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Journal articles on the topic 'Western theatre'

Author: Grafiati

Published: 4 June 2021

Last updated: 26 July 2025

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1

Korkut, Perihan. "“Creative Drama” in Turkey." Scenario: A Journal of Performative Teaching, Learning, Research XII, no. 1 (2018): 70–86. http://dx.doi.org/10.33178/scenario.12.1.5.

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The Turkish Republic is a young one. Established in 1923, it has gone through many social and political transformations, which have inevitably had an influence on how science and art are perceived. The Republic inherited from the Ottoman Empire a performative art tradition which had its roots in three distinct types of theatre: village shows; folk theatre played in town centres; and court theatre, which was based on “western” theatrical traditions. Considering the geographical location of Turkey, the term “West” signified the more advanced and civilized countries of the time, most of which wer

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2

Sun, William H., Faye C. Fei, and Tao-Ching Hsu. "Between Chinese Theatre and Western Theatre." Drama Review: TDR 31, no. 2 (1987): 151. http://dx.doi.org/10.2307/1145822.

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3

Kolinská, Klára. "“If Only They’d Stop Waiting”: Staging Western Canadian Drama In Central Europe." AUC PHILOLOGICA 2022, no. 2 (2023): 117–29. http://dx.doi.org/10.14712/24646830.2022.42.

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The best of contemporary theatre in Western Canada presents stories of the historical, cultural, and ethnic diversity of the region while taking a critical stand against the traditional stereotypes of “prairie realism and cowboy iconography” which contributed to the creation of its social, as well as artistic awareness. Western Canadian playwrights reflect in their works the wide multicultural spectrum of their region, without writing mere “ethnic theatre” with limited readability and appeal. This is documented by several instances of producing Western Canadian drama “out of its context” – spe

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4

Owusu, Xornam Atta, and Sika Koomson. "Crossroads of Culture: The African Storyteller and The Western Theatre (Drama) Actor, Director, Producer." British Journal of Multidisciplinary and Advanced Studies 4, no. 3 (2023): 18–33. http://dx.doi.org/10.37745/bjmas.2022.0197.

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The paper argues that in Africa, the storyteller discursively functions as an actor, director, a producer, and all. It investigates the point of emergence and the point of departure between the storyteller in Ghana and that of the Western theatre stage performer, director and producer. The study regards the storytelling art as a literary theory which is an intellectual knowledge paradigm grounded in values derived from indigenous cultural experiences of the storyteller. By analysing and drawing particular attention to roles of the storyteller, this article expresses perspectives, based upon th

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5

Earnest, Steve. "The East/West Dialectic in German Actor Training." New Theatre Quarterly 26, no. 1 (2010): 81–89. http://dx.doi.org/10.1017/s0266464x10000096.

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In this article Steve Earnest discusses contemporary approaches to performance training in Germany, comparing the content and methods of selected programmes from the former Federal Republic of Germany to those of the former German Democratic Republic. The Hochschule für Musik und Theater Rostock and the University of the Arts in Berlin are here utilized as primary sources, while reference is also made to the Bayerische Theater-akademie ‘August Everding’ Prinzregententheater in Munich, the Hochschule für Musik und Theater ‘Felix Mendelssohn Bartholdy’ in Leipzig, and Justus Leibig Universität i

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Bhuyan, Abul Basher MD Ziaul Haque. "The synthesis of tradition in contemporary theatre of Bangladesh: “The theatre of roots”." ТЕАТР. ЖИВОПИСЬ. КИНО. МУЗЫКА, no. 4 (2022): 84–104. http://dx.doi.org/10.35852/2588-0144-2022-4-84-104.

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The article examines how the Eastern traditional theatre responded to the Western theatre in the context of the British colonial regime in the Indian subcontinent. From this point of view, the dialogue between cultures was practically not considered. Hence, this study is devoted to understanding the synthesis of European theatre and traditional theatre, which began to be considered a rural art form by the early twentieth century, meaning something simple or low. In contrast, urban theatre of the European type was perceived as something refined or high. Rabindranath Tagore had not been fully su

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Sun, William Huizhu. "The Theatre of Purgation and the Theatre of Cultivation." TDR: The Drama Review 65, no. 2 (2021): 8–28. http://dx.doi.org/10.1017/s1054204321000058.

