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Journal articles on the topic 'University Arts Festival'

Author: Grafiati

Published: 6 September 2023

Last updated: 31 July 2025

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1

Richards, Stuart, Jessica Pacella, and Kim Munro. "Comradery and the Arts." Journal of Festive Studies 5 (November 13, 2023): 326–55. http://dx.doi.org/10.33823/jfs.2023.5.1.139.

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This research is a result of the collaborative relationship between the Creative People, Products and Places (CP3) Research Centre at the University of South Australia and Festival City Adelaide (FCA). FA manages the consortium of South Australia’s eleven major arts and culture festivals. This report examines the current literature on volunteering in the arts sector and surveys the experiences of senior members of the Festival Volunteer Network, a platform managed by FCA that connects three thousand volunteers to the eleven festivals. In December of 2021 a survey was issued to the Festival Vol

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2

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

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

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

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

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Tomaselli, Keyan G. "Introduction." Journal of African Cinemas 15, no. 1 (2023): 3–6. http://dx.doi.org/10.1386/jac_00085_2.

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This number of the Journal of African Cinemas continues with its variable entries, full articles, reviews and a report on an arts festival and interview with one of its film festival organizers. These two items reveal the energy, vibrancy and contribution of a smaller, shorter, less well-known film festival event. Tigritudes was held during 2023 at the first established South African film school, then known as the Pretoria Technikon, set up in 1971. The Tigritudes Arts Festival relocates the school’s transformed significance as the Tshwane University of Technology (renamed from 2004) within th

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Tomaselli, Keyan G., and Addamms Mututa. "Interview with Anna-Marie Jansen van Vuuren on her experience as an organizer of the Tshwane University of Technology (Tigritudes) Film Festival." Journal of African Cinemas 15, no. 1 (2023): 7–12. http://dx.doi.org/10.1386/jac_00086_1.

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Journal of African Cinemas interviewed Professor Anna-Marie Jansen van Vuuren about her experience of organizing the Tigritudes and TUT Film Festival that took place as part of the 2023 Tshwane University of Technology’s Annual Arts Festival.

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LeCompte, Elizabeth, Kate Valk, Ari Fliakos, and Maria Shevtsova. "A Conversation on The Wooster Group's Hamlet." New Theatre Quarterly 29, no. 2 (2013): 121–31. http://dx.doi.org/10.1017/s0266464x13000237.

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This conversation took place during the Gdansk Festival, 1–10 August 2009, where The Wooster Group performed its internationally acclaimed Hamlet (2006), directed by Elizabeth LeCompte. The conversation, led by Maria Shevtsova and edited by her for publication, was part of the conference organized under the auspices of the Festival by Jerzy Limon, the Festival's director. Here LeCompte and two performers from the company, Kate Valk and Ari Fliakos, discuss how they generated the work, and develop their thoughts in answers to questions from the audience. Later this year The Wooster Group will p

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Grigoryeva, Elena. "XXIII Festival “Zodchestvo in Siberia 2023”." проект байкал, no. 77 (October 29, 2023): 17–19. http://dx.doi.org/10.51461/issn.2309-3072/77.2183.

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Siberian architects demonstrate sustainable development in all areas of their work: architecture, urban planning, urbanism, caring for heritage, and education. Not everything goes according to plan, some obstacles have to be overcome, but such is our profession and such is the world.Architects are consistent and stable in their public and competitive activities. Every year, under the auspices of the Union of Architects of Russia, several large festivals take place in Siberia. Each of them has its distinct identity: educational Winter University, skiing Archigesh, youth Archbukhta. “Zodchestvo

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8

Shevtsova, Maria. "Reasons for Joy and Reflection: Engaging with Shakespeare at the Craiova Festival." New Theatre Quarterly 28, no. 4 (2012): 352–62. http://dx.doi.org/10.1017/s0266464x12000656.

