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Journal articles on the topic 'Variability of the theater space'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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1

Balaban, O. I., O. M. Venher, and O. B. Opanasyk. "Market fundamentals of organization of work in the field of stage and audio-visual arts and production." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 53, no. 53 (November 20, 2019): 200–214. http://dx.doi.org/10.34064/khnum1-53.12.

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Background. Survival and further development is an acute problem for any modern Ukrainian repertory theater. According to the Law (which is only a framework, since it does not answer all the questions that arise), repertory theaters are non-profit organizations and exist for budget funds. The latter are steadily declining and depreciating in the conditions of market relations exist in modern Ukraine. The purpose of the article is to consider and propose methodological approaches to the development and implementation of innovations in the organization of cultural institutions in the field of cultural industries, theater, film and television. Presentation of the main material. The modern development of society is extraordinary – it is filled with changes and transformations caused by the influence of such phenomena as globalization, cheap labor, a large number of competitors. The spread of information and nanotechnology, computer networks is causing changes in the structure of organizations and cultural institutions, in particular, a reduction in their size, which, in turn, predetermines innovation as a result of a creative search for original, non-standard solutions to various problems. Globalization today is not only fierce competition. It also affects the human capital of enterprises, in particular, transforms the concept of a permanent place of work. Technogenic civilization and the rapid change of information technology make cultural institutions need to work extraordinary in such relevant areas as technology, personnel and organizational aspects of business. The most important qualities of the modern cultural space, concerning cultural and educational institutions, creative industries, are openness of thoughts and the possibility to avoid stereotypes. As a result of the development of market relations in Ukraine, cultural institutions have economic freedom, respectively, freedom in choosing directions and guidelines for development, as well as of markets for activities, determining directions for using and attracting own funds, creating a competitive policy, etc. In the same time, the following threats were identified that are relevant for any modern Ukrainian repertory theater, namely: 1) the growth of the budget deficit of the country and the region, which can suspend the budget maintenance of theaters; 2) an increase in inflation; 3) economic instability; 4) political instability; 5) the growth of tax rates; 6) a decrease in the solvency of the audience; 7) low demand from the audience for theatrical services; 8) significant variability in the needs of the audience; 9) a high level of competitiveness of other theaters and cultural institutions; 10) changes in public values; 11) low social consciousness of the population. Due to these conditions, the solution of the problem of survival and development requires the search for new strategic approaches to the organization of activities and management of these theaters, which seems quite relevant. The possibilities are contained in the Law itself, which allows theaters to earn money through various types of commercial activities. Strategically, the most promising is production, which is used by almost all foreign non-commercial theaters. The opportunities provided by “The Law on Public-Private Partnership”, 2010, in the fields of tourism, re-creation, culture and sports can be included in support of such activities. The effectiveness and profitability of cultural institutions depends on the quality of management, as well as monitoring the implementation and quality of services. The high potential of cultural institutions with an underestimation of activity and inefficient management leads to insufficient funding for the development of cultural institutions, a lack of working capital, and low material interest of workers. This situation makes it necessary to constantly increase the budget line for the maintenance of institutions. But to increase the budget revenues of cultural institutions, it is possible to use crisis management technologies. The development of crisis management methods by the management company (with an emphasis on theatrical activities) will be aimed at: protecting intellectual property and patenting by type of activity, developing and applying franchising schemes in theatrical activities; constant monitoring of the theater audience in order to identify trends in the development of culture and demand from the audience; collecting and summarizing the practice of successful European theater projects and managerial decisions to create a system of training the managerial staff of cultural institutions; collecting and analyzing information about the interaction of theaters with the external environment, tracking new trends and market contradictions; creating the basis for adjusting the regulatory framework; increasing the profitability of theaters; development of areas related to the core business; attraction and use of various types of financing (budget, grants, commercial, credit, investment funds); reduction of the budget load and the transition from current financing schemes to the financing of theater projects and programs; the creation of new financial instruments for the development of the theater, including depreciation and accumulation of income; the search for opportunities for the management company to implement external financial management and carry out financial planning, control over improving the effectiveness of theater management; creation of systems of motivation and interest of the creative team of theaters; creative audit of theatrical productions and repertoire policy, assessment of the positioning of theaters and theatrical productions. Summing up the above, we can reach the statements: 1) the rapid reduction of budget support for modern Ukrainian repertory theaters may end with a complete rejection of it; 2) under such conditions, it will be appropriate to study the experience of organizing the activities of foreign non-profit theaters that successfully survive in market conditions; 3) this becomes possible through the use of a rather specific activity called “producing”; 4) modern Ukrainian repertory theaters will have to master it; 5) for this purpose, it seems appropriate to create a "production center" in the theater, which can be started as a startup; 6) this creates a new creative and production system that becomes productive.
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2

Mesyanzhinova, Alexandra Vadimovna. "The Art of Opera: Variability of Artistic Languages of Screen Forms." Journal of Flm Arts and Film Studies 6, no. 4 (December 15, 2014): 72–83. http://dx.doi.org/10.17816/vgik6472-83.