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In China, theatre studies has been dominated by Western discourse on serious drama, mostly the theatre of purgation. It is equally important, however, to study popular Western theatre genres, such as musicals, comedies, and relatively uplifting plays, especially in terms of their similarities with Chinese opera—an epitome of theatre of cultivation.

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8

Brown, John Russell. "Voices for Reform in South Asian Theatre." New Theatre Quarterly 17, no. 1 (2001): 45–53. http://dx.doi.org/10.1017/s0266464x00014317.

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The classical theatres of southern Asia are variously treated with the reverence thought due to sacrosanct and immutable forms – or as rich sources for plunder by western theatre-makers in search of intra-cultural building-blocks. The rights and wrongs of this latter approach have been much debated, not least in the pages of NTQ; less so the intrinsic desirability of leaving well alone. At the symposium on Classical Sanskrit Theatre, hosted in Dhaka by the Centre for Asian Theatre in December 1999, an unexpected consensus sought ways in which classical theatre forms might best meet contemporar

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9

Babu, Shyam. "Habib Tanvir’s Experiment with Folk Idioms: An Approach toward an Inclusive Theatre." International Journal of Literature Studies 3, no. 3 (2023): 01–08. http://dx.doi.org/10.32996/ijts.2023.3.3.1.

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Modern Indian theatre has a long and sustained tradition. It got invigorated and exposed to the western conventions of drama and performance in the post-independence scenario. It is therefore, a conglomerate of three strands: Sanskrit, folk and western dramaturgy. All these strands collide, intersect and sometimes blend with each other with a fine balance. Folk theatres and traditions of regional bhasha drama thus are key constituents of Modern theatre, which is rooted in the local cultures of common people’s belief systems and language. Folk theatre in India and modernity thus are integrated

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10

Korsberg, Hanna. "Geographies of Theatre: the Finnish National Theatre in Stockholm in 1956." Nordic Theatre Studies 28, no. 1 (2016): 27. http://dx.doi.org/10.7146/nts.v28i1.23970.

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During the Cold War, the Finnish National Theatre actively sought possibilities for international visits and co-operation. It wanted to showcase its work abroad and especially connect itself with Western European theatres. In 1956, the Finnish National Theatre visited Stockholm. In terms of politics, it was interesting that the Finnish National Theatre chose to perform Aleksis Kivi’s The Seven Brothers and especially interesting that it performed Anton Chekhov’s The Three Sisters. It seems to be the case that there was a national border between the Finnish National Theatre and Anton Chekhov’s

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11

Kavouras, Pavlos. "Between and Betwixt the Other Theatre and the Theatre of the Other:." Conatus 8, no. 1 (2023): 201–32. http://dx.doi.org/10.12681/cjp.32387.

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This article deals with the legendary figure of Eugenio Barba as a paradigmatic case to demonstrate the difference between the other theatre and the theatre of the other. Its main objective is to discuss the juxtaposition of performativity as (re)presenting, showing, and self-awareness by narrating the myth of Barba. The argument is presented through six interconnected caveats: the legend and its myth; The Moon rises from the Ganges: the story inside the myth; the critique of western civilization: an insider's story of self-reflexivity; the other theatre is not the theatre of the other; the li

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Dr., M. SUBBIAH. "THE IMPACT OF WESTERN THEATRE ON THE EVOLUTION OF MODERN INDIAN THEATRE." Global Journal of Arts Humanity and Social Sciences 5, no. 2 (2025): 166–74. https://doi.org/10.5281/zenodo.14822661.

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This research paper delves into the intricate relationship between Western and Indian theatre, exploring the multifaceted impact of cross-cultural interactions on the evolution of modern Indian theatre. Spanning historical, artistic, and educational dimensions, the study uncovers the dynamic synthesis of Western influences with indigenous traditions, shaping narratives, aesthetics, and training methodologies. The historical overview examines the colonial period, tracing the introduction of Victorian drama and realism to India. Playwrights like Rabindranath Tagore creatively adapted Western for

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HEMIŞ, ÖZLEM. "Origins and Developments: A Brief Overview." Theatre Research International 44, no. 3 (2019): 296–98. http://dx.doi.org/10.1017/s0307883319000336.