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The Craiova International Shakespeare Festival has been a major touchstone in Europe for theatre artists, theatregoers, and scholars for nearly two decades. This overview briefly situates the Festival historically, indicating the ideals and perspectives developed for it by its founder Emil Boroghina, former director of the National Theatre of Craiova. It identifies as well a number of the Festival's many highlights over the years, Romanian as well as international, and focuses on examples from the 2012 programme, including Silviu Purcarte's The Tempest and Robert Wilson's Shakespeare's Sonnets

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Juntunen, Jacob. "Taking the Rural International." Theatre Survey 62, no. 3 (2021): 322–26. http://dx.doi.org/10.1017/s0040557421000223.

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In March 2020, Southern Illinois University in Carbondale (SIU) went into lockdown. With the annual Big Muddy New Play Festival about to kick off—two productions entering tech and four full-length staged readings rehearsing—SIU's M.F.A. Playwriting Program had been left in the lurch. COVID-19 and the scramble to move courses online and to graduate our M.F.A.'s canceled the entire festival. A year later, still online, the SIU M.F.A. Playwriting new play festival did not meet this same fate. Based on twelve months of experimentation, the program was able to develop a streaming festival. Our 2021

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Keeney, Patricia, and Don Rubin. "A Barrage of Coward." New Theatre Quarterly 26, no. 3 (2010): 290–93. http://dx.doi.org/10.1017/s0266464x10000485.

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The Shaw Festival, held annually in Niagara-on-the-Lake, Ontario, highlights plays from or about Shaw's lifetime. Patricia Keeney and Don Rubin, who teach at York University in Toronto, here report on the 2009 festival.

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Laviosa, Flavia, and Anastasia Grusha. "Ruskino Film Festival: Interview with Silvia Burini." Journal of Italian Cinema & Media Studies 11, no. 3 (2023): 689–95. http://dx.doi.org/10.1386/jicms_00206_7.

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Professor Silvia Burini, director for the Centre of Russian Art Studies (CSAR), gives a historical overview of how and why the film festival Ruskino was established in 2011 and explains how it has changed over the years. The festival is unique in its kind because it comprises a vast community of university students, doctoral students, post-docs from the Ca’ Foscari University in Venice, teachers as well as secondary school students and citizens of Venice. Another unique feature of Ruskino is its involvement with university and secondary school students with a competition for the best subtitlin

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Shevtsova, Maria. "The Craiova Shakespeare Festival 2016 and a Valediction for Yukio Ninagawa." New Theatre Quarterly 32, no. 3 (2016): 276–82. http://dx.doi.org/10.1017/s0266464x16000257.

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A report by Maria Shevtsova on the 2016 edition of the biennial Craiova International Shake speare Festival, continuing her coverage of the event in NTQ 112. She pays special attention here to the pièce de résistance of the latest festival – Richard II with the Saitama Arts Theatre, directed by Yukio Ninagawa, whose death occurred barely a month later: this article is also a tribute to a world-renowned man of the theatre. Maria Shevtsova is co-editor of New Theatre Quarterly and Professor of Drama and Theatre Arts in the Department of Theatre and Performance, Goldsmiths, University of London.

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

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

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Drake Stutesman. "African Video Film Arts Festival, Obafemi Awolowo University, Ile-Ife, Nigeria." Framework: The Journal of Cinema and Media 49, no. 2 (2008): 142–45. http://dx.doi.org/10.1353/frm.0.0026.

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

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

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Cottreau, Deborah. "Wolfville Doing It Right: Bawtree’s Atlantic Theatre Festival." Canadian Theatre Review 83 (June 1995): 72–74. http://dx.doi.org/10.3138/ctr.83.016.

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Overlooking the Bay of Fundy, situated in the quaint university town of Wolfville, Nova Scotia, stands a steel-supported wooden ‘O’, a proposed 514-seat skating-rink-turned-theatre, soon-to-be home of the Atlantic Theatre Festival. The brainchild of Artistic Director Michael Bawtree and associates, ATF stands as proof positive that local initiative and grass-roots collaboration are the key to Canada’s cultural future. Other than local residents and area politicians, further contributors include some of Canada’s finest theatrical talent: Christopher Plummer is ATF’s Honourary Fundraising Chairm

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Reynolds, Peter. "Leuven, Belgium: Transit New Music Festival." Tempo 67, no. 264 (2013): 69–70. http://dx.doi.org/10.1017/s0040298213000090.

