plot, play script, and form of presentation.
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Bozhuk, Anton. "Ukrainian Theater in Crimea in the 2nd Half of the 19th — Early 20th Century." Ukrainian Studies, no. 3(80) (October 28, 2021): 205–22. http://dx.doi.org/10.30840/2413-7065.3(80).2021.240148.
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The study is devoted to the analysis of the state of Ukrainian theatrical art on the territory of the Crimean peninsula in the second half of the 19th – early 20th century. Even in our time, we have to refute the assertion that anything Ukrainian in Crimea was absent until the middle of the 20th century or even before the early 1990s. From reports in magazines of the 19th – early 20th centuries, which were published in the territory of modern Ukraine, controlled at that time by the Austro-Hungarian and Russian empires, as well as from archival sources, we can obtain data that indicate that in that period the inhabitants of different regions of Crimea, mostly large cities, showed interest in Ukrainian culture, one of the brightest exponents of which was theatrical art. Both touring and local Ukrainian theater groups led by prominent directors performed theatrical productions of famous playwrights in Crimea. It is traditionally believed that the Ukrainian theater gained popularity in Crimea in the 1870s–90s due to the activities of the luminaries of the stage – Marko Kropyvnytsky, Mykhailo Starytsky, the Tobilevych brothers, etc. However, we can say that the roots of the Ukrainian theater on the peninsula date back to the 1840s – to the appearance in Sevastopol of the first stationary municipal Crimean theater, which periodically staged works by Ukrainian authors. The notable place of presentation of the Ukrainian theatrical art in Crimea was the nobiliary theater of Simferopol. Also, Ukrainian theater troupes toured Sevastopol, Yalta, Yevpatoriia, Feodosiia, Kerch. Over time, local amateur and semi-professional groups began to emerge in these cities, introducing the audience to examples of Ukrainian drama and gaining the support of prominent theatrical figures. The Crimean press often published not only reviews of Ukrainian theatrical productions in the cities of the peninsula, but also reviews of plays presented on local stages not only by the most talented but also by lesser-known artists that performed in front of the inhabitants of Crimea and staged at completely different ideological and artistic levels. For the most part, Ukrainian performances were highly popular in Crimea.
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Gotsalyuk, Alla. "TRADITIONS AND INNOVATIONS AS DETERMINING FACTORS IN THE DEVELOPMENT OF UKRAINIAN THEATRICAL ART." Spatial development, no. 7 (February 23, 2024): 612–24. http://dx.doi.org/10.32347/2786-7269.2024.7.612-624.
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This article analyzes the trends in the use of the most important means of artistic expression in theatrical art and cinema, marked by the influence of evolutionary changes in modern cultural life and the emergence of new genre modalities in today's staging decisions, related to the ideological reorientation of social consciousness and the formation of innovative artistic features in the modern theater. The compositional portrait of modern theater highlights the possibilities of dramatic genre modeling, modern technologies and their transformational processes, which are interrelated with the democratization of Ukrainian society, and therefore artistic life, raising the tone of the national scene, cinema, and opening up new opportunities for stage art. A feature of the scientific research of symbolic forms in this area of art is the analysis of the possible addition of the mutual enrichment of theater and myth at the level of mythological narratives, status oppositions, plot matrices, communicative strategies and symbolic forms, a new mythocentric discourse of modern dramatic genre modeling. And also a multimedia lighting technician with the latest information and digital technologies and the possibilities of using Artificial Intelligence (AI) in the newest Ukrainian theater. The use of compositional techniques in combination with the latest technologies, AI in creating the atmosphere of a modern theater allows you to focus on the performers and the performance, and not on the complex decor. In addition, stage spaces are becoming more flexible, able to adapt to different types of performances and events. The use of the latest intellectual technologies is especially valuable and extraordinary. Modern theaters and Ukrainian cinema are constantly introducing advanced technologies to improve the impression of the audience. This may include the use of projection mapping, virtual and augmented reality, interactive elements and other innovations that help create a unique atmosphere and attract the audience.
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Tojiboyev, Umidjon U. "Theater movement in Turkestan in late 19th – early 20th centuries." Historical Ethnology 10, no. 1 (2025): 46–55. https://doi.org/10.22378/he.2025-10-1.46-55.