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The origins of westernized theatre in Turkey lie in the Tanzimat reform movement, which was in turn inspired by the impact of the French Revolution. The institutionalization of this late encounter was made possible by the foundation of municipal theatres (1914) and of state theatres (1949). The municipal theatres have been most influential, and have had more flexible characteristics as they have been minutely connected with tradition. The state theatres, on the other hand, have been on a mission to educate audiences through their large-scale productions, which the private-enterprise theatres w

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14

Shoef, Corina. "The Impossible Birth of a Jewish Theatre." New Theatre Quarterly 17, no. 1 (2001): 67–73. http://dx.doi.org/10.1017/s0266464x00014330.

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Accurately tracing the process leading to the creation of a theatre within most western societies is an endeavour usually fraught with hazards, since so much needful information has been lost or remains conjectural. But the Jewish theatre arrived far later than most, due to a combination of the prohibitions against theatricality in Jewish laws and the problems of preserving a performative tradition during the long period of the Diaspora. The eventual emergence of a Jewish theatre little over a century ago thus offers a unique opportunity not only to investigate the subsequent development of th

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Petković, Ivana I. "SIMEON POLOTSKY’S DRAMA NEBUCHADNEZZAR THE TSAR AND ITS WESTERN-EUROPEAN DRAMA SOURCES." Филолог – часопис за језик књижевност и културу 14, no. 28 (2023): 436–59. http://dx.doi.org/10.21618/fil2328436p.

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Тhis paper aims to reconsider the influences of Western-European drama of the XVII century on the creation of Russian baroque and the first drama writer in Russia Simeon Polotsky. During the initial period, Russian theatre, especially during the XVI and XVII centuries, was under the strong influences of Western theatre culture. This paper reconsiders the influence of German, French, English and Polish theatre plays. Plots of his playwright were popular and well known in Western European literature from the XII century. In this paper, we tried to reconsider those influences on the example of hi

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16

Haruo, Suwa. "The Birth of the Hanamichi." Theatre Research International 24, no. 1 (1999): 24–41. http://dx.doi.org/10.1017/s0307883300020241.

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Of all the various features associated with the kabuki theatre, few are as well known outside Japan as the hanamichi, the raised runway joined to the stage at the actors' right and proceeding through the auditorium to a curtained room at the rear. Used for major exits and entrances, it is also the site of important acting sequences. Because the hanamichi brings actors and spectators into close proximity without abandoning a stage-auditorium relationship similar to that in Western proscenium theatres, it has been of considerable interest to international theatre artists. Although its aesthetic

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17

BALME, CHRISTOPHER. "Editorial." Theatre Research International 29, no. 1 (2004): 1–3. http://dx.doi.org/10.1017/s0307883303001202.

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The first issue of the journal in 2004, and the first under my editorship, is devoted to a special focus on ‘Postdramatic Theatre’. While this term may not be familiar to many readers, the phenomenon it embraces most certainly is. Coined by the German theatre studies scholar, Hans-Thies Lehmann in his book Postdramatisches Theater,1 the concept refers to tendencies and experiments defining theatre outside the paradigm of the dramatic text. Also known, somewhat imprecisely, as postmodern theatre, it questions fundamentally the very tenets of the dramatic theatre. Postdramatic performances usual

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18

Wallace, Robert. "Western Adventures of Two Theatrical Dudes, Out of Place." Canadian Theatre Review 42 (March 1985): 23–40. http://dx.doi.org/10.3138/ctr.42.003.

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To present interviews with James Roy and Guy Sprung in an issue on Prairie theatre might indeed seem “out of place.” Although Roy is currently the artistic director of the Manitoba Theatre Centre, he is better known for his previous appointments as the artistic director of Ontario’s Blyth Summer Festival, which he founded in 1975, and the artistic director of Victoria’s Belfry Theatre, a position that he held from 1980 until his move to Winnipeg last April. And Guy Sprung? What’s the artistic director of the Toronto Free Theatre doing in an issue on the Prairies? And why is he paired with Jame

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19

Nagaraju, Pejjai. "A Scenographic study in Draupadi's festival." Chitrolekha International Magazine on Art and Design, 6, no. 1 (2016): 2. https://doi.org/10.5281/zenodo.8250465.