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In its unswerving devotion to new music at its most uncompromising, the Flemish Transit Festival represents a model of the kind of festival that has now almost vanished from Britain. Based in the intimate university town of Leuven, the 2012 festival was the thirteenth: 48 hours of music and events concentrated into a weekend, running from Friday night to Sunday (26–28 October). Located mainly in the unprepossessing concrete 1970s STUK arts centre (with surprisingly good acoustics), the 12 events (plus pre-concert talks) followed upon one another with a rapidity that almost negated the opportun

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Wiles, David. "The Lewes Bonfire Festival." New Theatre Quarterly 12, no. 46 (1996): 177–91. http://dx.doi.org/10.1017/s0266464x00009994.

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The Lewes Bonfire Festival is an important piece of popular theatre, which has largely resisted attempts by higher authority to control and redefine it. Annually some 2,000 costumed participants, watched by up to 80,000 spectators, take over the streets of the usually staid county town of East Sussex, and effigies of contemporary politicians and of the Pope are burnt during six hours of carnivalesque rule. Here, David Wiles analyzes the history and organizational structure of the festival, and examines the ideology of Englishness upon which the event turns. David Wiles is Reader in Drama at Ro

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Wheeler, Duncan. "The Malaga Festival: Cinema, Celebrity, and Culture." Film Quarterly 73, no. 1 (2019): 85–91. http://dx.doi.org/10.1525/fq.2019.73.1.85.

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Now in its twenty-second edition, the Malaga Festival of Film in Spanish can hardly compete for cultural capital with Spain's renowned San Sebastián Film Festival or, for that matter, with its long-standing counterparts in Valladolid, Seville, or Gijón. As the only major forum of its kind dedicated to Spanish cinema and, since 2016, to cinema in Spanish, the Malaga Film Festival nevertheless occupies a unique place in the national film landscape and consciousness. Culture has been central to the recent makeover of the Andalusian city, the birthplace of Pablo Picasso and Antonio Banderas. Festi

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Ledger, Kate. "Electric Spring, Huddersfield, 22–26 February 2017." Tempo 71, no. 281 (2017): 93–95. http://dx.doi.org/10.1017/s0040298217000377.

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In the heart of the University of Huddersfield's Creative Arts Building sits the unassuming Phipps Hall, which has given itself over to five days of total electronic sound immersion. The University has grown accustomed to attracting pioneering artists in contemporary music over the last four decades, both to its in-house research centre CeReNeM, and to the Huddersfield Contemporary Music Festival every November. The relatively younger Electric Spring Festival takes place every February and is now able to stand alongside its older sibling, offering the public an impressive and diverse programme

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21

Sturgis, Daniel. "Bauhaus: To turn away from normality." Art, Design & Communication in Higher Education 19, no. 1 (2020): 9–18. http://dx.doi.org/10.1386/adch_00010_1.

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This article revisits the history and legacy of the Bauhaus from the vantage point of contemporary art education. It explains how the design school was never a unified project, but rather a collection of disparate voices and opinions, and shows how ideas of community and subjectivity were at its centre. The author asks if these ideas, born out of early nineteenth-century educational reform, and pressurized by the political turbulence of 1920s and 1930s Germany may be the most useful influences for the Bauhaus impacting on Art and Design education today. The article was prepared for the opening

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Merin, Jennifer. "Colombia: The Manizales International Theatre Festival." Canadian Theatre Review 42 (March 1985): 141–44. http://dx.doi.org/10.3138/ctr.42.013.

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Manizales is a charming small city, situated high in the Colombian Andes. It is a university town, but is usually overshadowed as a cultural centre by the larger Colombian cities of Bogota, Cali and Medallin. Nevertheless, last September, the Sixth International Theatre Festival of Manizales dominated Colombian cultural news to make this city the cultural focal point of Colombia, if not of all Latin America.