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Specifics of an artistic language of screen forms of opera and its variations (movies, TV performances, live broadcasts in movie theatres) could be explicated successfully using a case study of different interpretations of the same work. The article retrospectively illustrates variability of an artistic language of the operatic screen forms using a case study of screen adaptations of Giuseppe Verdi's La Traviata (1853). The article analyzes a film-opera by Franco Zeffirelli (1982), a film-opera by Mario Lanfranchi (1968), TV-broadcast of Adrian Marthalers staging of La Traviata at Zurich Central station (2008), and the live broadcast in movie theaters of Willy Deckers production at the Metropolitan Opera (2012). The author presumes that the format of an opera-film through interacting with the audience primarily on emotional and symbolic levels appears as static. TV live broadcasts of opera productions, which have replaced filmed opera, convey the completeness and stasis of what is happening on screen thus allowing the viewer to feel the spontaneity of theatrical action and actually ushering the spectator into the space of each frame. Live broadcasts of opera performances in movie theatres create a unique symbiosis of arts: a live, devoid of stasis and predetermination, feature film emerges. Nowadays, when theatres are increasingly offering live broadcasts of their performances in Internet, it is possible to state that the operatic art is not just oriented towards the screen arts but is searching new opportunities to adapt itself to the screen format, and can no longer exist independently off the screen. All this affects the artistic language of screen and theatrical forms of the operatic art. Although the operatic art interacts well with the multimedia technologies, the issues of interpretation and transformation of the artistic forms, which arise when recordings of elapsed performances are converted to digital format and viewed on modern devices, require a very delicate approach. Tablet computers and other media devices, which are able to reproduce nearly every recording, in a certain sense, allow customization of the technical and aesthetic forms of an art piece according to the users preferences, thus introducing personalized artistic accents of a viewer.
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3

A. Semenova, E., and . "Street Theater in Modern Media Space." International Journal of Engineering & Technology 7, no. 4.38 (December 3, 2018): 459. http://dx.doi.org/10.14419/ijet.v7i4.38.24604.

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Street theater is viewed in modern media space as a reduced, repeatedly duplicated carnival area. M.M. Bakhtin’s understanding of reduced forms of carnival laughter, which include humor, irony, sarcasm, is applied. The modern festival movement of street theaters in the beginning of the 21st century is analyzed. It is proved that despite the fact that street theater actively uses new interactive means of media communication, containing various information (audio-visual, acoustic, computing, optical, imagery, artistic, scenic, etc.) and contributing to the acceleration of information dissemination and audience expansion, this form of theater is rapidly degenerating. Street theater is transformed into a serious socio-cultural game. But despite the fact that media technologies offer not excess but poverty (deficit) instead of extravagant human nature, the carnival origin is preserved not in replicable formats of street theater, but in informal communication between urban and rural youth. This makes it possible to talk about the preservation of modern man's vital need for street theater and carnival communication. The analysis of these issues is based on the views of M.M. Bakhtin, V.B. Shklovsky, Guy Debord, and J. Baudrillard.
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4

Berranger, Yvon. "Theater stage with multiple space extensions." Journal of the Acoustical Society of America 83, no. 6 (June 1988): 2472. http://dx.doi.org/10.1121/1.396303.

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5

Read, Gray. "Theater of Public Space: Architectural Experimentation in the Théâtre de l'espace (Theater of Space), Paris 1937." Journal of Architectural Education 58, no. 4 (May 2005): 53–62. http://dx.doi.org/10.1162/1046488054026796.

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6

Prieto López, Juan Ignacio. "Jacques Polieri: Kinetic Theatre Space." VLC arquitectura. Research Journal 2, no. 2 (October 29, 2015): 31. http://dx.doi.org/10.4995/vlc.2015.3835.

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Between the First and Second World War the definition of the new type of theater building was one of the main tasks of the European Avantgarde. In its design and theoretical formulation were poets, playwrights, theater directors, architects, painters, actors, engineers… from different countries and art movements. Despite the collaboration of the leading members of the Avant-garde like Marinetti, Moholy-Nagy, Kiesler, El Lissitzky, Gropius… none of these proposals were built because of their radical and utopian characteristics. It was a young French theater director, Jacques Polieri, who became the main compiler and prompter of those proposals in postwar Europe in two issues of the French journal Aujourd´hui, art et architecture. The first of them published in May 1958, under the title “Cinquante ans de recherches dans le spectacle” collected the most important experiences in theory, scenography, technic, and theater architecture in the interwar period. Polieri worked with different architects in several projects for theater buildings, whose main feature was the mobility of all their elements and components, trying to get a dynamic experience during the performance. Those proposals related to Kinetic Art, were published in a second issue of Aujourd´hui, art et architecture entitled “Scénographie Nouvelle” in October 1963.
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7

Buffery, Helena. "Theater Space and Cultural Identity in Catalonia." Romance Quarterly 53, no. 3 (July 2006): 195–209. http://dx.doi.org/10.3200/rqtr.53.3.195-209.

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8

Trehub, Arnold. "Space, self, and the theater of consciousness." Consciousness and Cognition 16, no. 2 (June 2007): 310–30. http://dx.doi.org/10.1016/j.concog.2006.06.004.

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9

KOLOT, Danyila. "Integration of multimedia technologies into theater space." Humanities science current issues 2, no. 38 (2021): 10–15. http://dx.doi.org/10.24919/2308-4863/38-2-2.

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10

Salimova, Leila F. "THE BODY IN THE HISTORY OF WESTERN EUROPEAN AND RUSSIAN THEATRE: CULTURAL VARIABILITY OF SHAME." Articult, no. 1 (2021): 19–31. http://dx.doi.org/10.28995/2227-6165-2021-1-19-31.

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Modern scientific knowledge approaches the study of the physical and aesthetic bodies with a considerable body of texts. However, on the territory of the theater, the body is still considered exclusively from the point of view of the actor's artistic tools. Theatrical physicality and the character of physical empathy in the theater are not limited to the boundaries of the performing arts, but exist in close relationship with the visual and empirical experience of the spectator, performer, and director. The aesthetic and ethical aspect of the attitude to the body in the history of theatrical art has repeatedly changed, including under the influence of changing cultural criteria of "shameful". The culmination of the demarcation of theatrical shame, it would seem, should be an act of pure art, independent of the moral restrictions of society. However, the experiments of modern theater continue to face archaic ethical views. The article attempts to understand the cultural variability of such a phenomenon as shame in its historical and cultural extent using examples from theater art from antiquity to the present day.
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11

Meschanova, L. N., and O. Y. Kozinskaya. "SCHOOL MUSICAL THEATER IN THE MODERN EDUCATIONAL SPACE." Современные проблемы науки и образования (Modern Problems of Science and Education), no. 1 2020 (2020): 21. http://dx.doi.org/10.17513/spno.29516.

