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Journal articles on the topic 'Variety theater'
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Krypchuk, Mykola, and Dmitry Umlev. "Director-Creative Specificity Children's Variety Theater "Star Time"." Bulletin of Kyiv National University of Culture and Arts. Series in Stage Art 3, no. 1 (2020): 78–90. https://doi.org/10.31866/2616-759x.3.1.2020.204360.
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The purpose of the article is to scientifically and theoretically substantiate the artistic features of the children's variety theater, to identify the specifics of directorial practices in such groups, to characterize the content, forms and working methods of the example of the children's star theater “Star time” in Odessa. The research methodology involves the use of the following scientific approaches: integrated is to disclose the essence of all aspects of the artistic specificity of children's theater; cultural is for contrasting and comparing the philosophical, historical, psychological, pedagogical and art components in the activities of children's pop theater; empirical is for observing, interviewing children and parents, etc. Scientific novelty. For the first time, for the research purpose, the experience of creative and organizational activity theater “Star Time” of Odessa was collected, the basic directorial techniques in work with children were characterized and the directions of the collective further development were summarized. Conclusions. Theater as a means of personality formation is one of the first places among other types of children's creativity, it is for children a source of information about the world and the laws of life, and it makes you think about the meaning of human existence and the depths of the human soul. Therefore, the children's pop theater “Star Time” of Odessa proposed a theoretical model of the children's pop theater, consisting of two areas of the collective. The first involves the analysis and determination of the working features with participants in the performance, as well as compliance with certain principles in their activities. The second direction relates directly to the creative activities of children's pop theater, in particular methods, forms and means. The article describes modern directorial techniques and defines the professional activities features of the director working in the children's team, which are extremely cautious about children's theater creativity, taking into account the age, physiological, psychological properties of children, the need to create such an organization of theatrical creativity of children that will ensure full self-expression of young actors, while maintaining a resemblance to a natural children's game; analyzed the main directorial and creative technologies, as well as further prospects for the children's theater development.
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Kuznetsov, Evgenii. "The Shaping of the Bourgeois Variety Theater." Russian Studies in History 31, no. 3 (1992): 11–24. http://dx.doi.org/10.2753/rsh1061-1983310311.
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Jalilova, Feruza Suratovna. "The Distinctive Features of Variety Acting." International Journal of Multicultural and Multireligious Understanding 10, no. 6 (2023): 373. http://dx.doi.org/10.18415/ijmmu.v10i6.4917.
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This article provides information about the distinctive features of the variety acting, its differences from theater acting, issues of aesthetic taste required of the variety actors, development of the fantasy of the variety actors.
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Latsik, Yevhen, Mariya Markovych, Nataliya Hryhoruk, Mykola Bazhanov, and Zoya Matsyshina. "History of the development of theater architecture: (5th century BC – beginning of the 20th century)." History of science and technology 14, no. 1 (2024): 254–83. http://dx.doi.org/10.32703/2415-7422-2024-14-1-254-283.
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The article analyzes the stages of formation and development of theater architecture (from antiquity to 1900) in accordance with the evolution of culture, historical, social and economic development of human society. A description of the technologies of the theater building of different eras, its design and construction norms are presented. The authors made an attempt to explain the evolution of architectural styles of theater buildings from ancient times to modern times. It helps to understand the influence of cultural, technological and social factors on architectural decisions. The impact of the development of architectural styles in the construction of theaters of different eras on cultural heritage is also considered. The authors emphasize the need for a comprehensive coverage of the importance of considering the architectural features of theater buildings as part of the cultural heritage of various peoples and eras. For this purpose, the authors reviewed architectural masterpieces that have become symbols of their cities or countries. The authors separately considered the issue of technical progress in the construction of theaters at different times. This part of the article is devoted to explaining the technological innovations that influenced theater architecture, such as improved acoustics, lighting, and construction methods. Also, the authors of the article reviewed modern trends in the use of materials and energy-efficient solutions. The article analyzes the relationship between the development of theater architecture and social aspects, such as changes in audience tastes, the role of theater in society, and the reflection of political and cultural trends in buildings. The authors of the article attempted to determine the influence of theater architecture on modern architecture and society. In particular, an overview of the influence of the heritage of outstanding architects of theater buildings and their contribution to the development of architecture in general is made. The article shows that the expansion of the typological structure of the architecture of various theaters created the prerequisites for a variety of compositional schemes and a fundamentally different presentation of architectural tasks. Different city-building conditions, typological foundations and individual characteristics of the theater led to the appearance of new buildings that contrast in their structure, style and means of artistic expression. Historical experience shows that theater architecture is as inexhaustible as theater art, as inexhaustible and complex multi-meaning concept of theater.
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Batytska, Tetiana. "Aspects of Theatre Directing in the Maria Zankovetska National Academic Ukrainian Drama Theater during the 1990s–2010s." ARTISTIC CULTURE. TOPICAL ISSUES, no. 19(2) (November 29, 2023): 86–94. http://dx.doi.org/10.31500/1992-5514.19(2).2023.294632.
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The paper examines the key features of the creative work of three stage directors of the Maria Zankovetska Theater during the 1990s–2010s: Fedir Stryhun, Alla Babenko, and Vadym Sikorskyi. The analysis of their landmark productions enables distinguishing the method of working on the theatrical production by each of them and outlines the thematic and conceptual range of both the artists’ works and the theater as a whole. The variety of artistic methods of stage direction during the period was studied, including the elements of psychological, poetic, and conditional theater in the terms of aesthetics, as well as the political, philosophical, and intellectual theater in relation to the concept, and the nature of the conservative and experimental theater in respect to the novelty of the implementation of stage solutions. It was identified that the creative image of the theater had been established by F. Stryhun and his artistic guidelines were dominant during the period, with his creative work oriented towards the social and cultural educational demands of Ukraine. Modern stage design and directing, presented by his colleagues A. Babenko and V. Sikorskyi, were less significant in the overall course of the theatre.
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Krypchuk, Mykola. "ASPECTS OF PSYCHOTECHNICS IN THEATER AND IN VARIETY ART (COMPARATIVE ANALYSIS)." Scientific Issues of Ternopil National Pedagogical Volodymyr Hnatiuk University. Specialization: Art Studies, no. 2 (May 23, 2023): 104–11. http://dx.doi.org/10.25128/2411-3271.19.2.14.
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The article investigates the specifics of the basic elements of psychotechnics in theater and variety art. The nature and variety of the artist’s psychotechnics is clarified and specified. The specific peculiarities and differences of the way of existence of a dramatic actor and a stage artist are determined. Specificity of performance in the variety turn, which uses a laconic arsenal of means of acting expression is characterized. The “foundation” of K. Stanislavsky’s entire system are the basic principles where the process of dramatic transformation of an actor into an image is crucial. The theater reformer was able to discover the secret of creating an everyday life in unrealistic conditions. In this sense, it is necessary not only to select the crucial elements of the performing arts, but also to synthesize them, to merge into a new “human soul” seeking for dramatic transformation. The purpose of the article is to determine the nature of actor psychotechnics in the theater and on the stage, its aspects. The experience of the Ukrainian variety shows proves that the tendency of combining acting skills and technical virtuosity of performing a variety turn of a particular genre, which are becoming relevant at the current stage of development of variety art as a whole, is actualizing. Many components of the variety artist’s profession are based on the general fundamental principles inherent in dramatic theater, musical theater and the circus. Stage attention is one of the most important elements of a person’s mental activity, which includes being focused and to focus consciousness on a particular object. Possession of our attention is connected with the activity of our senses (sight, hearing, touch, smell, taste), ability to think and act. However, if in dramatic theater the artist’s attention on stage can be both passive and active, then on the stage the artist’s attention is always suspended, since the short time frames of the performance and co-operative interaction with the public do not allow the artist to involuntarily perceive it. Therefore, the attention of the artist on the stage is always active. In a dramatic performance, a complex form of external-internal attention is used; not during the entire theatrical production, but in some individual moments of perfoming the role. And on stage the artist almost always uses this type of attention throughout the variety turn. Therefore, in order to successfully demonstrate the artist’s variety turn, it is necessary to have a complex form of external-internal attention, to be able to manage multidimensional attention at different concert venues, to have the ability to instantly and repeatedly switch the attention from the object on the stage to the audience and back. Thus, the “double world” of a variety art also influences this element of the actor’s internal technique creating a different structure of attention other than the art of theater. The author emphasizes that psychotechnics are the most important in the art of the actor. The artist in his or her psychophysical unity is for him/herself both the creator and the “tool”. According to the author of the study, in order to create favorable conditions for creativity, it is necessary to bring into proper condition the “tool” of the actor – his own organism. For this purpose it is necessary to improve the internal (mental) technique of the artist. The analysis of the problem made it possible to identify and classify the two main differences between variety art and theatrical art: first, it is a special system of communication between the artist and the auditorium; secondly, this difference is laconicism.