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Abstract: The widespread presence of scenography is showing various changes in modern Western theatre societies. Like other Indian ritual theatres, Drauadi's ritual theatre has indigenous visual elements. This paper examines the scope of scenography analysis in open-area theatrical performances in Draupadi's festival of Chittore District in Andra Pradesh. In the cross-disciplinary performance review, I present hidden elements of scenography in the ritual performance of Draupadi's festival. This paper also shows the examination of space, text, colour and composition, performers and

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20

Massie, Annette. "Elizabeth West and Western Theatre Ballet." Dance Research: The Journal of the Society for Dance Research 6, no. 1 (1988): 45. http://dx.doi.org/10.2307/1290747.

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21

Kalinauskas, Justinas. "Audience Participation in Contemporary Lithuanian Theatre: A Conflicted Adaptation of the Western Tradition." Art History & Criticism 15, no. 1 (2019): 103–15. http://dx.doi.org/10.2478/mik-2019-0008.

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Summary This article explores how audience participation practices were introduced into Lithuanian theatre in the last three decades (between the early ‘90s and the late 2010s) and how the audience participation methods of the 1960s Western theatre are/were being implemented into contemporary Lithuanian theatre projects. The key goal of this article is to examine the evolution of audience participation and collective theatre tradition in Lithuanian theatre by analysing the preconditions for participatory practices in the country’s theatre scene and defining the scope and contradictions of part

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22

DIAMOND, CATHERINE. "The Palimpsest of Vietnamese Contemporary Spoken Drama." Theatre Research International 30, no. 3 (2005): 207–22. http://dx.doi.org/10.1017/s030788330500146x.

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Unlike most Southeast Asian theatres, Vietnam has created a sizeable corpus of scripted spoken dramas that continue to be popular in performance with urban audiences. Initially influenced by French classicism and Ibsenist realism, the Vietnamese spoken drama, kich noi, very quickly adapted to local social realities and survives by readily incorporating topical subjects. While keeping abreast of current social issues, the theatre nonetheless makes use of its multi-cultural heritage, and in any given modern performance one can see the layers of influence – traditional Sino-Vietnamese hat boi/tuo

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23

Imre, Zoltàn. "Staging the Nation: Changing Concepts of a National Theatre in Europe." New Theatre Quarterly 24, no. 1 (2008): 75–94. http://dx.doi.org/10.1017/s0266464x08000079.

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In this article, Zoltán Imre investigates the major changes in the concept of a national theatre, from the early debates in Hamburg in 1767 to the 2006 opening of the National Theatre of Scotland. While in the eighteenth and nineteenth centuries the notion of a national theatre was regarded in most of Western Europe as a means of promoting national – or even imperial – integration, in Eastern Europe, the debates about and later the realization of national theatres often took place within the context of and against oppressive imperiums. But in both parts of Europe the realization of a national

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Almuwail, Fadhel. "Theatre Tradition in Islamic Culture." Bulletin of Kyiv National University of Culture and Arts. Series in Stage Art 5, no. 2 (2022): 84–91. https://doi.org/10.31866/2616-759X.5.2.2022.266507.

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The purpose of the article is to identify the features of the theatrical tradition and to characterise the main forms of manifestation of theatre in Islamic culture. Research methodology. The author has applied the historical-cultural, historical-typological and historical-genetic methods, which helped to understand the peculiarities of formation and development of theatrical traditions within Islamic culture, as well as to consider the phenomenon of theatrical forms in Muslim countries over time; typological method, which revealed the features of traditional theatrical forms in Isla

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25

Heim, Caroline. "‘Argue with Us!’: Audience Co-creation through Post-Performance Discussions." New Theatre Quarterly 28, no. 2 (2012): 189–97. http://dx.doi.org/10.1017/s0266464x12000279.

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In this article Caroline Heim explores an avenue for the audience's contribution to the theatrical event that has emerged as increasingly important over the past decade: postperformance discussions. With the exception of theatres that actively encourage argument such as the Staatstheater Stuttgart, most extant audience discussions in Western mainstream theatres privilege the voice of the theatre expert. Caroline Heim presents case studies of post-performance discussions held after performances of Anne of the Thousand Days and Who's Afraid of Virginia Woolf? which trialled a new model of audien

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Trang, Bui Cam. "A Comparative Study of Eastern and Western Theatre Traditions." International Journal of Literature and Arts Studies 1, no. 1 (2025): 43–49. https://doi.org/10.71222/zg7tp743.