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Zhang, Kai, and Rosjana Chandhasa. "Discovering Shandong Art and Culture China in the Dimension of Wisdom, Beliefs, Traditional Ways of Life and Festivals." Journal of Ecohumanism 3, no. 3 (2024): 1657–66. http://dx.doi.org/10.62754/joe.v3i3.3406.

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With the country's continued emphasis on industry, culture and creativity industry, the cultural and creative industries on the university campus have demonstrated a strong drive of development. Shandong is a famous cultural city with a rich history with a rich material cultural heritage that is constantly inspiring for the cultural and creative industries on the university campus. This study starts from the cultural dimension of wisdom, faith, traditional way of life, and festivals and uses qualitative research methods. With a descriptive and analytical method, to explore the cultural and art

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Keeney, Patricia, and Don Rubin. "Canada's Stratford Festival: Adventures Onstage and Off." New Theatre Quarterly 25, no. 2 (2009): 187–94. http://dx.doi.org/10.1017/s0266464x09000281.

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The festival season in Stratford, Ontario, was fraught with an offstage drama which seemed to reprise that of thirty years ago, when an experiment with a triumviral directorate ended in dissension and near disaster. However, once the dust had settled, an interestingly balanced season emerged, mixing Shakespeare and Shaw, ancient Greek and modern tragedy, Beckett and balletic Moby Dick. Here Patricia Keeney and Don Rubin offer their assessment of a wide-ranging repertoire. Patricia Keeney is a poet, novelist and long-time theatre critic for the monthly journal Canadian Forum. She is a Professor

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Sanga, Daines Nicodem. "Sanaa Blast Festival as Youth’s Space for Creating Futures: Voices from the University of Dar es Salaam Graduates in Tanzania." Umma The Journal of Contemporary Literature and Creative Art 11, no. 2 (2024): 200–218. https://doi.org/10.56279/ummaj.v11i2.10.

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This article examines the impact of the Sanaa Blast Festival in creating youth futures. Sanaa is a Kiswahili term that means art. The annual Sanaa Blast Festival that the Department of Creative Arts of the University of Dar es Salaam organises is a prime event targeting the optimisation of the tapping of university students’ talents. The chief organisers of the festival are students themselves under the consultation of their instructors. Since its inception, the festival has helped transform the lives of youth graduates in diverse ways. However, these impacts often go unnoticed as no study has

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Looseley, David. "The World Theatre Festival, Nancy, 1963–88: a Critique and a Retrospective." New Theatre Quarterly 6, no. 22 (1990): 141–53. http://dx.doi.org/10.1017/s0266464x00004218.

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Unlike Avignon, still active after more than forty years, the once notorious Nancy Festival has slipped unobtrusively into history. David Looseley sets out here to trace this itinerary. After reviewing the festival's origins and its importance for the experimental theatre of the 1960s, he examines what became of it in the bleaker decades which followed, and assesses the meaning of its decline. David Looseley, who teaches in the Department of Modern Languages at the University of Bradford, is currently engaged in research funded by the Leverhulme Trust into the politics of culture in contempora

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Havryliuk, Alla, Khrystyna Pletsan, and Volodymyr Antonenko. "Innovative Vectors of Preservation, Protection, and Promotion of the Ukrainian People's Intangible Cultural Heritage." Issues in Cultural Studies, no. 41 (March 31, 2023): 63–77. https://doi.org/10.31866/2410-1311.41.2023.276693.

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<em>The aim of the article </em>is to provide a scientific basis for the unique experience of the Faculty of Hotel, Restaurant, and Tourism Business of the Kyiv National University of Culture and Arts in the development and implementation of innovative vectors of preservation, protection, and promotion of the intangible cultural heritage (ICH) of the Ukrainian people within the framework of the organisation and holding of the annual International Scientific and Practical Conference- Festival Intangible Cultural Heritage as a Modern Tourist Resource: Experience, Practices, Innovations. The

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Illman, Ruth. "Aboagora 2013: The Human Machine." Approaching Religion 3, no. 2 (2013): 1–2. http://dx.doi.org/10.30664/ar.67510.