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Sigman, Alexander. "Robot Opera: Bridging the Anthropocentric and the Mechanized Eccentric." Computer Music Journal 43, no. 1 (2020): 21–37. http://dx.doi.org/10.1162/comj_a_00498.
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The recent emergence of robot opera, in which robots and robotic entities have served polyvalent and at times ontologically ambiguous roles, has challenged the distinction made by Bauhaus artist László Moholy-Nagy between anthropocentric and mechanized eccentric theater, as is outlined in his 1924 essay “Theater, Circus, Variety.” When incorporated into the context of music theater, is the robot dimension intended to replace human activities and modes of expression; to augment, disembody or dislocate them; or rather to absorb them, such that the robot becomes an ersatz human presence in and of itself? If the latter, does the robot adequately emulate human attributes of musical expression, or does it establish its own artificial expressive mode and set of performance techniques? With Moholy-Nagy's criteria for a so-called Theater of Totality and these leading questions in the background, salient robot opera examples of the past several years will be discussed. Repertoire examples include Tod Machover's pioneering Death and the Powers (2010), the Komische Oper Berlin production My Square Lady (2015), Keiichiro Shibuya's Scary Beauty (2018), and works emerging from the University of Sussex Centre for Research in Opera and Music Theatre Robot Opera Mini Symposium, held in 2017.
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Gil, Ricard. "Does Vertical Integration Decrease Prices? Evidence from the Paramount Antitrust Case of 1948." American Economic Journal: Economic Policy 7, no. 2 (2015): 162–91. http://dx.doi.org/10.1257/pol.20120245.
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I empirically examine the impact of the 1948 Paramount antitrust case on ticket prices using a unique dataset collected from Variety magazine issues between 1945 and 1955. With information on prices, revenues, and theater ownership for an unbalanced panel of 393 theaters in 26 cities, I find that vertically integrated theaters charged lower prices and sold more admission tickets than nonintegrated theaters. I also find that the rate at which prices increased in theaters was slower while integrated than after vertical divestiture. These findings together with institutional details are consistent with the prediction that vertical integration lowers prices through the elimination of double marginalization. (JEL G34, K21, L11, L22, L42, L82)
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Çikopano, Anxhela. "Partisan theater or the Albanian variant of agitprop theater?" Art Studies, no. 21 (November 16, 2023): 9–33. https://doi.org/10.71398/as.vi21.3012.
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Consulting the most recent publication on the history of Albanian theater, we find the term partisan theater used to describe a practice that precedes the emergence of professional Albanian theater. It is surprising that (even today) such a minor theatrical phenomenon, which appeared in the years 1941-1944, is accorded such an important role in the history of Albanian theater, one nearly equivalent to the 30 years of vigorous theatrical development that has its genesis in 1874, in Gjirokastra, with Koto Hoxhi. Beyond this unexpectedly significant historical weight, it is surprising to see a phenomenon that has more in common with variety theater (estrada) than with the traditional practice of theater, with its classical elements, nonetheless classified as and equated with theater. In its characteristics, partisan theater contrasts markedly with the theater movement as it developed both before and after the communist regime came to power. So: does partisan theater really deserve its current place on the map of Albanian – and world – theater history?
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Jordan, Hanuš. "Cirkusové fotografie v divadelní sbírce Národního muzea." Časopis Národního muzea. Řada historická 190, no. 1-2 (2022): 19–42. http://dx.doi.org/10.37520/cnm.2021.002.
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Circus Photos at the Theatre Collection of the National Museum The specialized circus fund of the theater collection of the National Museum contained over 9 000 images when it was created in 2004. The study describes its time limitations for the years 1950–1990, it also deals with older images, forms of shooting circus and variety shows, and the issue of describing photographs as a historical source. Authors of circus photos Vladimír Lammer, Václav Gína and Oldřich Mazůrek.
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Rodger, Gillian M. "When Singing Was Acting: Song and Character in Variety Theater." Musical Quarterly 98, no. 1-2 (2015): 57–80. http://dx.doi.org/10.1093/musqtl/gdv006.
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Dyatlov, Dmitry A. "”Musical theater” by Mark Levyant." Sphere of culture 2, no. 4 (2021): 89–101. http://dx.doi.org/10.48164/2713-301x_2021_6_89.
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The article is devoted to the work of Samara composer Mark Levyant. The musician celebrates his anniversary in 2021. In the composers extensive creative background of writing there is a variety of genres including classical music. Brief analytical overview presents composers chamber, choral, vocal and symphonic works. They are all considered in the music paradigm of drama theatre. Each of them reflects some interaction with the composers theatre music.
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Wilmeth, D. B. "Champagne Charlie and Pretty Jemima: Variety Theater in the Nineteenth Century." Journal of American History 98, no. 1 (2011): 217–18. http://dx.doi.org/10.1093/jahist/jar085.
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Gilbert, Dennis A., and Diana L. Burgin. "Jean-Paul Sartre." Sartre Studies International 25, no. 2 (2019): 1–17. http://dx.doi.org/10.3167/ssi.2019.250202.
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Sartre’s scattered commentaries and remarks on theater, published in a variety of media outlets, as well as in the most unlikely of essays (spanning philosophical texts, biographies, and literary criticism), were finally assembled late in Sartre’s career and published in one volume, Un Théâtre de situations (Sartre on Theater), put together by Michel Contat and Michel Rybalka in 1973. Inevitably, a number of later or missing theatrical documents then came to light, and an updated edition of Un Théâtre de situations appeared in 1992. There still remained, however, other documents on theater which for one reason or another were not included in the later volume. Two of these documents are published interviews that Sartre gave to the Russian theater journal, Teatr, in 1956 and 1962. It is those virtually unknown interviews by Sartre on theater that we are pleased to publish here for the first time in English translation.
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Jang, Youngji. "A Study on the Potential of Site-Specific Theatre as Content for Liberal Arts Education." Korean Association of General Education 17, no. 6 (2023): 221–34. http://dx.doi.org/10.46392/kjge.2023.17.6.221.
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This study proposes a teaching model for liberal arts education utilizing site-specific theater and examines its implications. By exploring various theoretical backgrounds and practical examples related to place-specific theater, the course covers a variety of concepts and deepens students' knowledge of theater. Theoretical explorations are followed by practical activities that encourage creative and critical thinking and provide opportunities to exercise the theatrical imagination. Practical activities provide learners with important experiences that allow them to see everyday spaces in a new light and to extend theater to personal and social meanings. There are also opportunities for students to watch and critique the work of other learners and to reflect on their own work in order to consolidate their knowledge and experience and to acquire new questions. The whole process is an educational one that leads to embodied knowledge. This study argues that theater, especially place-specific theater, is suitable content for liberal arts education, promoting learners' creativity and critical thinking skills, and offering another model of practice.