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This paper undertakes a comparative analysis of Eastern and Western theatre traditions, focusing on their historical development, aesthetic principles, performance techniques, and cultural connotations. By examining representative theatrical forms such as Chinese Peking Opera, Japanese Noh and Kabuki, Greek tragedy and comedy, and Shakespearean drama, the study identifies both distinct differences and underlying similarities between these two major cultural theatrical systems. The research employs a combination of literature review, case analysis, and theoretical interpretation to explore how

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Pavlovski, Goce. "Designing the cavea of the theatre at Stobi." Journal of Roman Archaeology 31 (2018): 406–25. http://dx.doi.org/10.1017/s104775941800140x.

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The long history of excavation of the theatre at Stobi has yielded much information about the chronology, construction and usage of the building, as well as about post-theatre occupation of the area. Archaeological investigations in the 1970s and new excavations which began in 2009 have shown that construction of the theatre was initiated at the end of the 1st c. A.D. on the model of a western Roman theatre, as a building with a semicircular cavea and a scene building with an indented scaenae frons similar to the Augusta Emerita (Mérida) type. Construction was then interrupted for a certain pe

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Pöhlmann, Egert. "Vitruvius De Architectura V." Greek and Roman Musical Studies 9, no. 1 (2021): 157–74. http://dx.doi.org/10.1163/22129758-12341380.

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Abstract In Book 5 of De architectura, the main subjects of Vitruvius are the Roman and Greek theatre and their acoustic qualities, explained with the help of several Greek theories. Vitruvius tries to enhance them by introducing a system of assisted resonance. Following the Harmonics of Aristoxenus, he recommends equipping theatre buildings with ἠχεῖα of bronze or earthenware, with the aim of increasing the strength of the voices of actors. Archaeological evidence for such equipment is nonexistent. But in Eastern and Western churches, vessels under the floor and in the walls were found. The W

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Jans, Erwin. "Oedipus aan de oevers van de Nijl. Arabische bewerkingen van een Griekse tragedie / Oedipus on the banks of the Nile: Arabic adaptations of a Greek tragedy." Forum+ 26, no. 2 (2019): 29–36. http://dx.doi.org/10.5117/forum2019.2.jans.

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Abstract Het Vlaamse theater wordt steeds vaker geconfronteerd met het verwijt ‘te wit’ te zijn op alle mogelijk niveaus: van de interne organisatie over de acteurs tot het repertoire. In deze bijdrage breekt Erwin Jans in elk geval een lans voor het lezen van niet-westerse theaterteksten. Hij buigt zich over een aantal Arabische Oedipus-bewerkingen en plaatst die in een bredere culturele en politieke context waardoor ze ook een nieuw licht werpen op de westerse adaptaties. More and more often, Flemish theatre is confronted with the accusation that it is 'too white' at all possible levels: fro

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Poehlmann, Egert. "Epicharmus and Aeschylus on Stage in Syracuse in the 5th Century." Greek and Roman Musical Studies 3, no. 1-2 (2015): 137–66. http://dx.doi.org/10.1163/22129758-12341005.

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New excavations give clear information about the Athenian Dionysus-Theatre of the 5th century b.c.; and the stage in Western Greece can now be reconstructed by analogy with it. Vase paintings depict wooden theatres in Sicily from 400 b.c. onwards, mainly for comedy. Tragedies were performed only after 476/5 b.c., but the lively tradition of comedy since the late 6th century b.c. must have had a stage. For Epicharmus’ short comedies, which had no lyrics or chorus and were addressed to the elite of Hieron’s court, the small theatre carved into the slope of the Temenites rock was sufficient. But

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Ravengai, Samuel. "Decolonising Theatre: Subverting the Western Dramaturgical Frame in Zimbabwean Theatre and Performance." Critical Arts 32, no. 2 (2018): 15–30. http://dx.doi.org/10.1080/02560046.2018.1452952.

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Andres, Rok. "The Repertoires of Slovak and Slovenian Theatre Houses and their Productions of the Western European and American Authors (1945 – 1970)." Slovenske divadlo /The Slovak Theatre 65, no. 3 (2017): 283–301. http://dx.doi.org/10.1515/sd-2017-0016.