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12

IUDOVA-ROMANOVA, Kateryna, and Yuliia ALENINA. "MODERNIZATION OF THEATER SPACE: MODERN DOMESTIC ARTISTIC CONTEXT." Ethnology Notebooks 145, no. 1 (February 21, 2019): 259–65. http://dx.doi.org/10.15407/nz2019.01.259.

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13

Cody, G. "Duras's Theater of Emptied Space and Impossible Performances." Theater 25, no. 2 (September 1, 1994): 56–66. http://dx.doi.org/10.1215/01610775-25-2-56.

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14

Mufson, D. "PERFORMING SPACE AND HISTORY: THEATER DER WELT '96." Theater 27, no. 2 and 3 (March 1, 1997): 147–54. http://dx.doi.org/10.1215/01610775-27-2_and_3-147.

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15

Reeve, Carlton. "Presence in Virtual Theater." Presence: Teleoperators and Virtual Environments 9, no. 2 (April 2000): 209–13. http://dx.doi.org/10.1162/105474600566727.

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Using empirical data, this research suggests that key features of a typical theatrical rehearsal process can significantly improve the sense of presence for participants within a shared virtual environment. Research of shared virtual environments (VEs) for the production of theater shows suggests that theater applications have specific requirements for presence. These can be summarized as characterization, repetition, and group dynamic, while the level of presence is dependent on the actor-avatar, actor-space, and actor-actor relationships.
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16

Otto, Devin. "An Interdisciplinary Conducting Curriculum: Selected Theater Games From Viola Spolin’s “Improvisation for the Theater”." SAGE Open 10, no. 4 (October 2020): 215824402095492. http://dx.doi.org/10.1177/2158244020954927.

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This article presents a series of theater games with clear connections to conducting and rehearsing music ensembles, explaining both how to play them and how young conductors will benefit from the experience. These games are published in Viola Spolin’s seminal text Improvisation for the Theater, which presents a series of exercises that foster communication, creativity, immediacy, and spontaneity. Many games also focus on creating and communicating character through physical movement and posture, awareness of the body in space, and manipulation of “space objects,” which are imaginary props made real in the mind of the observer through understanding of shared human experiences. Theater games are effectively experienced in short periods of time, intended for players of all ability and experience levels, and encourage immediate emotive communication, making them highly effective for young conductors and easily incorporated into undergraduate and graduate conducting classes.
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17

Witt, David, and Kristy Primeau. "Performance Space, Political Theater, and Audibility in Downtown Chaco." Acoustics 1, no. 1 (December 27, 2018): 78–91. http://dx.doi.org/10.3390/acoustics1010007.

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Chaco Canyon, NM, USA, was the center of an Ancestral Puebloan polity from approximately 850–1140 CE, and home to a dozen palatial structures known as “great houses” and scores of ritual structures called “great kivas”. It is hypothesized that the 2.5 km2 centered on the largest great house, Pueblo Bonito (i.e., “Downtown Chaco”), served as an open-air performance space for both political theater and sacred ritual. The authors used soundshed modeling tools within the Archaeoacoustics Toolbox to illustrate the extent of this performance space and the interaudibility between various locations within Downtown Chaco. Architecture placed at liminal locations may have inscribed sound in the landscape, physically marking the boundary of the open-air performance space. Finally, the implications of considering sound within political theater will be discussed.
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18

Stegmann, Vera, and Sarah Bryant-Bertail. "Space and Time in Epic Theater: The Brechtian Legacy." German Studies Review 26, no. 1 (February 2003): 183. http://dx.doi.org/10.2307/1432946.

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19

Kermode, L. E. "Experiencing the Space and Place of Early Modern Theater." Journal of Medieval and Early Modern Studies 43, no. 1 (January 1, 2013): 1–24. http://dx.doi.org/10.1215/10829636-1902522.

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20

Kim Namseok. "Local Theater of Korea and Meaning on Space(Raum)." Journal of korean theatre studies association 1, no. 59 (August 2016): 43–68. http://dx.doi.org/10.18396/ktsa.2016.1.59.002.

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21

M., Yatsiv. "LIGHT IN THE ARCHITECTURE OF MODERN THEATER BUILDINGS." Architectural Studies 6, no. 1 (September 1, 2020): 46–52. http://dx.doi.org/10.23939/as2020.01.046.

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The article discusses the role and functions of light in the space of modern theater buildings outside the auditorium and stage space. The architectural and structural factors of the formation of the lighting environment in modern theater buildings are determined; trends and features of the functioning of light in the space of modern theaters are revealed. The influence of the architectonics of buildings on the nature of the illumination of theatrical spaces is established. The experience of the formation of the lighting environment of theater buildings on the example of modern domestic and foreign theaters is analyzed.
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Park, Changhoon, Sang Chul Ahn, Yong-Moo Kwon, Hyoung-Gon Kim, Heedong Ko, and Taiyun Kim. "Gyeongju VR Theater: A Journey into the Breath of Sorabol." Presence: Teleoperators and Virtual Environments 12, no. 2 (April 2003): 125–39. http://dx.doi.org/10.1162/105474603321640905.