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Spasić, Vanja. "Ideology of the Opera Diva in the Case of the Opera of the National Theatre in Belgrade." AM Journal of Art and Media Studies, no. 10 (October 15, 2016): 41–50. http://dx.doi.org/10.25038/am.v0i10.132.
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The theme of this work refers to the study of opera’s diva system or the way inwhich an opera diva can affect (or not) the development of repertory theater. The idea is thatthrough a variety of approaches – musicology, history, sociology – one finds those aspects thatare caused to develop the concept of an opera diva. The thesis from my starting point is thatthe West-European practice of the first half of the 19th century was recognized in the work ofthe Opera of the National Theatre in Belgrade after its Golden period (1954–1969) when thesystem of the opera’s stars formed in Serbia. The goal of this work is to present a part of therepertoire policies of the National Theatre related to the possible impact of opera divas in theformation of the repertoire and vice versa.
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Farruh, EGAMBERDIYEV. "CONCEPTUAL SOLUTIONS FOR CREATING AN IMAGE ON THE STAGE." Crossroads of culture 4, no. 1 (2022): 4–8. https://doi.org/10.5281/zenodo.6629309.
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Any work of art needs a viewer, listener and reader who understands it, aesthetically enjoys and appreciates it. Without them, any work of art becomes "dead capital particular, theatrical performances and concerts cannot exist without spectators. Because their indirect impact creates an invisible connection between the viewer and the performer.
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C. Kingsbury, Kelly. "Nicoletta Marini-Maio and Colleen Ryan-Scheutz (eds) (2008). Set the Stage! Teaching Italian through Theater." Scenario: A Journal of Performative Teaching, Learning, Research III, no. 2 (2009): 74–76. http://dx.doi.org/10.33178/scenario.3.2.7.
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Set the Stage! Teaching Italian through Theater: Theories, Methods, and Practices (Yale, 2008), edited by Nicoletta Marini-Maio and Colleen Ryan-Scheutz, is a tremendously valuable contribution to the growing body of literature on drama and theatre in foreign/second language (L2) education. This volume contains eleven chapters addressing a diverse array of topics, a comprehensive director’s handbook, and reflective contributions by Dario Fo, Franca Rame and Dacia Maraini, three of Italy’s most prominent theatre practitioners engaged with pedagogical questions related to the learning of L2 Italian through theatre. The chapters of Set the Stage! encompass both theoretical and practical orientations toward questions of culture, theatre history, curriculum, and assessment in language learning, and they offer an array of perspectives that illuminate a variety of possible models for incorporating diverse forms of theatre within the L2 curriculum. The first section of Set the Stage! includes an overview of theatre’s place within Italian literature and culture. Following Pietro Frassica’s overview of the Italian theatrical canon, William Van Watson offers an insightful commentary on the inherent theatricality of Italian cultural interactions, the possibilities this raises for cultural misunderstandings, and the concomitant potential it holds for theatrically teachable moments. Section II focuses on the place of ...
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Schwartz, Laura. "When life becomes art: A librarian’s experience acting the part." College & Research Libraries News 78, no. 6 (2017): 319. http://dx.doi.org/10.5860/crln.78.6.319.
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In fall 2014, I was approached by a theater/dance undergraduate student who wanted to put on a play in the Fine Arts Library (FAL) at the University of Texas (UT)-Austin. Because we had done a variety of performing arts programming in our magnificent space, I was inclined to say yes. She had written and was directing a play that took place in a library. Being the liaison to the Art and Art History Department, I thought it prudent to bring the theater/dance librarian into the discussion.
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Yakushenkov, Serguey N. "When the Naked Body Speaks: Brazilian Theater in the Search of National Identity." Corpus Mundi 3, no. 1 (2022): 31–51. http://dx.doi.org/10.46539/cmj.v3i1.59.
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The naked body is a complex phenomenon, combining a variety of functions. Nudity can be symbols of threat/insecurity, aggression/victim, freedom/slavery. Teatro Oficina, located in the São Paulo suburbs, offers us a unique example of nudity for the construction of national identity. Based on the Brazilian poet Oswald de Andrade's "Anthropophagic Manifesto," the theatre founders made nudity and anthropophagy their theatrical credo. Formed in 1958 the theater has taken a leading place in the cultural life of São Paulo and Brazil. Despite censorship during the military dictatorship, Teatro Oficina consistently defended their right for freedom of expression.
 Drawing attention to the first descriptions of the Brazilian natives by the Portuguese, de Andrade declared the importance of two main symbols from these characteristics: anthropophagy and nudity. The anthropophagy is understood by Teatro through the idea of the Brazilians capacity to devour the European achievements. Without rejecting the Western theater, the head of Teatro Jose Celso offers the audience the new corporeality concept. In this regard, not only the possible nudity of the actors, but also the willingness for actors and spectators to break the fragile edge of the customary. In theater there is no conventional theatrical stage, no generally accepted dialogues with the audience, which can also become part of the theatrical action, undressed or conversely dressed in theatrical costumes.
 The Teatro Oficina’s phenomenon lies in their ability to construct a new corporeality in Brazil, based on the artificial construct by de Andrade and traditions of Brazilian culture: carnivalesque atmosphere, openness, hybridity.
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Kondakov, Igor V. "SERGEI PROKOFIEV OPERA HOUSE: A CYCLE OF BINARY MACROSTRUCTURES." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 7 (2022): 138–52. http://dx.doi.org/10.28995/2686-7249-2022-7-138-152.
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The S. Prokofiev Theater is today considered one of the pinnacles of the world musical theater of the 20th century. This article is devoted to the opera theater of S. Prokofiev and its philosophical overtones. It is important to understand the features of the formation and development of such a theater as a whole, to comprehend the design of the Prokofiev theater as a system of separate theatrical works in the creative mind of the author. The logic of the composer’s theatrical creativity, which in a peculiar way refracted the philosophy of Kant and Schopenhauer, required that each new work of this genre be created in contrast with the previous one. As a result, the entire array of Prokofiev’s operas appears in the form of a system of philosophical antinomies embodied in the form of a cycle of opera dyads. Thus, Prokofiev managed to present in the form of binary macrostructures of his musical theater the inconsistency of the surrounding reality and the insolubility of ideological disputes about it, which are formed as a set of “theses” and “antitheses” that are not subject to synthesis. Considering the cycle of Prokofiev’s operas as a system of semantic antinomies makes it possible to present the corpus of his musical and theatrical works as a single text (hypertext) - in all the variety of intertextual connections and philosophical overtones.
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BAKARE, Lilian Eguriase. "The Challenges of Teaching Costume and Scenic Design in Tertiary Institution: The Federal University Oye – Ekiti Experience." International Journal of Research 11, no. 12 (2024): 174–86. https://doi.org/10.5281/zenodo.14552186.