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The editorial introduces the articles of the issue, all pertaining to the arts and sciences event, Aboagora, which gathered artists, academics and a wide range of interested listeners together to discuss the relationship between technology and the human being in Turku/Åbo in August, 2013. Aboagora is arranged as a joint venture between Turku Music Festival and scholars from the University of Turku, Åbo Akademi University and the Donner Institute.

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Hattler, Max. "The Abstracted Real: Speculations on Experimental Animated Documentary." International Journal of Film and Media Arts 6, no. 3 (2021): 37–54. http://dx.doi.org/10.24140/ijfma.v6.n3.03.

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Max Hattler is an artist, researcher, curator and educator who works with abstract and experimental animation, video installation, and audio-visual performance. After studying in London at Goldsmiths and the Royal College of Art, he completed a doctorate in fine art at the University of East London. He is an assistant professor at the School of Creative Media, City University of Hong Kong. Hattler’s work has been shown worldwide, receiving prizes from Annecy Animation Festival, Prix Ars Electronica, Montreal Festival du Nouveau Cinéma, Punto y Raya Festival, Cannes Lions and London Internati

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Shpolberg, Masha. "Looking Out for Something Better to Come: Interview with Director Hanna Polak." Film Quarterly 69, no. 4 (2016): 65–71. http://dx.doi.org/10.1525/fq.2016.69.4.65.

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Hanna Polak was in the United States in December 2015 for a screening of Something Better to Come (2014) and The Children of Leningradsky (2004) at Yale University, where the interview was conducted. Polak's devastating documentary Something Better to Come swept through the festival circuit with force, winning a Special Jury Award at IDFA along with awards at over twenty other festivals. Shot illegally on a garbage dump just outside Moscow over the course of fourteen years, the film follows a girl named Yula from age 10 to 24, as she grows up doing the things that teenagers everywhere do—exper

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Glendinning, Miles. "The Royal Festival Hall: A Postscript." Architectural History 48 (2005): 323–26. http://dx.doi.org/10.1017/s0066622x00003828.

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In late 2003, immediately after the publication in that year’s Architectural History of my article, ‘Teamwork or Masterwork?’, which discussed the issue of the ‘authorship’ of the Royal Festival Hall (RFH) design, a large, carefully-wrapped roll of drawings of early schemes for the RFH was discovered at the Matthew family house, Keith Marischal, East Lothian; together with the remainder of the archival material at the house, it has now been passed to Edinburgh University Library (Special Collections Department). As set out in this short postscript, they shed an important new light on the argum

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Rand, Peter, and Anna Winestein. "Reflecting on the Spirit of Sergei Diaghilev." Experiment 17, no. 1 (2011): 21–29. http://dx.doi.org/10.1163/221173011x611806.

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Abstract The present article is a colloquy between the directors of Ballets Russes 2009, a festival held in Boston in 2009 to celebrate the centenary of Sergei Diaghilev’s Ballets Russes. The authors reflect on the experience of organizing the festival, including the conference at Boston University that forms the basis of this volume. The article features the insights their work gave them into Diaghilev's own experience in running the Ballets Russes, as well as observations about Diaghilev as a manager and cultural entrepreneur.

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Chattopadhyay, Arkaprava. "Traditional Rituals as Conduits for Political Ascendancy: The Pang Lhabsol Festival of Sikkim, India." New Theatre Quarterly 38, no. 3 (2022): 283–97. http://dx.doi.org/10.1017/s0266464x22000203.

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This article explores the role of the traditional Pang Lhabsol festival of Sikkim in India as a medium for political ascendancy and influence in the region – a phenomenon that has continued, albeit with different political inflections, from its founding days until the present. Since its emergence as an indigenous practice in the thirteenth century, it has consistently transformed according to each juncture of political realignment in the region. After 1642, the festival was redesigned to resonate with the religion and ideology of the ruling Namgyal dynasty, playing out negotiations between mai

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Silva, Ricardo Scucuglia Rodrigues da, Alexandra Carmo Caceres Ianelli, and Ana Carolina Bueno de Carvalho. "Didactic aspects involving the production of digital videos by pre-service Mathematics teachers." Revista Tempos e Espaços em Educação 15, no. 34 (2022): e18288. http://dx.doi.org/10.20952/revtee.v15i34.18288.