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Abstract This article is a comparative review of performances of Western European and American authors in Slovak and Slovenian theatres in the two decades after World War II. First, we present a short historical context, comparing the political systems and cultural policies of both states. We define the importance of the selection of works for the repertoire(s) and then parallel them to the main characteristics, authors, and dramatic texts prevalent in that period. Second, we highlight the particularities of staging of the Western European and American authors in both cultural spaces, evaluate

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Fouché, Jacqueline E. "Haitian Theatre in Montreal: Building a Base." Canadian Theatre Review 83 (June 1995): 28–29. http://dx.doi.org/10.3138/ctr.83.007.

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For decades, theatre in Haiti was historical and intimist, based on the Western theatrical model. Haitian theatre only began coming into its own in the 1940s, and more so in the 1950s. Playwrights like Morisseau Leroy, Franck Fouche and Enock Trouillot began to look at Haiti’s cultural heritage and created a new form of theatre using new theatrical language; a window opened onto a “theatre of the people”, written in Creole, onto total theatre that incorporated song and dance, onto a theatre of demystification.

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Ther, Philipp. "Die Stadt, Der Adel Und Das Theater. Prag Und Lemberg Im 19. Jahrhundert Im Vergleich." East Central Europe 33, no. 1-2 (2006): 99–119. http://dx.doi.org/10.1163/187633006x00079.

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AbstractThis article examines nobles' influence on the culture of cities in East Central Europe. In a follow-up to his latest book, the author compares the opera theatres in Lemberg and Prague, and considers how they positioned themselves vis-á-vis their respective cities. The article explains the rise and fall of aristocratic dominance that for a long time ran counter to the embourgeoisement of the opera stages of Western Europe. In East Central Europe, the aristocracy was vital in establishing public theatres which became the most significant competitors of court theatres in the first half o

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LIU, SIYUAN. "‘Spoken Drama (Huaju) with a Strong Chinese Flavour’: The Resurrection and Demise of Popular Spoken Drama (Tongsu Huaju) in Shanghai in the 1950s and Early 1960s." Theatre Research International 42, no. 3 (2017): 265–85. http://dx.doi.org/10.1017/s030788331700058x.

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In the late 1950s and early 1960s in Shanghai, the remnant ofwenmingxi(civilized drama), China's first form of Western-style spoken drama, which had flourished in the 1900s and 1910s as a hybrid of Western spoken theatre and indigenous performance, experienced a brief resurrection and ultimate demise under the name oftongsu huaju(popular spoken drama). Considered until then as popular entertainment inferior to the officially recognized form of modern theatre,huaju(spoken drama), that adhered to Western realistic dramaturgy and performance,tongsu huajustaged a six-play festival in January 1957

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Kusumawati, Aning Ayu. "MENENGOK SENI TEATER/DRAMA UMAT ISLAM DI INDONESIA." Adabiyyāt: Jurnal Bahasa dan Sastra 8, no. 2 (2009): 371. http://dx.doi.org/10.14421/ajbs.2009.08209.

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Theatre has become a part of the Islamic world recently. Moslems become more familiar with Islamic theatre and film. Indonesian independence, as well as the western theatre, triggers the blooming of theatre. To see its development in this country, where Moslems is the majority, it is necessary to observe how the local group of theatre or drama making its changes in their appreciation, conception, interpretation, expression, and creation. The main paradigm of the art of Islamic theatre, as the part of Islamic culture, can be understood through a textual and contextual approach.

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Yales, Sarah. "Winnipeg Western Regionalism and the Prairie Theatre Exchange." Canadian Theatre Review 81 (December 1994): 90–91. http://dx.doi.org/10.3138/ctr.81.017.

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To anyone nurtured on the myth of artist as outsider, the idea that an artist had a role in the community to evoke a sense of place, to create symbols that invoke identity, was radical. Regionalism posed that challenge twenty years ago. Today technology and mass media have made us all citizens of the world. Does regionalism still have a role to play in the kind of art we make? Is it still a valid philosophy for Winnipeg’s Prairie Theatre Exchange, a theatre nurtured on the homegrown?

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Weitz, Shoshana. "Theatre and Society in Israel." Theatre Research International 13, no. 2 (1988): 105–22. http://dx.doi.org/10.1017/s0307883300014413.