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<em>The basic responsibility of the theatre cast and crew, of which the costumier and scene designer are an integral part, is to interpret an artistic work. Thus, in communicating with the audience through costumes and scenic design, the ultimate goal of the costume cum set designer is to transform an ordinary person into an extraordinary yet believable character and setting within a story that does not exist in reality. Accordingly, costumes, as used in theater performances or movies, speak to the audience with words of silence and visual interpretation, just like the scenic design does. However, this study identifies a fundamental issue: the task of costume and set designers' interpretation presents a variety of challenges that they must overcome. This study therefore investigates the challenges of teaching costumes and scenic designs in educational theater, with a particular focus on FUOYE Theatre. The study relies on semiotic theory to accomplish its goal, asserting that a costume/scenic designer constructs meaning based on a shared system of signification, which may originate from culture, a social system, or a belief system. The study employs qualitative research methods, focusing on literature analysis and examining the perspectives of scholars in the field. The study's findings confirm the challenge of teaching costume and scenic design in educational theatre. In light of the aforementioned findings, the study suggests that costume and set designers instruct theatre students in the fundamentals of costuming and design, emphasizing the importance of thoroughly researching the play before beginning the construction of costumes and sets. Also, costume and set designers must collaborate with the artistic team in the rehearsal process in order to achieve the team's success.</em><em> </em>
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Ruzhinskaya, Irina Nikolaevna. "KARELIAN STUDIO: THE REASONS AND CIRCUMSTANCES OF THE ACTOR’s CLASS CREATION." Yearbook of Finno-Ugric Studies 16, no. 2 (2022): 275–82. http://dx.doi.org/10.35634/2224-9443-2022-16-2-275-282.
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The article examines the history of creation of the Karelian studio of the Central Theater School - Leningrad Theater Institute in 1938-1943. The author focuses on the reasons for the formation of actors' studio in connection with the transformation of the Finnish Drama Theater KASSR into Karelian one. The article discusses the specifics of the work of theater schools in the 1930s which prepare the national personnel. Attention is focused on the stages of the formation of the Karelian studio and its composition. The work is based on a complex of methods with the dominance of the historical and biographical method. Variety of sources, mainly archival documents, have been used in the study, most of which are introduced into scientific circulation for the first time. As a result of the work done, the personnel of the Karelian workshop was restored. It is concluded that the emergence of the national studio was caused by a complex of circumstances, the dominant role among which was played by the vector of national-state policy in the USSR.
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Anisimov, Alexander V. "The environment of the cinematic spectacle. The architecture of the early Russian movie theaters." Journal of Flm Arts and Film Studies 11, no. 2 (2019): 8–20. http://dx.doi.org/10.17816/vgik1128-20.
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The emergence of cinema brought about the issue of forming a comfortable environment for film screenings. This essay analyzes the characteristics of the first spaces used for film exhibition in St. Petersburg and Moscow and the architecture of the movie theaters built in these cities in the first decades of the 20th century and characterized by a combination of theatrical architectural traditions, eclectic restaurant design and elements of the fading Art Nouveau style.
 Film exhibition was a profitable business. Initially, screenings were held in rented spaces but soon specialized buildings were designed and constructed. The essay looks at the largest and most popular movie theaters built in St. Petersburgs main street, Nevsky Prospect, and in the center of Moscow, discussing their architectural features and their historical development. Thus, during the 1920s and 1930s, large movie theaters included a foyer with a stage for variety shows and a theater-like auditorium with a high-mounted, dark-framed screen; the spectators entered the auditorium via the main entrance and, after the screening, exited directly to a street or a yard.
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Lange, Zechariah. "Bridges Don’t Make Themselves: Using Community-Based Theater to Reshape Relationships: Rethinking the Idea of Abundance in ABCD." Societies 10, no. 3 (2020): 54. http://dx.doi.org/10.3390/soc10030054.
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Community-based theater has a variety of manifestations, and the plurality with which these manifestations are occurring is increasing. As such, the diversity and complexity derived from these social sites of public engagement requires further understanding. This article is based upon a multi-case study of two community-based theaters: one in Middle Appalachia, and the other on the Gulf Coast of Florida. Together these sites of performative expression are acting as social interventions for differing reasons within their respective contexts. Through intensive and communicative processes, the theaters provide examples of how co-created performances at the community level simultaneously catalyze relationships and alter how relationships are experienced to engage community members in discussion and performances. As a complex behavioral interaction, the two theaters simultaneously manifest dimensions of ‘abundance’, as well as expand upon normative conceptions of asset-based community development. Through process and contextual modeling, the work provides in-depth exploration to these interpersonal endeavors to assist in how socio-cultural differences as well as narrative reconstruction co-join to enact the individuality of identity across working groups as an overall discursive process.
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Barnes, Jaclyn, Maryam S. FakhrHosseini, Eric Vasey, Zackery Duford, and Myounghoon Jeon. "Robot Theater with Children for STEAM Education." Proceedings of the Human Factors and Ergonomics Society Annual Meeting 61, no. 1 (2017): 875–79. http://dx.doi.org/10.1177/1541931213601511.
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To promote STEAM (Science, Technology, Engineering, Arts, and Mathematics) education, we conducted a long-term study in an elementary school as part of an after-school program. We worked with small groups of 5 to 7 year old children in hour long weekly sessions for nine weeks. We introduced the children to a variety of robots spanning a wide range of form factors and technical sophistication. Over the course of our study, the children played with the robots, constructed robot models with clay, and wrote and acted in a theater production with robots. We believe that this technique of using robots as actors in children’s theater productions has significant potential for educating children in a number of fields under the STEAM paradigm.
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Tronchin, Lamberto, and Antonella Bevilacqua. "How Much Does the Variety of Scenery and the Different Percentages of Audience Occupancy Affect the Indoor Acoustics at the National Theater of Zagreb?" Applied Sciences 12, no. 13 (2022): 6500. http://dx.doi.org/10.3390/app12136500.
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The performance of opera and the post-pandemic slow recovery of the public, who have been hesitant to return to frequent attendance of cultural venues, has inspired the authors to analyze the acoustic behavior of the National Theater of Zagreb, by reflecting five specific scenarios. Starting from acoustic measurements undertaken inside the National Theater of Zagreb without any scenery in place, this research study compares the main acoustic parameters simulated with the scenery of Tosca in three different acts. A numerical model was realized by reproducing the geometry and the architectural features of this historic performance arts space. Before the simulations, the absorption coefficients applied to the digital entities were calibrated with the values gathered from the recorded impulse responses. After the calibration process, the acoustic simulations were also carried out with the presence of an audience at two percentages of occupancy.
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Popova, Oksana. "Stage design of the modern Ukrainian director theater." Almanac "Culture and Contemporaneity", no. 1 (August 31, 2021): 127–31. http://dx.doi.org/10.32461/2226-0285.1.2021.238604.
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The purpose of the article is to identify and analyze the leading directions in the development of stage design in modern domestic director's theater, as well as to explore the problem of director's search in stage design. Methodology. A systematic method was applied, aimed at theoretical and artistic, and practical comprehension of the main aspects of the process of solving a stage work in the complex of organizing stage action and stage space; the method of artistic-critical analysis in the process of studying the modern theatrical repertoire, made it possible to study the stage design of the domestic director's theater in the variety of its forms; the typological method, helped to systematize traditional and innovative approaches to the development and implementation of stage design, as well as to determine its features in modern Ukrainian theater; the method of figurative and stylistic analysis, thanks to which the specifics of the stage design of modern productions of Ukrainian theater directors have been identified and analyzed; the hermeneutic method helped to identify and interpret the meanings laid down by the director in the rhythm-chronotopic configuration of the stage design. Scientific novelty. The directing-staging and scenographic activity of the leading Ukrainian directors (B. Polishchuk, D. Kostyuminsky, S. Masloboyshchikova) has been investigated, the variable variety of approaches to solving stage design in modern Ukrainian drama theater has been revealed and their influence on the artistic structure of the performance has been characterized; the specifics of the design solution for a modern theatrical performance by Ukrainian stage designers, as well as production directors, have been determined. Сonclusions. The transformations of the functions and vocabulary of stage design in Ukrainian directing theater XXI century are directly related to changes in the visual aesthetics of modern theatrical art, the problems of interpretation of the literary source, and its stage embodiment. Taking over the functions of a theatrical artist, stage directors strive to create a unique author's environment for a dramatic situation, visualizing a literary text in the space-time continuum of presentation in accordance with the individual definition of the meaning of the production, in an effort to accurately illuminate their own concept. But in the production, carried out by theatrical artists, the dominant position is occupied by the image - the performance is a series of visual images, and visual symbols exert an emotional impact on the viewer, which is usually stronger than a dramatic text and acting.