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The research reported in this article aimed to investigate didactic aspects involved in the production of digital videos by mathematics pre-service teachers for the participation in the Festival of Digital Videos and Mathematics Education. The data were produced in the course named "Didactics of Mathematics" with two classes of an undergraduate course in Mathematics at a public state university. The video production process was based on the notion of “digital mathematical performance”. Based on the instructor's supervision, the groups produced six videos, four of which were submitted to the Fe

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Patey-Ferguson, Phoebe. "LIFT and the GLC versus Thatcher: London’s Cultural Battleground in 1981." New Theatre Quarterly 36, no. 1 (2020): 4–16. http://dx.doi.org/10.1017/s0266464x20000068.

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In 1981 Rose Fenton and Lucy Neal established the London International Festival of Theatre (LIFT). While the Festival is generally recognized as having been highly influential in the field of British theatre over the past twenty-five years, it has received little academic attention. In this article Phoebe Patey-Ferguson examines the founding of the event, arguing that the specific socio-political circumstances of its early years gave shape to the innovative form of a city-based international theatre festival. The bureaucratic conflict between Margaret Thatcher’s Conservative government and Ken

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Ostrowska, D. "Film Festival Workshop, St Andrew's University, Scotland, 4 April 2009." Screen 51, no. 1 (2010): 79–81. http://dx.doi.org/10.1093/screen/hjp049.

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Melski, Michael, Chris O’Neill, Ken Schwartz, Wendy Lill, and Michael Devine. "Blood On Steel: “Joyride” and “Heartspent and Black Silence”, Westray: The Long Way Home, The Glace Bay Miners’ Museum." Canadian Theatre Review 96 (September 1998): 96–97. http://dx.doi.org/10.3138/ctr.96.015.

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Michael Melski is a young Atlantic Canadian writer who has experienced success at the Fringe and New Play Development Festival level. Published by his regional university press, Blood On Steel is the kind of youthful writing which marks a playwright with clear, but as yet not fully developed, talents.

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Birchfield, David, Doug Geers, and Johnathan Lee. "Interactive Arts Festival Columbia University, New York, New York, USA, 6–9 April 1999." Computer Music Journal 24, no. 2 (2000): 83–88. http://dx.doi.org/10.1162/comj.2000.24.2.83.

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Ahmed, Syed Jamil. "Decoding Myths in the Nepalese Festival of Indra Jātrā." New Theatre Quarterly 19, no. 2 (2003): 118–38. http://dx.doi.org/10.1017/s0266464x03000046.

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As a rule, news from Nepal gets little or no prominence in the western media – but the regicide of 2001, in which Prince Dipendra allegedly mowed down his parents and then shot himself, was a notable exception. Two years earlier, Syed Jamil Ahmed witnessed Prince Dipendra's and his father King Birendra's participation in the festival of Indra Jātrā, held annually in the nation's capital city, Kathmandu. After an analysis of the myths underlying the festival, and of their modification over centuries to serve changing dynastic priorities, the author provides an account of the festival as a ‘firs

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Ukala, Sam. "Impersonation in Some African Ritual and Festival Performances." New Theatre Quarterly 16, no. 1 (2000): 76–87. http://dx.doi.org/10.1017/s0266464x00013476.

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Few studies of African ritual and festival performance have been written from a theatrical perspective, and Sam Ukala believes that the richness of such events has yet to be fully explored by African dramatists – while most of the western paratheatrical experiments derived from them have been influenced more by anthroplogical models than aesthetic principles. In pursuit of a dramaturgical approach to the study of African rituals and festivals, he focuses on the role and nature of impersonation in these events, and examines the relationship between the forms, objectives, and contexts of the per

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Jones, Thomas Morgan. "The Charlottetown Festival Young Company: Training Performers for Musical Theatre." Canadian Theatre Review 123 (June 2005): 37–41. http://dx.doi.org/10.3138/ctr.123.008.