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The article analyzes the national forms of theatrical art that existed in Turkestan in the pre-imperial and early period of the Russian Empire. The author shows the essence of the folk humorous art and clownery that existed in the region and points out how theatrical traditions changed under the influence of external factors. Rich, centuries-old traditions of folk theater in Turkestan have been presented. It is proved that after the conquest of the region by the Russian Empire, many changes took place in all its regions and were aimed at promoting the interests of the new government. This policy consisted in promoting European, Russian music and theatrical art. At the same time, Tatar and Azerbaijani theaters and artists began to come to Turkestan on tour, showed productions, and exchanged experience with local theater figures. Information about the repertoire of visiting and local theater troupes have been provided. The paper draws particular attention to the role of the Jadids in the formation of progressive theater in Turkestan. The advanced national intelligentsia mastered new ideas in culture and changed the local society. The paper demonstrates the importance of theatrical art for the socio-political life of Turkestan, reveals the formation of the Uzbek Jadid theater, and outlines the stages of the European theatrical art formation in the region. It is concluded that the creation of professional theaters in Turkestan in late 19th – early 20th centuries was accompanied by state policy on regulating their activities. The attitude of representatives of the local population, the government of the Russian Empire, and the Turkestan Regional Security Department to the theater have been discussed.
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Ahmadova, Gulkhara, and Aysu Mammadova. "HISTORICAL FIGURES OF WORLD DRAMA ON THE AZERBAIJAN STAGE." Deutsche internationale Zeitschrift für zeitgenössische Wissenschaft 104 (May 20, 2025): 10–12. https://doi.org/10.5281/zenodo.15476759.
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This study explores the representation of historical figures from global dramatic literature as performed on the Azerbaijani stage. It examines the cultural exchange and adaptation processes involved in staging these characters, highlighting the impact on both Azerbaijani theater traditions and audience perceptions. The analysis draws from archival research, performance reviews, and interviews with theater professionals. The findings indicate a strong tradition of embracing world drama in Azerbaijan, fostering a dynamic interplay between global theatrical heritage and local artistic expression.
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Samidi, S. "Identitas Budaya Masyarakat Kota: Teater Tradisi di Kota Surabaya Pada Awal Abad XX." Indonesian Historical Studies 3, no. 1 (2019): 1. http://dx.doi.org/10.14710/ihis.v3i1.5308.
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This study examines why does Ludruk represent the cultural identity of the people of Surabaya? How does society appreciate the traditional theater, especially in Ludruk in their daily practice? The purpose of this article explains the historical reality of Ludruk art that serves as entertainment and cultural identity. This article using the historical method by relying on historical sources. The result shows that theater traditions that existed and famous in Surabaya at the beginning of the 20th century were Comedy Stambul, Wayang Wong, and Ludruk, then appeared Ketoprak in the late 1930s. The appearance of this theater has been adapted to the tastes of the support community. Comedy Stambul is a theater that originated in India, then spread to Southeast Asia. Comedy Stambul is considered as a hybrid art because it comes from a blend of local cultural elements, while Wayang Wong, Ludruk, and Ketoprak an original art derived from customs and local values. Theater that represents the cultural identity of the people of Surabaya is Ludruk.
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Podkovyroff, N. "“TECTONICS OF FEELINGS” E.-E. SCHMITT IN THE “CONVERSATIONAL THEATRE” PARADIGM." Writings in Romance-Germanic Philology, no. 1(52) (June 25, 2024): 126–33. http://dx.doi.org/10.18524/2307-4604.2024.1(52).310316.
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The article analyzes the play by E.-E. Schmitt’s “Tectonics of Feelings” in the paradigm of “conversational theater”, which has become quite popular in France since the 80s of the 20th century. “Conversational Theater” continued the traditions of absurdist and avant-garde theater, with a tendency to turn to linguistic experimentation, changing the language of the stage, which is still relevant in our time. The dialogue in the talking theater is actually an action, a new way of understanding reality, where the space of action is expanded thanks to the language experiment, illusions and reality are mixed, the conflict is based on a remark that further explains the break in the relationship between the characters, it is also resolved in the dialogue. The psychological portrait of the characters is revealed not in situations and actions, but in speech, which gives the play theatricality.