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We have built the world's largest virtual reality (VR) theater for the Gyeongju World Culture EXPO 2000. The VR theater is characterized by a huge shared VR space with tightly coupled user inputs from 651 audience members in real time. The shared 3D virtual environment is augmenting the physical audience space in harmony. Large computer-generated passive stereo images on a huge cylindrical screen provide the sensation of visual immersion. The theater also provides 3D audio, vibration, and olfactory display as well as the keypads for each of the audience members to interactively control the virtual environment. This paper introduces the issues raised and addressed during the design of a versatile VR theater, the production process, and the presentation techniques using the versatile display and interaction capability of the future theater.
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23

Packer, Randall. "Third Space Network: Theatrical Roots." Lumina 11, no. 2 (August 30, 2017): 82–109. http://dx.doi.org/10.34019/1981-4070.2017.v11.21446.

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This essay provides an overview of artistic work and experimentation leading to the concept of the Third Space Network: a live Internet broadcast and performance project for connecting artists, audiences, and cultural perspectives from around the world. The concept of the third space suggests the collapse of the local (first space) and remote (second space) into a third, socially constructed networked space. The third space can be viewed as a new realization of the community of theater in a globally connected culture: performance space for broadcasted live art, a forum for the aggregation of artist streams of media art, and an arena for social interaction. The following is a personal artistic history and contextualization of nearly thirty years of live performance, interactive media, installation, Internet art, and the spaces they inhabit. This essay connects early work in Music Theater from the late 1980s and early 1990s to more recent networked projects to frame the idea of the Third Space Network as a new theatrical environment rich in potential for live performance and creative discourse.
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Fink, Sabine Gebhardt. "Ambient in Kunst, Musik und Theater." Zeitschrift für Ästhetik und Allgemeine Kunstwissenschaft Band 54. Heft 1 54, no. 1 (2009): 121–32. http://dx.doi.org/10.28937/1000106143.

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In performativen künstlerischen Projekten der Ambient Art werden Raum und Körper neu erzeugt. Diese These verdeutliche ich mit Beispielen aus den Bereichen Musik, Theater und Kunst, die das transdisziplinäre Phänomen Ambient als komplexe mediale Struktur erklären. Des weiteren gehe ich vom Modell des gelebten Raums aus, um auszuführen, wie der Ort eines künstlerischen Projekts die Art und Weise der Verkörperungen seiner Teilnehmer definiert. Umgekehrt wird deutlich, daß die immersive ästhetische Erfahrung von Ambient erst Präsenz und Raum konstituiert. During performative artistic projects in Ambient Art, both space and structures of embodiment are constituted. I illustrate this thesis with examples of performative works in music, theatre and art, in order to analyze the transdisciplinary phenomenon of Ambient Art as a complex structure. My point of departure is a model of lived space in which the bodily enactment in the performative artwork produces place and, vice versa, the place of the artwork determines the active body as an immersive aesthetic experience.
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Isakov, Yuriy I. "VITRUVIUS ON THE VALUE OF MUSIC FOR ENHANCING THE ARCHITECTURE OF THE ANTIQUE THEATER’S AUDIENCE SPACE. Part 1." Architecton: Proceedings of Higher Education, no. 4(72) (December 28, 2020): 10. http://dx.doi.org/10.47055/1990-4126-2020-4(72)-10.

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Vitruvius' legacy points to the importance of music in architecture for enhancing the acoustics of ancient theaters. In particular, he described in detail the sounding vessels, or ηχεια – “echea”, the effectiveness of which has not been proven. The effect of “echeas” on the acoustic parameters of a small classical Greek theater is investigated using computer modeling methods. The theater models developed take into account Vitruvius' recommendations and published research and measurements of ancient theater acoustic parameters reconstructed in our time. The descriptions of Vitruvius and the musical theories of Aristoxenus and Pythagoras were considered when developing the “echeas” models. Using the standard algorithm of the EASE4.4 program, the parameters of a small theater were calculated and the C50, C80, STI acoustic parameters of the theater’s sound field were found to benefit from the “echeas” or sounding vessels.
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Verdon, Timothy. "Donatello and the Theater: Stage Space and Projected Space in the San Lorenzo Pulpits." Artibus et Historiae 7, no. 14 (1986): 29. http://dx.doi.org/10.2307/1483223.

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27

Batley, E. M., Alan C. Leidner, and Helga S. Madland. "Space to Act: The Theater of J. M. R. Lenz." Modern Language Review 91, no. 1 (January 1996): 251. http://dx.doi.org/10.2307/3734069.

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28

Sibanda, Nkululeko. "Conceptualizing Alternative Theater and Alternative Performance Space in Postindependence Zimbabwe." SAGE Open 9, no. 2 (April 2019): 215824401984669. http://dx.doi.org/10.1177/2158244019846699.

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29

Evans Romero, Constance. "Ancient ecstatic theater and Analytical Psychology: creating space for Dionysus." International Journal of Jungian Studies 9, no. 2 (May 4, 2017): 75–83. http://dx.doi.org/10.1080/19409052.2017.1306332.

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ABSTRACTThis paper explores links between the theatrical aspect of the Dionysian archetype and Analytical Psychology. It looks at some of the Dionysian elements in Jung’s published work and follows up with a brief exploration into how some of the potentially generative aspects of the archetype continue to be suspect in current clinical practice. Plutarch’s historic anecdote about the first actor, Thespis, and his dialogue with the Athenian Magistrate, Solon, will provide a focus with which to explore Dionysian elements within the Individuation process. A final section includes a short case history illustrating Dionysian elements unfolding in the theater of Jungian analysis.
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Lecat, J. G. "Real Estate and Theater Space in New York: A Forum." Theater 35, no. 3 (January 1, 2005): 134–45. http://dx.doi.org/10.1215/01610775-35-3-134.

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Russell, Susan. "Space and Time in Epic Theater: The Brechtian Legacy (review)." Theatre Journal 57, no. 1 (2005): 131–32. http://dx.doi.org/10.1353/tj.2005.0030.