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There remains a need in our system to bridge the gap between educational study and professional career. The college and university programs commit to a term of study for a three to four year period. Upon completion, the young artist has a strong, if somewhat generalized, understanding of the musical theatre art form. This varies per program and individual. They are then left on their own to begin their search for employment in our chosen profession.

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Silveira, Diego Omar da, and Ericky Da Silva Nakanome. "O BOI-BUMBÁ DE PARINTINS COMO ARTE E HISTÓRIA PÚBLICA: DO FOLGUEDO DE TERREIRO AO ESPETÁCULO DE ARENA E ALÉM." Arteriais - Revista do Programa de Pós-Gradução em Artes, no. 12 (May 20, 2022): 134. http://dx.doi.org/10.18542/arteriais.v0i12.12683.

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ResumoO texto aborda o Boi-Bumbá de Parintins como arte e história pública, ou seja, como espaço de conformação de atuações que, para além do folclore, criam possibilidades de uma interven-ção cultural dialógica, em contato tanto com as discussões contemporâneas nos mais diversos campos da cultura quanto com o patrimônio e as tradições locais. Partimos, ao mesmo tempo, da crescente bibliografia disponível sobre esse que é um dos mais importantes festivais folcló-ricos do país e das experiências de produção dos bumbás e de ensino nos cursos de Artes e História nos campi da Universidade Federal

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Shevtsova, Maria. "Moscow’s Golden Mask Festival: The Russian Case (Online, 2021)." New Theatre Quarterly 37, no. 4 (2021): 376–88. http://dx.doi.org/10.1017/s0266464x21000300.

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The team running the Russian Case as part of Moscow’s annual Golden Mask Festival pulled off a major feat in 2021 by organizing a five-day programme online. Deeply disappointed that the Russian Case had been cancelled in the preceding year due to the Covid pandemic, this group made it its mission to succeed in adverse circumstances; and succeed it did by providing works varied enough to engage its habitual audience, as well as people coming to the event for the first time, albeit digitally. In a departure from established practice, several productions that were performed too late to compete fo

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Knowles, Ric. "Celebrating Canadian Plays and Playwrights." Canadian Theatre Review 114 (March 2003): 3–5. http://dx.doi.org/10.3138/ctr.114.fm.

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On a cool weekend in October 2002, a virtual who’s who of Canadian drama and theatre in English – scholars, actors, directors, dramaturgs and above all playwrights – gathered in Stratford, Ontario, to celebrate Canadian plays written primarily in English. This issue of Canadian Theatre Review is the first of two dedicated to the discussions and paper presentations that took place at that event, this one dedicated for the most part to history and to established writers and their works, the next (issue 115) to experimentation, new approaches and alternative voices. The Celebrating Canadian Plays

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Rewa, Natalie, and Michael J. Sidnell. "Montreal: Festival de Theatre des Ameriques, May-June, 1995." Canadian Theatre Review 86 (March 1996): 51–55. http://dx.doi.org/10.3138/ctr.86.009.

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The Festival de theatre des Ameriques is remarkable for the range and quality of the performance spaces that it has available and deploys to such good effect. This is partly due to an extraordinary proliferation of performance spaces in Montreal over the last ten years, unequalled in any other city in Canada in this respect; and it is partly due to the enterprise of Marie Helene Falcon, the Festival’s Director, in acquiring the use of a variety of venues and matching them to specific productions. Her programming has always brought the spectators into performance spaces of various kinds, shapes

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Schulte, Hanife. "Ostermeier’s Ein Volksfeind on the Anniversary of Turkey’s Gezi Park Protests." New Theatre Quarterly 36, no. 1 (2020): 29–41. http://dx.doi.org/10.1017/s0266464x20000081.