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In Why We Need Broadway, the American scholar and critic Stanley Kaufmann depicts the theatre auditorium as the last remaining public meeting place for the lonely souls who together constitute Western society, a place where the concept of a public still exists, a place which attracts individuals who have paid out of their own pockets for a ticket which entitles them to share a personal experience with the strangers seated beside them in the dark, and with whom, for one evening, they become a community – or at least the closest thing to a community possible in the Western city of today.

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Iudova-Romanova, Kateryna. "Systemic Knowledge of the Theatre Art History in Western Europe and the USA." Bulletin of KNUKiM. Series in Arts, no. 50 (June 27, 2024): 195–200. https://doi.org/10.31866/2410-1176.50.2024.306809.

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Manual "History of the Theatre of Western Europe and the USA" by Natalia Vladymyrova offers readers an informative review of the theatre art history from ancient times to the middle of the 19<sup>th</sup> century. The author combined her own knowledge in history of foreign and Ukrainian theatre, for creation of this manual, which will certainly become an inseparable part of the educational process for many seekers of culture and art specialities.

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Ododo, Sunday Enessi. "Nigerian theatre in a digital era." Nigeria Theatre Journal: A Journal of the Society of Nigeria Theatre Artists 23, no. 1 (2024): 3–13. http://dx.doi.org/10.4314/ntj.v23i1.1.

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Within the last two decades, there have been diverse painstaking attempts by Nigerian theatre pedagogues, under the umbrella of the Society of Nigeria Theatre Artists (SONTA), to underscore the germaneness of the theatre in society by constructing themes to address issues of concern in its yearly conference. One of such is the thematic preoccupation of SONTA 2022 which was headlined, “Nigerian Theatre in a Digital Era.” In this paper, we argue against the frame of apprehending the ‘digitalisation’ of Nigerian theatre from the lens of electronic or computerised technology as constructed by the

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Schechner, Richard. "Double Edge Theatre in Its Ashfield Community: An Interview with Stacy Klein." TDR/The Drama Review 64, no. 4 (2020): 44–71. http://dx.doi.org/10.1162/dram_e_00964.

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Filewod, Alan. "Inventing the Prairies." Canadian Theatre Review 66 (March 1991): 3. http://dx.doi.org/10.3138/ctr.66.fm.

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This is the third issue in CTR’s sixteen-year history to focus on Prairie theatre. In 1974, CTR 4 focused on the Manitoba Theatre Centre as a paradigm of Western theatre,- more recently, in 1985, CTR 42 looked at the pluralism of Prairie theatre through the lens of regionalism. In this issue we return to Winnipeg (with excursions to Saskatoon and Alberta) to question the assumptions that have for too long displaced Prairie theatre to the margins of Canadian culture.

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Sologub, Anna P. "On the history of the director’s theatre in Spain: “Medea” by Cipriano de Rivas Cherif in the Roman Theatre of Mérida (1933)." ТЕАТР. ЖИВОПИСЬ. КИНО. МУЗЫКА, no. 3 (2022): 94–116. http://dx.doi.org/10.35852/2588-0144-2022-3-94-116.

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In 1933, Cipriano de Rivas Cherif, one of the central figures of the director’s theatre in Spain, presented the performance “Medea” based on the tragedy of Seneca. It was hold in the ruins of the Roman Theatre in the city of Mérida (Spain). On the basis of the performance material the author attempts to characterize the specifics of Spanish directing in the context of Spanish theatre history and the reception of foreign ideas in it. Attention is paid to the cultural policy of the Second Spanish Republic, when the performance was staged, in particular to the idea of “spreading the theatre” (ext

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Brown, John Russell. "Theatrical Pillage in Asia: Redirecting the Intercultural Traffic." New Theatre Quarterly 14, no. 53 (1998): 9–19. http://dx.doi.org/10.1017/s0266464x00011696.

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The potential and the problems of multicultural theatre have frequently been described and debated in this as in other theatre journals, but discussions of its value and viability have generally been in ethical terms – over how far it is possible for the West to ‘import’ or otherwise employ the theatrical traditions of other cultures without resort to an imperialist appropriation of what is found ‘consumable’, to the detriment of the culture thus despoiled. While not ignoring the moral arguments, John Russell Brown here deals also with the practical issues – notably, how far different kinds of

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George, David E. R. "Quantum Theatre – Potential Theatre: a New Paradigm?" New Theatre Quarterly 5, no. 18 (1989): 171–79. http://dx.doi.org/10.1017/s0266464x00003067.