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Т.О., Разуменко. "ТЕАТР ФИЛОСОФСКИХ ОБОБЩЕНИЙ Ф.Г. ЛОРКИ И А.П. ЧЕХОВА". Наукові записки Харківського національного педагогічного університету ім. Г. С. Сковороди "Літературознавство" 2, № 82 (2018): 119–30. https://doi.org/10.5281/zenodo.1490200.
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The article is devoted to the problem of the interference of F.G. Lorca’s Span-ish drama and A.P. Chekhov’s Russian drama. The work analyzes the characters, plots and psychological reflections of both authors about individual’s destinies in the context of their countries. The purpose of the article is to analyze the theater of philosophical generalization of F.G. Lorca and A.P. Chekhov. A.P. Chekhov and F.G. Lorka understood that world development required new forms of drama creation, both they were objective in the world art vision, tried to achieve a symbolic generalization, touched the philosophical problems, and they joined the struggle with a commercial theater.Chekhov as a play righter based mostly on the life material, he was restrained in the art expression. Unlike Chekhov’s restraint, Lorca’s theater differed by color, musical rhythms, melodies, his drama was not separated from his poetry and it was a little tragic. F.G. Lorca’s plays touched the themes of life, earth, nature, love, freedom, echoing the themes of death, inequality, tribal revenge, the anxiety of the tragic world, the foreboding an inescapable catastrophe. Lorca’s dramatic art of this period is characterized by unprecedented tension, inconsistency, and the collision of various artistic tendencies. At the same time, the theaters of Chekhov and Lorca have the authors’ lyrical beginning, none of the characters demonstrated the direct authors’ position. As a result of our research we make a conclusion that Chekhov and Lorca's theaters of philosophical generalizations are the insights into the innermost depths of feelings, conscious, semi-conscious and unconscious personal experiences, their subtle humor, paradoxical judgments, warm and optimistic attitude to people and life in general, they are the features of their theaters. Both Chekhov and Lorca’s theaters for the variety of forms and drama stories showed a picture of joy and beauty, as well as their tragic loss.
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Davis, Peggy. "Montagnes Russes and Calicot." Historical Reflections/Réflexions Historiques 44, no. 3 (2018): 8–28. http://dx.doi.org/10.3167/hrrh.2018.440302.
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Restoration-era discourse on the montagnes russes—early roller coasters—reveals how leisure activity could become a lightning rod for perspectives on public space, tensions among social groups, and expressions of patriotism. Eager to profit from the montagnes russes craze, boulevard theaters hosted a number of plays on the subject. Through the buffoonish character M. Calicot, one such comedy—entitled The Battle of the Mountains— caricatured young clothing-trade salesclerks who frequented roller-coaster parks. The play provoked the ire of some of these men, who “waged war” on the Variety Theater, where the play was performed. The conflict in turn sparked satires in print, visual, and other media. These cultural productions both reflected the short-lived mania for roller coasters and shaped attitudes in their own right, all while employing laughter to deal with postwar trauma.
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Stepanova, Polina Mikhailovna. "The formation of basic approaches of anthropological theater and theatrical anthropology." Культура и искусство, no. 1 (January 2022): 19–30. http://dx.doi.org/10.7256/2454-0625.2022.1.37381.
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This article reveals the basic techniques and approaches formed at the dawn of two important and relevant vector of interaction between theater and cultural anthropology in modern theater art, anthropological theater and theatrical anthropology. The goal of this research lies in the analysis of basic techniques and terms that emerged at the early stages of establishment of practical and theoretical approaches towards studying the ritual and theatrical forms. P. Brook's expeditions raised the question of the key elements of theatrical art. For achieving the result, the English the director and screenwriter used bodily techniques and work with space and objects existing in ritual forms. E.Barba, while working in Amazon jungle, resorted to the tactics of participant observer B. Malinowski. The technique of cultural exchange, which appeared in 1970s, is used by K. Kazimierzczuk and modern Polish anthropological theater. The methods of cultural anthropology underlies the formation and development of new ways of interaction and communication between the actors and audience. The experimental works of Peter Brook and Eugenio Barba of the 1970s are analyzed from the perspective of using the methods of cultural anthropology by stage directors. Anthropological theater and theatrical anthropology reveal to modern practitioners and theorists of theatrical art a wide variety of unique methods of work with corporeal nature of the actor, and become the foothold for the development of new relations between the actor-performer and viewer-copartner in performative practices and multicultural phenomena.
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SAVITT, TODD L. "Medical Readers’ Theater as a Teaching Tool." Cambridge Quarterly of Healthcare Ethics 19, no. 4 (2010): 465–70. http://dx.doi.org/10.1017/s0963180110000356.
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Readers’ Theater (RT) is a unique vehicle for introducing ethical, cultural, and social issues in medicine to academic, professional, and community audiences. It brings alive the characters in a story in a way that silent reading or reading a story aloud cannot. Audience members experience what is, in essence, a case report acted out “on stage” rather than reading or hearing someone report on a situation second hand. RT has an immediacy about it, a compelling aspect, that makes listeners pay attention and mentally participate in the action. It draws people into the story, engages them. The oral reading and subsequent open discussion combine to educate audience members about the topic of the story and the variety of ways one can interpret the story’s message. This article describes the long-standing RT program at the Brody School of Medicine (BSOM) at East Carolina University (ECU) and some of variations on RT that people have developed around the country.
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Kleiman, Yulia A. "Pinocchio of the Red Decade: On Stage and on Screen." Literature of the Americas, no. 10 (2021): 310–30. http://dx.doi.org/10.22455/2541-7894-2021-10-310-330.
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Walt Disney’s studio created second full-length film Pinocchio in 1940. Its plot and interpretation of the characters were significantly different from the Carlo Collodi’s novel. Disney wrote enthusiastic letter to playwright and director Yasha Frank, who staged Pinocchio as theatre extravaganza in 1937. This production has become a landmark of the Children’s Theatre Project in the framework of Federal Theatre Project, being visually picturesque, inventive and up-to-date according to its social message. It was a story about the complexity of the emergence of a new human, which was especially significant in the context of the ideas of revising the structure of society. There is a reason to see in the Pinocchio script an attempt to substitute theatre dramaturgy by circus language, so essential for the Soviet theater of 1910–20s. The plot was split into numbers performed by professional variety and circus performers, and was reassembled: gags were an organic part of this new plot. However, Frank may not have escaped the influence of animation as well. The article is based on Yasha Frank’s working script, photos and reviews. It examines circus and cinema elements that were used for the theatre’s Pinocchio by Yasha Frank, and its influence to famous Walt Disney’ studio cartoon.
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Kiselev, Konstantin. "Contemporary documentary dance: Case of the play “Freedom for the statue!” by the Provincial Dances theatre." Managing of Culture 4, no. 1 (2025): 48–55. https://doi.org/10.70202/2949-074x-2025-4-1-48-55.