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32

Sumners, C., P. Reiff, and W. Weber. "Learning in an immersive digital theater." Advances in Space Research 42, no. 11 (December 2008): 1848–54. http://dx.doi.org/10.1016/j.asr.2008.06.018.

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33

Nikolić, Sanela. "The Bauhaus Theater: Oskar Schlemmer's 'design in motion' concept." SAJ - Serbian Architectural Journal 6, no. 1 (2014): 43–62. http://dx.doi.org/10.5937/saj1401043n.

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Bauhaus Theater obtained its most complete form through Oskar Schlemmer's artistic, pedagogical and theoretical work. The key problem for Schlemmer was the law of motion of the human body in space. His poetic implied anti narrative and antimimetic theater and also the widespread use of stage figures with the vivid articulation of space as his primary intentions. The human body on stage, converted into artificial figure, was the universal symbol of human being defined by opposites, which exists in a geometrical given space and determine it metaphysically. Use of term 'dance' in Schlemmer's play most titles, is consistent with the conception of stage event as a stage play of artificial figure in geometrical given space. Design in motion concept, which means the organization of the stage with specific mechanical-choreographic motions and working with form and color, determine the Schlemmer's stage as the absolute visual stage. Within the Bauhaus, Oskar Schlemmer's stage work has contributed to understanding of the theatrical event as the equally important artwork area for design of totality of space in which was established harmony between man, his life process and environment in which man exists.
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Lupu, Andreea Gabriela. "The Reconfiguration of the Theatre Space and the Relationship between Public and Private in the Case of Apartment Theatre." Romanian Journal of Communication and Public Relations 18, no. 3 (January 25, 2017): 77. http://dx.doi.org/10.21018/rjcpr.2016.3.217.

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<p>This article tackles the means of theatre space reconfiguration in the apartment theater (<em>lorgean theater</em>), simultaneously analyzing the relation between public and private specific to this form of art. Structured around both a theoretical analysis and a qualitative empirical investigation, this paper emphasizes the traits of the theatre space as component of an artistic product received by the audience, and its value in the process of artistic production, within the theatre sector. The case study of <em>lorgean theater, </em>including a participant observation and an individual interview, enables the understanding of these two aspects of the spatial configuration, emphasizing its hybrid nature in terms of spatial configuration and the public-private relation as well as the act of reappropriation of the domestic space through an alternative practice of theatre consumption.</p>
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Li, Qiang, Ming Bing Zhao, and Yong Feng. "Speaker Identification in Total Variability Space." Applied Mechanics and Materials 401-403 (September 2013): 1489–92. http://dx.doi.org/10.4028/www.scientific.net/amm.401-403.1489.

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Gaussian Mixture Model-Universal Background Model based approaches have been popular used for speaker identification task. But in real complex environment the identification system performs too much worse than in laboratory, and the main reason is the mismatch of the training and testing channel and also the variability of the speaker himself. In this paper we introduce i-vector to the speaker identification system. In i-vector approach, a low dimensional subspace called total variability space is used to estimate both speaker and channel variability. Baum-Welch statistics are first computed over the given UBM to estimate the total variability. From the experiment results, we obtain 2.44% relative accurate identification rate improvement when using total variability space to compensate the mismatch of the variabilities from both the speaker and channel.
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Lundberg, Per, Esa Ranta, Jörgen Ripa, and Veijo Kaitala. "Population variability in space and time." Trends in Ecology & Evolution 15, no. 11 (November 2000): 460–64. http://dx.doi.org/10.1016/s0169-5347(00)01981-9.

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37

Kim, Seonjin, Les G. Carlton, Yeou-Teh Liu, and Karl M. Newell. "Impulse and Movement Space—Time Variability." Journal of Motor Behavior 31, no. 4 (December 1999): 341–57. http://dx.doi.org/10.1080/00222899909600999.

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38

Kyungmi Lee. "Intermedial Scenography -Reconstitution of Theater Discourses on Space, Liveness and Presence." Drama Research ll, no. 47 (October 2015): 133–73. http://dx.doi.org/10.15716/dr.2015..47.133.

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39

Shmatova, Galina A. "MODERN THEATER IN URBAN SPACE. THE CASE OF "PETER FOMENKO’S STUDIO"." RSUH/RGGU Bulletin. Series History. Philology. Cultural Studies. Oriental Studies, no. 9 (2017): 131–39. http://dx.doi.org/10.28995/2073-6355-2017-9-131-139.

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40

Arias, Gabrielle, Christina Dennis, Stephenie Loo, Amy Larson Lazier, Kathleen D. Moye, Kathleen Moye, Chelsey O’Connor, Anna Rich, Molly Weinberg, and Jason D. Butler. "A Space to Speak: Therapeutic Theater to Address Gender-Based Violence." Violence Against Women 26, no. 14 (September 1, 2020): 1771–89. http://dx.doi.org/10.1177/1077801220942835.

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This article examines the experience of eight graduate students in the drama therapy program at Lesley University when creating and performing a theater piece centered around gender-based violence. The performance piece, A Space to Speak, used the performers’ real-life stories to highlight their vastly different, yet strikingly similar, experiences and invited the audience to examine their own relationship to those stories. A description of the process used to create and perform the piece is followed by a discussion of the impact the process had on the performers and audience members.
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41

Werman, Anna. "Motyw emigracji a semantyka przestrzeni w teatrze Jorge Díaza." Ameryka Łacińska. Kwartalnik analityczno-informacyjny, no. 107 (July 16, 2020): 1–14. http://dx.doi.org/10.36551/20811152.2020.107.01.