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Huang, Yizhou. "Radical Hope." Theater 54, no. 2 (2024): 31–49. http://dx.doi.org/10.1215/01610775-11127570.
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In this article, Yizhou Huang considers the transnational transmission of devised theater, focusing on the Shanghai-based performance group Grass Stage (Caotaiban) led by Zhao Chuan. She discusses the group’s devising process from two symbiotic aspects, the corporeal and the political. Attending to Grass Stage’s eclectic inspirations and international collaborations, Huang compares the collective to world renowned ensembles such as Théâtre du Soleil and parses out the unequal transactions between Asian performance traditions and devised theater techniques. She warns against a neo-Orientalism that positions non-Western artists and their works solely into an epistemological framework that applauds liberal democracy and argues for devised theater as a site of minor interventions, world making, as well as radical hope.
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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 playwright – the organizer of the performance – the teacher and educator of the theatrical collective. We conduct an analysis of directing schools allow us to draw the following conclusions. Firstly, the Russian theater at the turn of the 20th–21st centuries managed to preserve its traditions even in the conditions of the most powerful computer and television boom. Secondly, the theater continued to occupy one of the leading places in the spiritual, moral and aesthetic edu-cation of society. Thirdly, the direction of domestic theater adopted and multiplied the best tradi-tions of realistic art, coming from K. Stanislavsky, V. Nemirovich-Danchenko, E. Vakhtangov, M. Chekhov, taking into account modern trends and interests of the audience. Fourthly, there was an active search for new forms in directing and acting, experimental theaters and studios were formed. Fifthly, a huge place in directing was given to the production of classics. We note that the period under review provided an opportunity to fully reveal the originality in directing and acting.
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Liliana, PLATON. "The values and traditions in the interior design of the "Mihai Eminescu" National Theater." Supliment al revistei științifice "Authentication and Conservation of Cultural Heritage. Research and Technique" (Iași, România) Vol. IV (September 30, 2022): 318–22. https://doi.org/10.5281/zenodo.7129281.
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In the present work, an important objective in the track record of the national culture and art of the Republic of Moldova is analyzed, being the National Theater “M. Eminescu” from Chisinau. Historically, the theater presents a sequence of events and achievements that complement the value of the national artistic heritage. In this context, the teaching process of higher education institutions in the country is involved in the promotion, development and preservation of national values. One of these achievements is the “Interior Design of the National Theater Mihai Eminescu” license project carried out by Diana Petrov (Bîrlădeanu) in 2021. In this context, it is demonstrated that interior design assumes major responsibilities for the renovation of important objectives, taking into account respecting the stylistic elements according to the historical data, primarily aiming at the preservation and valorization of the national cultural heritage. At the same time, the inevitable involvement of modern solutions must ensure the interior spaces improve their conditions without diminishing the aesthetic values of the past.
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Tikhonov, Aleksandr Aleksandrovich. "Musical and creative life in the Tarsky Priirtyshie in the second half of the 20th century: periods, communities, personalities." Исторический журнал: научные исследования, no. 2 (February 2023): 107–16. http://dx.doi.org/10.7256/2454-0609.2023.2.40582.
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The author examines the theatrical life in a small town on the example of the city of Tara, Omsk region. The theatrical life of the second half of the XX century is studied in dynamics, the key creative associations, personalities, periods are identified. In this article, we rely on such concepts as "local history" (meaning the consideration of the theatrical life of a separate locus - the Tarsky Priirtyshie region through the influence of individuals, associations and processes on the cultural process, referring both to written sources and historical memory), "cultural nest", "cultural environment" (as a complex of social and cultural characteristics, preferences, connections in the territory under consideration, in the local space). Three main stages of the development of the theatrical life of the Tarsky Priirtyshie region are identified. The first stage of the 1940s - 1950s, the time of work in the Container of the theater under the direction of Evgeny Prosvetov. It is characterized by the appearance of a professional theater troupe in a small provincial town, involving residents of Tara in theatrical life; the second stage - the 1960s - 1990s – the time of the functioning of the people's theater in Tara, the wide involvement of city residents in the creative environment, the emergence of theatrical traditions and connections with professional theater figures from the regional center. The third stage - since the beginning of the 2000s - is the time of the appearance of a professional theater in Tara and its development, taking into account the theatrical traditions of the city. The cultural life of the Tarsky Priirtyshie region is considered through the study of the interaction of creative associations, cultural institutions and individual ascetics.