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Since the turn of the century, there has been an explosive growth in the popularity of documentary theater all over the world. The reason is the dynamic change in reality, which requires the fastest possible artistic comprehension, including by means of theatrical art. And if initially documentary performances were the prerogative of drama theaters, then over time, documentary dance became widespread. Documents of various kinds can serve as the basis for choreographic documentary performances: texts, news, architectural and other artifacts, body, gesture, history, etc. The article considers the problem of the relationship between documentary and dance creativity. The purpose of the study is to identify the potential of documentary dance as a tool for recording, understanding and artistic experience of the challenges of modern reality, which must be taken into account when making management decisions in the field of culture. The object of the study is the verbatim performance “Freedom for the Statue!” - the first performance of this kind, staged at the theater of the MBUK "Ekaterinburg Theater of Modern Choreography “Provincial Dances”. It is shown that the documentary support of verbatim can be a variety of documents: text, body, gesture, artifact, history. The problem of the beginning of the performance is posed, which is especially important for choreographic productions. The study shows that careful, thorough work with profane texts of verbatim allows both authors and spectators to really deeply penetrate into the understanding of the posed problem of freedom, which in the course of the performance is transformed from permissible freedom into goal-setting freedom. The loss of freedom as a deep value leads to everyday, primitive escapism.The spread of documentary theatrical productions, including documentary choreography, is a stable trend in the development of modern theater, which must be borne in mind when making management decisions in the field of culture.The article is addressed to employees of state authorities and local governments in the field of culture, heads of choreographic groups, researchers of the current state of choreographic art, as well as everyone interested in the trends in the development of modern dance.
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Zaelskaya, S. A. "Stage Repertoire of the Soviet Regional Theater During the Period of Late Socialism." Proceedings of Southwest State University. Series: History and Law 14, no. 1 (2024): 205–19. http://dx.doi.org/10.21869/2223-1501-2024-14-1-205-219.
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Relevance. Addressing the repertoire policy of theaters is relevant due to the fact that the study of the repertoire allows us to trace not only the main directions of artistic processes, but also the specifics of social changes of the era being studied.Purpose of the study: to study the specifics of the process of formation and implementation of the stage repertoire of theaters in the Urals in the political and ideological conditions of «developed socialism».Objectives. To achieve the research goal, the following tasks were formulated: to characterize the general principles of the formation of the stage repertoire and the practical mechanism for its compilation; study the themes and genre structure of the repertoire plans of regional theaters in the late Soviet period.Methodology. The methodological basis of the study was a systemic-historical approach, which allows us to study repertory policy as a system functioning in the socio-political environment of the era of late socialism.Results. The stage repertoire was an expression of the creative search of theater groups, carried out in conditions of compromise with the official policy of the state, the ruling party and the natural course of the artistic and aesthetic process. From the point of view of ideology and adherence to party guidelines, «mature ideological and artistic» and «box office» works stood out in the repertoire plans of theaters. The leading place was occupied by the plays of modern Soviet playwrights. The national orientation of the theaters of the multinational Urals was manifested in the embodiment of the works of national playwrights on the stages. A feature of the era was the introduction of plays for children and youth into the repertoire of not only theaters specializing in youth audiences, but also opera and drama groups.Conclusion. The repertoire of the Ural theaters was represented by a variety of works and was built taking into account the requirements of the era. The implementation of the repertoire policy of theaters contributed to the involvement of various socio-demographic groups of the population in the theatrical process, the expansion and complexity of the cultural space of the era under study.
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Croisant, Sharon, Krista Bohn, Leslie Gauna, et al. "285 “Stages” of Hope: Theater as a Research and Outreach Modality for Generating Knowledge, Understanding, and Healing." Journal of Clinical and Translational Science 8, s1 (2024): 87. http://dx.doi.org/10.1017/cts.2024.261.
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OBJECTIVES/GOALS: Theater has always served as a means of reflecting and understanding the human condition. Participatory theater further offers the option for viewers to participate in and thus additionally benefit from the performance itself. We use Playback Theater for outreach and research, eliciting information to guide research, education, and engagement. METHODS/STUDY POPULATION: Playback Theater is a type of improvisation that involves audience members recounting personal experiences which are then enacted by a theater troupe. Playback has evolved to include storytelling as a means of expressing and understanding difficult life experiences such as violence, bullying, incarceration, disaster, illness, etc. While not intended as therapy, it has been found to provoke insight and catharsis when used by trained practitioners. We are conducting Playback theater with LGBTQ+ and African American women to elucidate health disparities related to HIV/AIDS. Black/African Americans accounted for 42.1% of cases in 2019, and African American females are 15 times more likely to develop AIDS than white females. We hope to elucidate barriers to screening and treatment to inform early intervention. RESULTS/ANTICIPATED RESULTS: In community engagement, we employ a variety of strategies involving storytelling, since this simple act fosters multiple positive outcomes. For example, by talking about their experiences participants might find clarity about a difficult experience, facilitating coping or healing, or even letting go. By sharing their stories, others (clinicians, researchers, other patients, or the public) can learn what it is like to go through a particular illness or event. This knowledge can be used to allay patient fears or help researchers or clinicians to develop programming that better responds to needs. This novel approach to knowledge sharing also allows communication that may not otherwise be possible. Discussions about sensitive topics are enabled, often leading to shared understanding and potential solutions. DISCUSSION/SIGNIFICANCE: Through Playback Theater, we hope to identify and thus be able to address barriers to early screening and treatment for African American women and the LGBTQ+ population. We are also planning an event with children with cancer and their families to better understand their experiences and needs in both the clinical and familial settings.
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Basova, S. N., N. P. Sidorova, T. A. Toropova, and A. P. Shestopalko. "The image of the leading cultural institution of the Far East in sociological assessments." POWER AND ADMINISTRATION IN THE EAST OF RUSSIA 107, no. 2 (2024): 105–16. http://dx.doi.org/10.22394/1818-4049-2024-107-2-105-116.
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The article presents the results of the assessment of the state cultural institution’s image on the example of the Khabarovsk Regional Musical Theater, its external and internal context. They reflect the images of cultural institutions of the regional center that have been developed in public opinion, obtained through a pilot survey of the target audience – recipients of their services, their needs, preferences, expectations and requirements, as well as ratings of competitors on information portals. As a result of the study, it was found that the image is an important competitive advantage of cultural institutions and has a significant impact on their overall activities and success in the market. It is worth noting, that it is important for cultural institutions to pursue an effective policy on the formation and management of reputation and corporate image, using available technologies, tools, means and resources for this purpose. The analysis of the Khabarovsk Musical Theater's external image showed that it contributes to the stable leadership position that the Theater occupies in the market of cultural and leisure services of the Khabarovsk Territory. Therefore, in order to maintain and strengthen the image, it is necessary to continue to adhere to the current reputation concept, while taking into account the interest of the audience in the variety of cultural events held by the Theater. To strengthen the internal image of the Theater, the management of the institution needs to pay attention to the development of corporate culture and financial support for employees.
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Alhajri, Khalifah. "Early Arabic Drama." Bulletin of Kyiv National University of Culture and Arts. Series in Stage Art 2, no. 2 (2019): 116–38. https://doi.org/10.31866/2616-759x.2.2.2019.186649.
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The purpose of the article is to investigate the issue of Arabic or Islamic drama (both of which are not necessarily synonymous), which existed in the pre-modern period: that is, between the birth of Islam in the seventh century and the rise of theater in European models in the nineteenth century. The selected issues determined the broad context of the research. In particular, the author draws attention to the lack of a stable tradition of theater in the Western sense, which has become a problem that has for many years caught the eye of critics and scholars of both the Muslim and non-Muslim worlds. The research methodology is mainly based on the analytical-comparative-art-scientific approach, which provides a cultural and anthropological study of the evolution of the Arab theater, in particular, the ways of the early Arab drama formation and its development until 1847. Scientific novelty of the article. For the first time, with the involvement of extensive research material, early Arabic drama was systematized and scientifically conceived as a milestone component of the evolution of theater in the Muslim world. Conclusions. The Arab Theater certainly existed until 1847, but for a variety of reasons, its various manifestations did not grow into high art, as it did in Europe during the Renaissance. Some scholars, both Muslim and non-Muslim, Arab and non-Arab, have sought to find the causes of this situation, although most have proven to be speculative and not worthy of scrutiny. It is likely that the drama did not develop beyond embryonic forms for two main reasons: the hypocrisy to which the theater was exposed by religious figures, and the contempt shown by the literature figures. Ibn Danyal's dramatic work could not be fruitfully developed because the genre for which the works were created – the Shadow Theater – was technically restricted, and the so-called "Caliph Trial" remains the only example of Islamic theater that can only be regarded as a development of the art of worship. Later comedies tended to be either rude farcical or gross satire, which usually emphasized the corruptions, cruelty and arrogance of powerful power-holders, and the helplessness of the poor, naive and vulnerable peasant. These short improvised works did not contribute to the plot development or character. However, this does not mean that such plays have disappeared with the development of high European theater; on the contrary, and especially in Egypt, they continued to be popular until the twentieth century, despite the contempt that many educated Arabs felt for them.