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The paper discusses the correlation between the appearance of the motif of emigration and the concept of theater space, using the case of selected plays by a Chilean playwright Jorge Díaz. The article focuses on five dramas from 1980s and 1990s that revolve around the issue of forced external emigration. The definition of political emigration adopted by the author refers to sociological and psychoanalytical studies that consider exile in terms of an irretrievable loss of numerous aspects that contribute to the sense of individual integrity, leading to a life in the limbo of anticipated return, an identity crisis caused by lack of the sense of belonging, or an affective dissociation from the home and the host country. At the root of the issues listed above lie primarily the space-time conditions. A thorough analysis of theater space, using the methodologies of such researchers as T. Kowzan, M. Carmen Bobes Naves, P. Pavis, and J. L. García Barrientos, reveals the complexity of the structure of space, divided into the visible, the invisible, and the autonomous. The latter may be considered both from a synchronous and anachronistic standpoint. It can also be subject to the process of internalization, in which objective and subjective spaces are distinguished. This manner of presenting the category of space allows for discerning a number of relations, such as the presence of syntagmatic relations between various spaces (open/closed, life/recollection, etc.), or the paradigmatic, similarity- or contrast-based relations with other theater categories. Moreover, the use of the concepts of metaphor, metonymy, and synecdoche contributes substantially to enriching of the significance of the theater space.
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Showalter, Daniel J., and Jonathan T. Black. "Responsive Theater Maneuvers via Particle Swarm Optimization." Journal of Spacecraft and Rockets 51, no. 6 (November 2014): 1976–85. http://dx.doi.org/10.2514/1.a32989.

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43

Arns, Inke. "Zero Gravity, Anti-Mimesis and the Abolition of the Horizon: On Cosmokinetic Cabinet Noordung’s “Postgravity Art”." Leonardo 52, no. 1 (February 2019): 17–22. http://dx.doi.org/10.1162/leon_a_01377.

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This article presents the work of the retro-utopian Slovenian performance and theater collective Cosmokinetic Cabinet Noordung and its effort to abolish mimetic art in zero gravity (“postgravity art”). It describes the origin of a space station rotating around its own axis (designed in 1928 by Hermann Potočnik Noordung in The Problem of Space Travel); questions the relationship between zero gravity and the historical avant-garde (especially Suprematism) as postulated by theater director Dragan Živadinov; and sketches the past, present and future of the collective’s 50-year project Noordung 1995–2045.
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Horstmann, Jan. "Zeitraum und Raumzeit: Dimensionen zeitlicher und räumlicher Narration im Theater." Journal of Literary Theory 13, no. 2 (September 6, 2019): 185–205. http://dx.doi.org/10.1515/jlt-2019-0007.

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Abstract The positioning in space and time of performed narration in theater poses a specific challenge to classical narratological categories of structuralist descent (developed, for example, by Gérard Genette or Wolf Schmid, for the analysis of narrative fiction). Time is the phenomenon which connects narratology and theater studies: on the one hand, it provides the basis for nearly every definition of narrativity; on the other, it grounds a number of different methodologies for the analysis of theater stagings, as well as theories of performance – with their emphasis on transience, the ephemeral, and the unrepeatable, singular or transitory nature of the technically unreproducible art of theater (e. g. by Erika Fischer-Lichte). This turn towards temporality is also present in theories of postdramatic theater (by Hans-Thies Lehman) and performance art. Narrating always takes place in time; likewise, every performance is a handling of and an encounter with time. Furthermore, performed narration gains a concrete spatial setting by virtue of its location on a stage or comparable performance area, so that the spatial structures contained in this setting exist in relation to the temporal structures of the act of theatrical telling, as well as the content of what is told. Both temporal and spatial structures of theater stagings can be systematically described and analyzed with a narratological vocabulary. With references to Seymour Chatman, Käte Hamburger and Markus Kuhn among others, the contribution discusses how narratological parameters for the analysis of temporal and spatial relations can be productively expanded in relation to theater and performance analysis. For exemplary purposes, it refers to Dimiter Gotscheff’s staging of Peter Handke’s Immer noch Sturm (which premiered in 2011 at the Thalia Theater Hamburg in cooperation with the Salzburger Festspiele), focusing on its transmedial broadening of temporal categories like order, duration, and frequency, and subsequent, prior, or simultaneous narration. The broadening itself proves feasible since all categories of temporal narration can be applied to performative narration in the theater – at times even more fruitfully than in written language, as is the case, for example, with the concept of ›duration‹. The concept of ›time of narration‹ too can be productively applied to theater. Whilst a subsequent narration is frequently considered the standard case in written-language narratives on the one hand – a conclusion that is, however, only correct if the narrator figure and narrative stand in spatiotemporal relation to one another, i. e. if a homodiegetic narrator figure is present – it is commonly held that in scenic-performed narration, on the other hand, the telling and the told take place simultaneously. The present contribution argues against this interpretation, as it stems from a misguided understanding of the ›liveness‹ of performance. ›Liveness‹ refers only to the relationship between viewers and performers and their respective presence, but not to their temporal and spatial relationship to the told. Rather, the following will argue that the time of narration in theater (as well as in film) stays unmarked in most cases. It is possible, however, to stage subsequent, prior, or simultaneous narration, too. Immer noch Sturm is one example for a performed subsequent narration. For audiovisual narration, then, a special case of iterative narration (telling once what happened n times) can be identified, which is to tell a few times (n minus x) what happened n times. As an additional category for the analysis of narrative temporality in audiovisual narrative media, I propose what I venture to call ›synchronized narration‹, in order to describe the specificity of spatiotemporal relations in performance. In synchronized narration, two or more events (that happen at different places or times in the narrative world) are shown at the same time on stage. This synchronized performance of several events is only realizable within the audiovisual dimension of spatial narration and not in written-language based narration. Furthermore, for narrative space relations the categories ›space covering‹, ›space extending‹, and ›space reducing narration‹ are suggested in order to analyze the relationships between discourse space and story space(s). Discourse space emerges in the concrete physical space of the performance when narrativity is present. Within this discourse space any amount of story spaces (with any expansion) can emerge. However, whilst in time-extending narration the time of the telling is longer than the time of the told, in space-extending narration the told space is bigger than the space of the telling. This principle is analogously valid for time-reducing or space-reducing narration. The transmission and media-specific broadening of temporal and spatial narratological parameters reveals how time and space form a continuum and should thus be linked and discussed alongside one another in analytical approaches to narrative artifacts. The staging of Immer noch Sturm actualizes a metaleptic structure, in which temporal borders are systematically dissolved and the overstepping of spatial borders becomes an indicator for the merging of different temporal levels. Referring back to established narratological parameters and developing analogous conceptual tools for narrative space facilitates a comparative analysis both of specific narratives and of narrative media and thus not only offers a productive challenge of classical narratological parameters, but allows to investigate and construct a holistic – if culture-specific – overall view of narration.
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Rosenthal, Victor, and Yves-Marie Visetti. "Gestalt Bubble and the genesis of space." Behavioral and Brain Sciences 26, no. 4 (August 2003): 424. http://dx.doi.org/10.1017/s0140525x03380094.