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In this article Hanife Schulte discusses Thomas Ostermeier’s Ein Volksfeind, a German version of Henrik Ibsen’s An Enemy of the People that toured to the International Istanbul Theatre Festival in 2014. In borrowing Maria Shevtsova’s notion of the sociology of performance, Hanife Schulte offers a sociological examination of Ein Volksfeind’s Istanbul performances and demonstrates how the first anniversary of Turkey’s Gezi Park protests at the time of the festival influenced the performances. These protests, which began in 2013, were in resistance to the Turkish government’s urban development pl

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Medenica, Ivan. "BITEF Before and After 1989: Representation to Deconstruction of Social and Cultural Paradigms." New Theatre Quarterly 37, no. 3 (2021): 273–80. http://dx.doi.org/10.1017/s0266464x21000178.

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Ivan Medenica here analyzes the cultural shift that the Belgrade International Theatre Festival (BITEF) experienced after 1989. From its beginnings in the late 1960s until the end of the1980s, BITEF was a representation of the dominant multicultural, modernist, and progressive paradigm of Yugoslavia’s cultural policy. This was not an unambiguous position. On the one hand, modernist values were imposed by Tito’s authoritarian regime and, on the other, they were confronted with the conservative tendencies both in politics and the arts. As a multicultural and progressive platform, BITEF was one o

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Darwance, Darwance, Dwi Haryadi, Izma Fahria, Agung Samudra, Desy Ramadhanty, and Erika Erika. "CULTURAL BASED TOURISM DEVELOPMENT IN PASIR PUTIH VILLAGE TUKAK SADAI DISTRICT, BANGKA SELATAN DISTRICT THROUGH AGIK BARIK FESTIVAL." Berumpun: International Journal of Social, Politics, and Humanities 2, no. 2 (2019): 93–105. http://dx.doi.org/10.33019/berumpun.v2i2.22.

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Education, culture and tourism are three things that cannot be separated and interconnected. Culture will develop if education develops too. By education, culture will increase the development of tourism in Indonesia. In order to improve the quality and progress of education, culture and tourism, Social Service Lecture (KKN) XIV Bangka Belitung University (UBB) 2019 Pasirputih - Sadai Desa Pasirputih region, develop tourist destinations through the program "Festival Paserpute Agik Barik" (cultural festival Pasirputih in the past), this activity aims to explore the history and culture of the or

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FitzGerald, Lisa, Eva Urban, Rosemary Jenkinson, David Grant, and Tom Maguire. "Human Rights and Theatre Practice in Northern Ireland: A Round-Table Discussion." New Theatre Quarterly 36, no. 4 (2020): 279–91. http://dx.doi.org/10.1017/s0266464x20000664.

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This round-table discussion, edited by Eva Urban and Lisa FitzGerald, took place on 5 July 2019 as part of the conference ‘New Romantics: Performing Ireland and Cosmopolitanism on the Anniversary of Human Rights’ organized by the editors at the Brian Friel Theatre, Queen’s University Belfast. Lisa FitzGerald is a theatre historian and ecocritic who completed postdoctoral fellowships at the Centre de Recherche Bretonne et Celtique (CRBC), Université Rennes 2 and the Rachel Carson Centre for Environment and Society, Ludwig Maximilian University of Munich. She is the author of Re-Place: Irish The

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Saputra, Feri Fanando, and Abdul Salam. "Perguruan Pencak Silat Alang Bangkeh Pauh V: Suatu Tinjauan Historis 1981-2018." Jurnal Kronologi 2, no. 1 (2020): 103–14. http://dx.doi.org/10.24036/jk.v2i1.33.

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This Research explains about Alang Bangkeh Pauh V College of Pencak Silat in 1981-2018. This study uses a qualitative method of the processs: Heuristics (data colllection), then proceed with the process of source criticsm and interpretation of data, the final stage of historiography is historical research so that this research can be completed. Hail research shows the development of the Alang Bangkeh Pauh V tribe on its journey for 37 years in order to be able to promote Silat Pauh. Alang Bangkeh martial arts schools progressed in the period 2000 to 2018 by winning many Silat championships sha

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