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Nivens, Ryan, Lori Meier, Michael Brikell, and Edward J. Dwyer. "Integrating Mathematics and Reading Fluency Instruction in the Primary Grades." Georgia Journal of Literacy 35, no. 1 (2012): 6–11. http://dx.doi.org/10.56887/galiteracy.43.
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The focus in this article is on integrating instruction in reading fluency with mathematical concept development in the primary grades. Procedures are described herein for having students engage in hands-on mathematics while reading children’s literature. In addition, students produce an audio compact disk and engage in performance reading in a readers’ theater format with stick puppets. The strategies presented can be adapted in a variety of leaning environments.
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Trifonova Petkova, Prolet. "DRAMATURGY AND CHANGES IN THE THEATER." Knowledge International Journal 32, no. 4 (2019): 487–91. http://dx.doi.org/10.35120/kij3204487t.
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The theater today knows many forms and uses different means and approaches to communicate with the contemporary viewer. The theatrical spectacle has so broadened its borders and boundaries that it gives us the opportunity to observe the scene of the combination and interaction of all kinds of arts presented in a new and different way, working in sync, the ultimate goal of which is the provocation, involvement and participation of the viewer / audience . In today's dynamic world, the theater is provoked to react more quickly to what is happening in society, not only with the themes it chooses, but also with the form and the language through which it presents them. The theatrical scene "incorporates" the inventions of the respective era as a means of developing their own language, scene and spectacle. Contemporary theater is in the process of achieving extreme freedom in terms of its choices - subject, text, expression, way of organizing the creative process, way of participation of the audience, director and actors, spaces, technologies, reality, etc. In total creative freedom, directed at innovation and experiment, there is one of the great challenges facing modern theater. The results are a variety of stage forms and expressions. This observation concerns drama. Modern theater is open to the treasury of literature, philosophy, arts-poetry, prose, drama, all visual arts. He freely draws from documentary and fictional. Uses all the possible acting techniques, established through the practices of theatrical systems of the directors' theater, dance, acrobatics and others. This freedom is a tremendous wealth and a challenge to entwine the borrowed into its own aesthetic world and meaningful context. Contemporary theater has won the right to tell, traveling through time and space. The theater is more and more sharing, personal confession, memories. The performance is more and more rare, it is just a stage reading of the play, the drama. It is built on the text, and the text is a very broad term, it is also non-dramatic text. Long ago it is not only the play of one or another author. The dramaturgical language and the functions of the monologue, the dialogue and the trailer are transformed into the free expression of the text. The themes that are being played out are seen in the everyday, in the differences, in the violence. These performances affect the senses, provoke the emotional world and thinking. We are seeing a process of constant rethinking and pulling away from it .The director's function goes through an individual creative reading of a text or theme and over-interpretations to collaborative work, a theater of high technology, a theater without actors, etc. Interdisciplinarity, the introduction of more digital elements, the blending of arts and genres will continue to be a way of building innovative forms. The importance of the collaborative process is associated with the freedom of self-expression. The choice of modern texts, the interpretation of the classical ones, does not mean the abandonment of the past, on the contrary, but the modernization and transformation of this past. Theater is the conduit of communication. This dialogue takes us beyond our comfort zone and at the same time offers us the opportunity to meet with ourselves personally and without roles.
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Persley, Nicole Hodges. "An innovative IDEA: a review of the International Dialects of English Archive." English Today 29, no. 3 (2013): 63–64. http://dx.doi.org/10.1017/s0266078413000229.
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The IDEA (International Dialects of English Archive) site has been on-line since 1997 and began as a resource developed to teach actors how to pronounce various accents and dialects of English. Created by theater scholar and dialect coach Paul Meier, the new site has expanded its already fantastic variety of information. The site's new navigation features include a searchable database and a global map that make it very accessible to specialists and non–specialists of English. Performers around the world (the site has over one million hits a year) use the site to research accents and dialects for English-speaking performances. IDEA's audience has expanded beyond theater professionals to users in academe in the social sciences and humanities as well as international business. The site is also relevant for anyone who has an interest in the ways that location and culture influence the spoken English language.
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Schäfer, Lea. "Between Fiction and Reality: The Vienna Jewish Cabaret as a Mirror of Vienna Jewish Speech." Journal of Jewish Languages 7, no. 2 (2019): 261–78. http://dx.doi.org/10.1163/22134638-07021154.
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Abstract This article shows what we can learn from Vienna Jewish cabaret, so-called Jargontheater ‘jargon theater’ and the language situation of Vienna Jews at the end of the 19th century. By analyzing one of the most popular plays of this genre, we can see how structures from Yiddish dialects fused with Viennese German and what may have caused ‘Vienna Jewish speech,’ a Judeo-German city variety in the First Austrian Republic (1920s and 1930s).
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Subiyantoro, Slamet, Takamasa Fukuda, Aniek Hindrayani, Dimas Fahrudin, and Yogi Kuswara. "Comparative Study of Japanese and Indonesian Panji Mask in Light on Fine Art Elements and Principles." Harmonia: Journal of Arts Research and Education 23, no. 2 (2023): 363–74. http://dx.doi.org/10.15294/harmonia.v23i2.40597.
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Panji masks are one of the mask arts that originated in Indonesia and come in a variety of styles. One of the existing Panji mask styles is the Yogyakarta style, made of Pule wood and used in dance or theater performances. While in Japan, masks used in dance or theater performances, known as Noh masks, are made of cypress wood. Panji masks and Noh masks are long-standing cultural heritage arts. This study aims to identify and analyze the similarities and differences between the elements of art and the principles of art preserved in the Panji and Noh masks. A comparative qualitative method was used for the study. Library research, observation, interviews, documentation, and focused group discussions (FGD) were used to collect the data. Data processing and preparation, data reduction, data presentation, and conclusion drawing were all completed in stages. The results revealed similarities and differences between the Panji and Noh masks. Several principles are shared by Panji and Noh masks, including point elements, line shape, the principle of unity, balance, rhythm, proportion, and the principle of harmony. The line, field/shape element, color element, texture element, and emphasis principle are all different. These similarities and differences are due to a variety of factors, including the two countries’ geographical proximity (both on the Asian continent), as well as their history, customs, and culture.
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Brockey, Liam. "Jesuit Pastoral Theater on an Urban Stage: Lisbon, 1588-1593." Journal of Early Modern History 9, no. 1 (2005): 3–50. http://dx.doi.org/10.1163/1570065054300239.
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AbstractIn the late sixteenth century, the Society of Jesus became one of the most influential religious groups in Catholic Europe and beyond. Yet specifically how the meteoric rise of the Jesuits occurred has remained an enigma, especially in light of the entrenched complex of interests that comprised contemporary society. Based on manuscript correspondence and other under-exploited archival material, this article analyzes the actions of senior members of this religious order in the city of Lisbon in late 1580s and early 1590s in order to show how the Society gained its prestige through a host of pastoral activities directed at a variety of audiences. By avoiding a focus on colleges or missions, this study offers a new perspective on the Jesuits' attempts to win their place among ecclesiastical elites, as well as the respect of both nobles and plebeians in one of the largest and most ethnically diverse cities in Europe.