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Lehar (rightly) insists on the volumetric character of our experience of space. He claims that three-dimensional space stems from the functional three-dimensional topology of the brain. But his “Gestalt Bubble” model of volumetric space bears an intrinsically static structure – a kind of theater, or “diorama,” bound to the visual modality. We call attention to the ambivalence of Gestalt legacy and question the status and precise import of Lehar's model and the phenomenology that motivates it.
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46

Sibul, Karin. "Glimpses Into the History of Interlingual Simultaneous Theater Interpreting in Estonia." Journal of Audiovisual Translation 3, no. 2 (December 21, 2020): 170–85. http://dx.doi.org/10.47476/jat.v3i2.2020.121.

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This paper examines the practice of simultaneous interpretation of theater performances, in particular between Estonian and Russian, in Estonia over 70 years. This type of interpreting has not received much scholarly attention; rather, studies have mostly focused on the sign language interpretation of theater performances for the deaf community. I conducted interdisciplinary historical research relying on the oral history method to help preserve the fast-disappearing oral heritage of theater interpreting. This paper distinguishes between two periods in theater interpreting in Estonia, as determined by two drastically different sociopolitical periods in Estonia’s history. Drawing upon a total of 88 interviews with interpreters, people who recruited interpreters, and audience members, I identified and interviewed a total of 15 theater interpreters. I also analysed newspaper articles and performance schedules, which usually yielded single-word mentions of interpretation having taken place. This paper examines answers to the questions of who interpreted what, how, and when, and reaches the conclusion that theater interpreting can be a tool to bridge a gap between two communities as well as to facilitate integration in the same cultural space.
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47

Weng, Lian Fen, Ming Gong, Zhen Hua Liu, and Xiao Bei Wang. "Reinforcement Technology of Space Grid Structure for Reconstruction of Shandong Qufu Xingtan Theater." Advanced Materials Research 243-249 (May 2011): 5487–90. http://dx.doi.org/10.4028/www.scientific.net/amr.243-249.5487.

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Shandong Qufu Xingtan Theater, originally built for an open-air theater, was designed as a one-time temporary structure with bolt ball junction double-layer regular pyramids grid structure roofing system. Because of the transformation of open-air structure system to an enclosed construction, some members of the space grid structure can not meet the required bearing capacity. According to the mechanical performance of space grid structures, the reinforcement methods of “circular steel jacketing” and “lateral support” are conducted, which are based on the analysis of the stress and stability characteristics of different grid members. By using the methods given above, the stress and slenderness ratio is decreased. The results indicate that the two reinforcement methods can reduce the difficulty in construction, shorten the construction period, and gain good economic and social benefit.
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48

Portnova, Tatiana V. "Architecture of Antique Theaters as an Element of the World Cultural Landscape." Observatory of Culture 17, no. 3 (August 6, 2020): 320–32. http://dx.doi.org/10.25281/2072-3156-2020-17-3-320-332.

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The article deals with the history of development of the antique theatrical architecture in the context of the environment that forms the territory acquiring the status of a cultural landscape. The material of antiquity is interpreted in the aspect of the formation evolution of theater buildings, ranging from ancient Greek to ancient Roman, which, despite being in ruins, amaze us with their large-scale and unspoiled architecture. The article attempts to systematize the valuable evidence of the past, material (theater architecture) and non-material (theater art), since the repertoire is alive as long as it is performed, and the theater architecture remains to posterity. There is considered their relationship in space and time. The study’s methods (descriptions of the phenomena under study, field observation, problem-historical analysis) made it possible to focus on the construction specifics of the theater buildings located in open spaces representing cultural landscapes — vast areas of co-creation of man and nature. Over the epochs, the theater architecture, designed for spectacular performances and connected with the environmental factor and acting art, was transforming, just as the theater itself was changing, sometimes within a single performance on a single stage. Fragments of the lost cultural experience are today open systems in associative, semantic, historical aspects, as well as in terms of objects reconstruction. They form an attractive and popular place that goes beyond the limits of urban planning conditions and has the property of an important public space. The composition of theater construction and the principles of shaping that formed in the ancient period had a great influence on their subsequent development and have been preserved in modern design solutions. In this context, the experience of interpreting the architectural monuments belonging to the theatrical art has a great cultural and educational value, not only in terms of reconstructing the lost stratum of cultural heritage, but also, to a greater extent, in modeling a new vision of the emerging architectural culture of the world.
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Annichev, О. Ye. "The interaction of theatrical journalism and theatrical criticism in the modern media." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 51, no. 51 (October 3, 2018): 115–26. http://dx.doi.org/10.34064/khnum1-51.06.