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Letychevska, Oksana. "Lev Venediktov's Choir Theater and His Traditions, Creative Method, Synthesis." Часопис Національної музичної академії України ім.П.І.Чайковського, no. 2-3(47-48) (August 20, 2020): 95–108. http://dx.doi.org/10.31318/2414-052x.2-3(47-48).2020.213399.
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Kurmelev, A. Yu. "THEATER OF THE ABSURD PHILOSOPHY AND TRADITIONS IN LATER PLAYS." KAZAN LINGUISTIC JOURNAL 6, no. 3 (2023): 313–23. http://dx.doi.org/10.26907/2658-3321.2023.6.3.313-323.
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Makarova, A. "No, It’s All Wrong! Director’s Theatre in Opera: Fidelity to the Work, Fidelity to the Audience." Versus 2, no. 6 (2023): 95–108. http://dx.doi.org/10.58186/2782-3660-2022-2-6-95-108.
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The article is dedicated to the emergence and development of the phenomenon of interpretive theatre direction in opera as an art form. The author investigates the historical roots of director’s theater in relation to opera, the inevitable interaction of theatre and society, and the audience’s experience in relation to comfort and discomfort. Various aspects of the relevance of interpretive opera direction are presented to the reader. Discussions of the ways in which direction and the theater and music industries have developed show the problems of opera as a theatrical form. The article analyzes the cultural differences in the existence of director’s theater based on the demands of the state, society, and existing theatrical traditions. It offers an overview of the fundamental trends and a gallery of the most important personalities in the history of director’s theater. In the final part of the article, the author provides a forecast for the future.
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Mezhenin, Anton. "The Specifics of Integrating the Elements of the Physical Theater into Modern Performances of Classical Drama Works." Bulletin of KNUKiM. Series in Arts, no. 40 (June 5, 2019): 51–56. https://doi.org/10.31866/2410-1176.40.2019.172676.
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The purpose of the article is to determine the specifics of the use of the forms and methods of physical theater in modern performances of classical drama works. The research methods. The scientific provisions of the article are argued at the level of the following scientific methods: empirical-theoretical – for processing the artistic factual base of the research, comparative – for comparative analysis of the determinants of modern scenography with classical samples of theatrical performances, systematization and generalization – to determine patterns that determine the specifics of the interaction of traditions and innovations in the development of modern theater. The scientific novelty consists in revealing the specificity of integration and functioning in modern theatrical productions of the forms and methods of physical theater in the context of the prevailing trends in the development of the theatrical art of the 21th century. Conclusions. The elements of physical theater in modern performances of classical plays greatly expand the boundaries of dramatic theater, focused on action. Accordingly, if the works of classical drama express symbols, focus on actions and are disconnected from realism, the methods of physical theater are among the important means of innovative dramatization of famous theater plays in the conditions of the stage space of the 21st century.
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Hillard, T. W. "Plutarch’s Late-Republican Lives: Between The Lines." Antichthon 21 (1987): 19–48. http://dx.doi.org/10.1017/s0066477400003531.
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A great deal of modern scholarship has been expended on the subject of Plutarch’s sources and on the manner in which he composed hisLives. As a result of the painstaking analyses of the fifty or so cross-references in theLives, a rough order in which they were probably written can now be descried and this has been a great boon for those who would use the information therein for historical purposes. As regards thoseLivesdealing with the luminaries of the late Republic, it can be said that theLucullusand probably theSertoriuswere among the first four sets to be written, that theCiceroappeared with theDemosthenesin the fifth set, then came theSulla, theBrutus, theCaesar, thePompeius, and subsequently theCrassus, Cato minor, AntonyandMarius. (The order of the last four cannot be fixed, nor can the place of theLivesof the Gracchi.) A knowlege of this sequence explains the differences and occasional contradictions between individualLivesby exposing Plutarch’s earlier unfamiliarity with certain traditions and suggesting divergent source traditions which surfaced only when Plutarch was researching a particular character. (This, of course, makes the material even more valuable.)
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Sojka, Eugenia. "Land-Based Theatre and Performance in Sovereign Artistic Ceremonies of Selected Indigenous Artists from Canada." Review of International American Studies 17, no. 2 (2024): 219–40. https://doi.org/10.31261/rias.17818.
