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Artículos de revistas sobre el tema "Humanities -> theatre -> directing"

Autor: Grafiati

Publicado: 26 de julio de 2024

Última modificación: 31 de julio de 2025

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1

Marneweck, Aja. "On the 10-year anniversary of the Barrydale Giant Puppet Parade South Africa: A conversation between parade creative directors Aja Marneweck and Sudonia Kouter." Applied Theatre Research 8, no. 1 (2020): 31–44. http://dx.doi.org/10.1386/atr_00024_1.

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2020 marks the tenth anniversary of the Barrydale Giant Puppet Parade, a large-scale, experimental annual public puppetry event and performance in a small rural town in the Klein Karoo of South Africa. This multifaceted, collaborative puppet theatre-making process, which results annually in the creation of a parade and large-scale original performance, is co-organized by Net Vir Pret (a children’s school aftercare non-profit organisation based in the town of Barrydale) and the Laboratory of Kinetic Objects (LoKO) at the Centre for Humanities Research at the University of the Western Cape (CHR@

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2

Hanzburh, Hryhorii. "Spatial Effects in the Sound of Music." Bulletin of Kyiv National University of Culture and Arts. Series in Musical Art 3, no. 1 (2020): 27–36. https://doi.org/10.31866/2616-7581.3.1.2020.204336.

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The purpose of this research is to learn the artistic and technical techniques that cause spatial sensations, representations and illusions in the perception of music. Speaking of music, it is customary to draw more or less justified analogies with the facts of everyday life, the phenomena of science or related art forms, such analogies can in some cases lead to errors, and in others to discoveries. Metaphorical images (including spatial ones) are discussed in statements about music. Cases of borrowing the terminology of nature and art sciences in musical-theoretical studies are analyzed.

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3

Harbuziuk, Maiia. "“We Could Have Ventured in the Opposite Direction”: Exploring the Legacy of Polish Theatre on the Festival Map of Independent Ukraine." Pamiętnik Teatralny 72, no. 4 (2023): 57–80. http://dx.doi.org/10.36744/pt.1550.

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This article examines the representation of Polish theatre on the Ukrainian festival map. This study includes key stages, events, and trends, and aims to uncover both positive developments and underlying problems. The research is based on sources such as published material, information resources, and my experience as a theatre critic. The periods of individual “breakthroughs” (1992–2000), “local encounters” (2001–2011), and “dramaturgical and performative landing forces” (from 2011) are identified and briefly characterized. The article outlines a broad geographical and genre-specific range of

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4

Chebotarev, Sergey A. "Art of theater direction in the 20th–21st centuries." Neophilology, no. 28 (2021): 718–25. http://dx.doi.org/10.20310/2587-6953-2021-7-28-718-725.

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We analyze the cultural and historical development of art of theater direction in the 20th–21st centuries. We consider the features of director’s theater on the example of Anatoly Vasiliev’s theater, Mark Zakharov’s theater, Zhenovach’s theater, Pyotr Fomenko’s theater, etc. We note that throughout the entire period there is a transformation of the role of the director in the theater. We note that throughout the entire period there is a transformation of director’s role in the theater. The significance of the theater director – artist grows into more complex forms of his existence: the playwri

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5

Pizzato, Mark. "Staging Consciousness: Theater and the Materialization of Mind. By William W. Demastes. Ann Arbor: University of Michigan Press, 2002; pp. 193. $47.50 cloth." Theatre Survey 45, no. 2 (2004): 294–96. http://dx.doi.org/10.1017/s0040557404280267.