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Background. Topicality of the theme. With the advent of the Internet, Internet journalism has appeared. In relating to theater, in essence, it is theatrical criticism, which has only undergone major changes. In recent years, there have been lively discussions in professional circles about the state and prospects of theater criticism as a profession, about the nature of theater criticism, its self-identification in the modern information space. Round tables with the participation of leading theater critics are devoted to the issues of the current state of theater criticism, a number of relevant materials have been published in specialized publications, often with indicative headings: “Who needs theater critics?” [1], “Theater criticism: final or transformation?” [9]; interviews of theater critics, in which they uphold the positions of the profession and, at the same time, speak about urgent problems and the need to update it taking into account rapidly changing realities: with S. Vasilyev [2], N. Pivovarova [5], Ya. Partola [6]; discussion articles on the status and prospects of the profession by M. Harbuziuk [3], M. Dmitrevskaya [4], N. Pesochinsky [7], I. Chuzhynova [10], S. Schagina, E. Strogaleva, E. Gorokhovskaya [11]. Thus, there are several points of view on this topic: that theatrical journalism has replaced theatrical criticism; that theatrical critics of the old school did not have time to adapt to the changing world and use new tools in this profession, and young critics just occupy their niches in the youth media and on the Internet; that the profession of a critic does not go beyond the framework of participation in expert councils, jury membership, attendance at theater festivals, and writing reviews on request. The question, however, is still open. The main goal of this article is to determine the degree and main character of the interaction of journalism and theatrical criticism in modern media. Results of the study. Those who are seriously engaged in theater studies and academic theater criticism feel the need for specialized publications, the number of which in Ukraine is reduced to a minimum. Therefore, those who had the opportunity to publish reviews in the socio-political periodicals, have to combine three professional areas in one, becoming a theater journalist. Academically trained theater critics can write and often write good books, but, as a rule, do not know how to write for newspapers and magazines. But graduates of journalistic departments who write about the theater are not familiar with professional terminology, which is able to give a correct assessment of the premiere performance. The question arises: how to combine those and these, that the theater journalism was both fascinating and acute, and moderately scandalous, but at the same time accurate and high-quality? To grow such specialists is a matter of work, there can be no conveyor system here. Modern theater criticism, gradually becoming obsolete, rather survives from the common theatrical space. The theater critic cannot be a free artist, and live on the money from the results of his work, because in non-capital cities the number of journals in which the theater specialist would have had time to publish his works has decreased by several times. In cities such as Poltava, Sumy, Chernigov, the issues relating to theatrical premieres are not covered by critics (they are simply not there), but by journalists who write on various topics and rarely specialize in one. The substitution of theatrical critique by journalism is quite natural, for example, for cities where there is no professional training of theater critics, however in Kiev, Kharkiv and Lviv theater studies continue, and a certain number of graduates hope for the viability of this profession. Theatrical criticism and theatrical journalism are in their own way demanded in certain circles. Criticism is closer to theaters, journalism – to the audience. It is difficult to debate with this statement that new epoch came with the Internet. Now, the spoken word has a completely different value. For example, а word thrown on Facebook can have the same effect on public opinion as a big, built, hard fought text. This does not mean that you do not need to write large texts and publish them on paper. You just need to understand and accept the new reality, its advantages and disadvantages, its danger and its benefits. It is a very important problem of our consciousness and the problem of our theater. The Internet has given a new push to the development of new type of media-translations, actively working in social networks. Sites appear on the network where online remote screenings of performances are held. They provide Internet audiences with the opportunity to be acquainted with the history of national and world theater art; they are introduced to modern avant-garde performances. Of course, this also brings the theater closer to a wide, as a rule, young audience and opens up new opportunities for a different kind of theater journalism. Сonclusions. Thus, the Internet becomes an active means of influencing the minds in the modern media space. The Internet influences everyone and everything, changing attitudes towards theatrical art, as well as contemporary theater criticism and theater journalism. However in this case, it is essential to remember that not the Internet, but only professional theater criticism that has been and remains the breeding ground for the scientific work of theater critics and art historians, while creating the history of dramatic, opera and ballet theater.
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Admink, Admink, and Катерина Юдова-Романова. "СЦЕНІЧНИЙ ПРОСТІР : ПРОБЛЕМИ ТЕРМІНОЛОГІЇ У МИСТЕЦТВОЗНАВЧИХ ДОСЛІДЖЕННЯХ." УКРАЇНСЬКА КУЛЬТУРА : МИНУЛЕ, СУЧАСНЕ, ШЛЯХИ РОЗВИТКУ (НАПРЯМ: КУЛЬТУРОЛОГІЯ), no. 33 (May 3, 2020): 117–23. http://dx.doi.org/10.35619/ucpmk.vi33.300.

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Досліджено сценічний простір як універсалію художньої культури у контексті поняттєвого апарату сучасного мистецтвознавства. З метою концептуалізації поняття сценічного простору здійснено аналіз його гносеологічного інструментарію, зокрема: культурний простір, простір культури, художній простір, театральний простір, простір театру, простір сцени, ігрова діяльність, дизайн сценічного простору, сценографія, а також поняття «театральність» та «сценічність». У підсумку визначено, що сценічний простір – це певна існуюча в просторі і часі локація, в межах якої відбувається процес створення та сприйняття глядачем твору сценічного мистецтва. Stage space as a universal of artistic culture in the context of the conceptual apparatus of contemporary art criticism is investigated. In order to conceptualize the notion of stage space, an analysis of its epistemological instruments was carried out, in particular: cultural space, space of culture, artistic space, theater space, theater space, stage space, play activities, stage space design, set design, and the notion of theatricality. As a result, it is determined that the stage space is a certain location in space and time within which the process of creation and perception by the viewer of a work of performing art takes place.
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