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The article focuses on the problem of Indigenous theatrical sovereignty which is examined on the basis of theater/performance theories and practices by such Aboriginal artists/theorists/performers from Canada as Floyd Favel, Monique Mojica and Kim Senklip Harvey. The theoretical framework of this study focuses on the decolonization and indigenization of theatrical practices, and specifically on theater as artistic ceremony and theater as a research methodology. The selected artists vehemently oppose colonial violence, exploitation and marginalization of Indigenous populations, their lands and cultures. They are interested in the reclamation and revitalization of Indigenous philosophies and traditions via theater/performance. They explore the development of dramatic techniques informed by Indigenous philosophies rooted in the Indigenous holistic concept of the land as sacred, as a living entity, and an archive of stories. They believe in the plural nature of reality, and they honor non-anthropocentric perspectives and relational worldviews. Each of the artists is discussed with reference to theories and methods informed by research into their specific cultures and knowledges, which they reclaim and transform into performance. Favel is discussed as a pioneer of Indigenous dramaturgies whose principles were abstracted from selected elements of his Plains Cree cultural traditions. His “Native Performance Culture” is the first documented theory and method consciously created from Aboriginal heritage. Mojica’s methods are shown as developed from her research into structures and principles abstracted from mola, the textile art of her ancestors, Kuna people, as well as from her embodied research into pre-contact earthworks and mounds. Harvey’s innovative theater methodologies, “Salish Earthing” and “Fire Creation Methodology,” are reflected upon as grounded in her strong relation to the Salish land. The artists challenge the Western theatre conventions, and replace them with sovereign land-based Indigenous theater/performance processes and methodologies, aiming to create the acts of healing, community making, resurgence, survivance, as well as the respect and care for the land and all creation. They offer hope at the time of diverse global environmental, social and cultural crises.
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Szuster, Magdalena. "“Alchemy and smoke in a bottle” – contemporary improvisational theater in Poland and the United States." Acta Universitatis Lodziensis. Folia Litteraria Polonica 40, no. 2 (2018): 107–38. http://dx.doi.org/10.18778/1505-9057.40.05.
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The article is an attempt to capture improvisational theater as a modern dynamic phenomenon through analyzing its features, definitions and traits in order to characterize the genre and to systematize the current state of knowledge on the subject matter. By comparing and contrasting various aspects and notions of impro(v) in Poland and the United States, the study not only looks at the theater of improvisation through the prism of the “relocation” of the form from its original grounds and implementing it in within a different tradition, but also shows the experimental flexibility of the genre within different cultural traditions and structures. Based largely on interviews with Polish and American improvisers alike, this article is an in-medias-res case study of the contemporary improvised theater in Poland and the USA.
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Shornikova, Alexandra V. "About the Influence of the Performative Features of the Avant-garde Theater on Documentary Opera." Music Scholarship / Problemy Muzykal'noj Nauki, no. 1 (2022): 186–94. http://dx.doi.org/10.33779/2782-3598.2022.1.186-194.
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Documentary qualities in the art of music are among of the bright, interesting and little researched phenomena of modernity. Having been generated in the sphere of cinema and drama theater, the present tendency also became circulated in the sphere of musical theater. The introduction of documentary innovative materials – verbal and audio – into the artistic context of works written in the opera genre substantially transformed the traditional structure of musical performance. The article ascertains that the source of such types of experimental attempts was the elaboration of the avant-garde dramatic theater, whose producers made broad use of the techniques of performative art. This became the artistic orientation for documentary musical theater. Analysis of the stage endeavors of theatrical producers Erwin Piscator, Giorgio Strehler, Andrei Serban and Peter Sellars has made it possible to bring to light the vectors of impact of avant-garde theater on the musical documentary theater, which broadly applied the principles of performativity. Accentuation is made of the role of contemporary computer technologies, which gave the opportunities to producers and composers to obtain an instrumentarium that is broad in its artistic resources and inclination towards synthesis, to realize the performative forms of presentation of musical theater. The new features include minimalistic scenography, political allusions, the extension of time and space, and special forms of interaction with the audience. Their appropriation by musical documentary theater proves the force of impact of avant-garde artistic practices, which have greatly transformed opera traditions.