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Bulgakov, A. E. "The variety of artistic practices of technological art in the scenography of the musical theater (Western Siberia)." Декоративное искусство и предметно-пространственная среда. Вестник МГХПА, no. 4-2 (2022): 318–25. http://dx.doi.org/10.37485/1997-4663_2022_4_2_318_325.
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Hamzah, Oras Abdulzahra. "Aesthetic and Educational Dimensions of Songs and Chants in Children's Theater Performances." International Journal of Arts and Humanities Studies 2, no. 2 (2022): 46–53. http://dx.doi.org/10.32996/ijahs.2022.2.2.6.
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The present study consists of four sections. Section one tackles the problem statement that revolves around the idea of aesthetic and educational dimensions of songs and chants in children’s theater performances. The significance of the present study is manifested by clarifying the aesthetic and educational dimensions of the musical templates employed in children’s theater performances due to their importance in Communicating those values to the recipient child. The present study aims to identify the aesthetic and educational dimensions of chants and songs employed in the performances of the child’s theater. The section also presents the limits of the present study, and it is concluded by defining the key terms. Section two is subdivided into two subsections. The first subsection is entitled Aesthetics of songs and chants in children’s theater Performance. The researcher studied the spiritual aesthetics included in lyrical and chanting forms in children’s theater performances. The second subsection is entitled The educational dimension of songs and chants presented in children’s theater performances. The researcher studied various educational values involved in lyrical templates employed in children’s theater performances. Section three includes the research sample, its tool and methodology, and an analysis of the selected sample. Section four includes the results, including: 1. The musical templates employed in this show came as an integrated aesthetic educational system rich in values that helped the child develop his/her intellectual and aesthetic spirit, 2. Music positively affected the academic performance of the recipient (the child), helped develop his/her social skills in all its forms, and helped create an outlet for creativity, which is crucial to his/her growth, 3. This sample included the various musical templates that permeated the movement of the actors' bodies and helped to show the educational and aesthetic values of the performances through their sensory components that can be explained through the sense and minds of children, 4. The various musical templates included in this show were presented in a variety of ways in terms of rhythm and melodies, or even in the form of solitary music and moved away from monotony, which prompted them to create an aesthetic distance between them and the child and 5. The rhythmic and melodic diversity in this show is the adjuster for the rhythm of the public show, especially the control of the actor’s movements, which helped develop the child’s sensory and intellectual awareness of the spirit of the show, and thus achieve the theory of broadcasting educational values.
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Rockell, Kim. "English Noh Theater Workshop: Lessons from a Japanese University EFL Classroom." JALT PIE SIG: Mask and Gavel 7, no. 1 (2018): 38–49. http://dx.doi.org/10.37546/jaltsig.pie7.1-3.
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Recognizing the value of performing arts activities within EFL education, teachers have experimented with a wide variety of approaches in their teaching. This article draws broadly on one such project which took place at a prefectural university in Fukushima during late 2016 and early 2017. Here, English was embedded in a traditional Japanese dramatic form and students in a third-year elective course developed an English language Noh theatre set in cyberspace. While this work is discussed in detail elsewhere (Rockell, 2019), the current article focuses on some of the practical ways the project was carried out and uses these ways as a basis for a suggested English Noh Theatre workshop to be offered to language teachers in Japan in the near future.
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Berehova, Olena. "Instrumental Theater in the Modern Ukrainian Composers’ Creativity." Culturology Ideas, no. 14 (2'2018) (2018): 102–8. http://dx.doi.org/10.37627/2311-9489-14-2018-2.102-108.
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Relevance of research. Instrumental theatre as a specific phenomenon of musical creativity was first recognized in the mid-1960s. Researchers note the following features of the instrumental theatre: the search for a new musical language; the presence of sound drama; appeal to the voice and the word as a background or semantic subtext; hidden polyphony; openness to protest and provocation; the stage game of the musicians-performers. However, this original artistic phenomenon remains little investigated in Ukrainian musicology. The purpose of the article is to actualize the samples of the instrumental theatre in Ukrainian musicology, presented in the works of L. Yurina, S. Zagitchka and S. Yarunsky, and based on the analysis of new works to conclude the directions of the development of contemporary musical thinking. Methods of the research – analytical, the complex of musicological methods’ research (based on the classification of works by the number of participants). Conclusions. Regardless of the genre variety, practically for all considered opuses, characteristic fixation in the scores of the smallest nuances of execution is common. Changing the paradigms of writing, performing and perceiving music, in many works the spectacular factor dominates over the actual musical, the increasing visualization and theatricalization of the musical process became evidence of the transformation of modern musical thinking. Practical significance. The instrumental theatre is a relatively new phenomenon both in world culture and in Ukrainian music. Further research of this phenomenon will help not only to distinguish its specific features, but also to realize new spiritual constants of the present.
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Carioli, Stefania. "Fairy Tales yesterday and today. Review of Articoni A., Cagnolati A. (Eds.), Le metamorfosi della fiaba, Tab Edizioni, Roma, 2020." Children's Readings: Studies in Children's Literature 19, no. 1 (2021): 425–30. http://dx.doi.org/10.31860/2304-5817-2021-1-19-425-430.
Full textAbstract:
The review of “Le metamorfosi della fiaba” underlines the importance of concepts such as meta-history and metamorphism in the study of fairy tales. The collection of essays displays a variety of approaches, which allows the reader to tackle this issue from very different points of view. Particular attention is paid to the re-creation and re-mediation of fairy tales according to different narrative media, from oral story to musical theater, from cinema to picture books. The overall impression given by the book is that the metamorphoses of the fairy tale continue to confirm its significance even today and through a symbolic and figurative language reveals the variety of relationships between human beings in an intuitive and polysemantic way.
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Baronenko, Elena A., Yulia A. Reiswich, and Ivan A. Skorobrenko. "FORMATION OF SPEECH SKILLS OF FUTURE TEACHERS USING ELEMENTS OF THEATRICALIZATION AND PSYCHODRAMA." Челябинский гуманитарий 65, no. 4 (2023): 13–17. http://dx.doi.org/10.47475/1999-5407-2023-65-4-13-17.
Full textAbstract:
In the process of searching for ways to better prepare future foreign language teachers for professional activities, the effectiveness of using elements of linguistic theater and psychodrama for the formation of speech skills at a higher level has been experimentally proven. This article discusses the advantages of integrating elements of linguistic theater and psychodrama into the traditional educational process, which makes it possible to create a favorable atmosphere, introduce variety into the process of forming speech skills, motivate students to further work on the foreign language they are learning, and encourage them to fi nd new creative solutions to communicative problems. This method develops such speech skills as monologue-message, monologue-persuasion, monologue-reasoning and monologue-description. Specific social roles that students try on in linguistic theater activate the reactivity of dialogical speech and motivate productive speech dialogic statements. The use of elements of psychodrama also makes it possible to create situations of verbal interaction between several participants in a psychodramatic action, which requires students to be able to perceive information, analyze it and express their opinions adequately to the accepted norms of speech etiquette of the country of the language being studied, which forms speech skills at a higher level. The spontaneous nature of psychodrama gives students impulses for improvisation, for moving away from memorized speech clichés, for productive statements. The article discusses the stages of applying the elements of linguistic theater and psychodrama: the introductory part, the psychodramatic action and the fi nal refl ective-analytical stage. The authors emphasize that this method requires lengthy preparation, as a result of which its integration into the educational process is not always possible, however, the use of its mini-forms within traditional classes creates an atmosphere of creativity, involves each student in speech interaction, helps to overcome language and psychological barriers and form speech skills at a higher level