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The ‘theatre of the world’, or Theatrum Mundi, offered a pervasive emblematic view of the relationship between God, as playwright and audience, and his terrestrial creation. Although this became peculiarly appropriate during the Renaissance period, views of the theatre as microcosmic of the larger world have persisted – whether in the consciously wrought imagery of modern sociology or the unconscious colloquial useage of theatrical terms to describe everyday behaviour. In the article which follows, David E. R. George suggests that the ‘view’ of the subatomic world presented by quantum theory m

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Iacob, Viviana. "Scenes of Cold War Diplomacy: Romania and the International Theatre Institute, 1956–1969." East Central Europe 45, no. 2-3 (2018): 184–214. http://dx.doi.org/10.1163/18763308-04502003.

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The article maps Romania’s involvement with the International Theatre Institute during its first decade of membership. The argument revolves around a number of East–West convergence high points such as the 1959 Helsinki Congress or the 1964 Bucharest Symposium. It analyzes the connections developed by Romanian theatre specialists within the framework provided by iti, the specialized networks they helped create and the domestic impact of these interactions. The article examines the multifaceted Romanian involvement with these projects in national and international context. It begins in 1956, Ro

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Chang, Chia-fen. "Quiet Decline of Lanling Theatre Workshop: A Postmodern Shift from Huaju to Grotowski-Inspired Physical Theatre in Taiwan." Asian Theatre Journal 42, no. 1 (2025): 105–28. https://doi.org/10.1353/atj.2025.a962137.

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Abstract: When discussing the Lanling Theatre Workshop, critics often cite the success of Hezhu's New Match in 1980 as a milestone in Taiwan's modern theatre. However, in hindsight, its success was more symbolic than artistic, signifying a break from Nationalist propaganda drama. The lack of discussion on its decline also obscures the theatre's trail and hinders researchers from achieving a comprehensive understanding. Furthermore, given Lanling's adoption of Western theatre techniques, it is essential to contextualize it within Taiwan's theatre scene as well as the broader cultural struggle i

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Epner, Luule. "The emergence of the independent theatre scene in Estonia (1987–92)." Nordic Theatre Studies 33, no. 1 (2022): 72–86. http://dx.doi.org/10.7146/nts.v33i1.131993.

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The years 1987–92 mark the first or breakthrough stage of the Estonian transition period from being one of the Soviet republics to a newly independentdemocratic state. The cultural processes of the transition are commonly discussed in terms of re-westernization. However, the picture is more complex,as Western influences intertwined with the legacy of the Soviet cultural realm. The article looks into the interplay between various influences, analyzing theemerging independent theatre scene from both institutional and aesthetic perspectives. On the institutional level, a range of small groups eme

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Epner, Luule. "The emergence of the independent theatre scene in Estonia (1987–92)." Nordic Theatre Studies 33, no. 1 (2022): 72–86. http://dx.doi.org/10.7146/nts.v33i1.131993.

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The years 1987–92 mark the first or breakthrough stage of the Estonian transition period from being one of the Soviet republics to a newly independentdemocratic state. The cultural processes of the transition are commonly discussed in terms of re-westernization. However, the picture is more complex,as Western influences intertwined with the legacy of the Soviet cultural realm. The article looks into the interplay between various influences, analyzing theemerging independent theatre scene from both institutional and aesthetic perspectives. On the institutional level, a range of small groups eme

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Berlova, Maria S. "Court theatre as a proven source of the europeanization of Russia during tsar Alexei Mikhailovich’s reign." ТЕАТР. ЖИВОПИСЬ. КИНО. МУЗЫКА, no. 1 (2022): 204–13. http://dx.doi.org/10.35852/2588-0144-2022-1-204-213.

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Russia’s Theatrical Past: Court Entertainment in the Seventeenth Century (2021), written by Claudia Jensen, Ingrid Mayer, Stepan Shamin, and Daniel C. Waugh, focuses on the Russian court theatre of Tsar Alexei Mikhailovich, which existed from 1672 to 1676. The book analyzes this theatre within the context of Russian culture and diplomatic relations between Russia and Western Europe from the middle of the 16th to the beginning of the 18th century. The study of intercultural exchange and how Russia assimilated Western European theatrical and musical traditions is based on unique documents, such

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