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William W. Demastes's new book is a rare find. It shows a new direction for interdisciplinary theatre scholarship, combining drama and performance with cognitive science, fuzzy logic, and complexity theory. With this challenging combination, Demastes extends the significance of theatre beyond its conventional place in the humanities and proposes specific ties between an ancient art form and recent scientific discoveries. He demonstrates a post-postmodern or “neostructuralist” approach that dares to discuss “the emergent essence of life itself,” through a materialist, yet “nonpositivist” scienc

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6

Kornienko, Nelly. "The Theater Expansion of Quanta Times. The Temptation of the Radicalism. (Fragment)." Bulletin of Kyiv National University of Culture and Arts. Series in Stage Art 1, no. 1 (2018): 36–49. https://doi.org/10.31866/2616-759x.1.2018.144799.

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The purpose of the work is to initiate a new direction in the science of artistic culture and, in particular, about the theater. The direction is defined as the synergetic art culture (nominal name), which involves the study of the phenomenon of communication art (theatrical) creativity with the quantum world. The research methodology consists of interdisciplinary approaches which are  based on synergetic, quantum physics, art studies (theatrical science), cultural studies, adaptation of the methods of exact sciences to humanitie

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7

Kornienko, Nelly. "The Theater Expansion of Quanta Times. The Radicalism Temptation (Fragment. Continued)." Bulletin of Kyiv National University of Culture and Arts. Series in Stage Art 2, no. 2 (2019): 153–63. https://doi.org/10.31866/2616-759x.2.2.2019.186652.

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The purpose of the article is to initiate a new direction in the science of artistic culture and, in particular, about the theater. The direction has been defined as the synergetic art culture (nominal name), which involves the study of the phenomenon of communication art (theatrical) creativity with the quantum world. The research methodology consists of interdisciplinary approaches which are based on synergetic, quantum physics, art studies (theatrical science), cultural studies, adaptation of the methods of exact sciences to humanities, and as a result there is an attempt to

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8

Troiani, Sara. "Ettore Romagnoli, rievocatore of ancient Greek drama." Classical Receptions Journal 16, no. 1 (2024): 56–72. http://dx.doi.org/10.1093/crj/clad029.

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Abstract The Italian classicist Ettore Romagnoli (1871–938) is mostly remembered as a popularizer of ancient drama through his work as a translator for and artistic director of classical performances at the Greek theatre of Syracuse (1914–27). His theatrical productions were inspired by a programmatic aesthetic approach to the study of classical culture called ‘artistic Hellenism’, which aimed at making the Graeco-Roman classics accessible to a broader audience, as well as renewing Italian prose theatre by referring to the example of the ancient chorodidaskalos. This article aims to describe R

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9

Sajid, Nida. "revisiting the woman's question on the nation's stages: new directions in research on Indian theatre." Feminist Review 84, no. 1 (2006): 124–29. http://dx.doi.org/10.1057/palgrave.fr.9400304.

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10

Hoffman, Ian, Richard Talaske, and Byron Harrison. "Understanding the role of direction in thrust and in‐the‐round theater spaces." Journal of the Acoustical Society of America 128, no. 4 (2010): 2274. http://dx.doi.org/10.1121/1.3507957.

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11

Davidson, J. F. "The Circle and the Tragic Chorus." Greece and Rome 33, no. 1 (1986): 38–46. http://dx.doi.org/10.1017/s0017383500029946.

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It is a well-known and often lamented fact that we know very little about the actual staging of plays in the theatre of Dionysus in the Fifth Century b.c. What snippets of information we do have date from later centuries and may reflect contemporary conditions of performance, or may be mere inference based on fifth-century texts. Even though we can derive considerable comfort from Oliver Taplin's dictum that ‘the Greek tragedians signalled all their significant stage directions in the words’, 2 much that would enhance our knowledge of a fifth-century production remains a mystery.

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12

Maystrenko-Vakulenko, Yuliya. "Ukrainian Theatrical Drawings and Sketches of the Avant-Garde Era." Ars & Humanitas 15, no. 1 (2021): 197–211. http://dx.doi.org/10.4312/ars.15.1.197-211.

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The study of time, space and movement as constituent art elements was a focus of attention of avant-garde artists. The theatre where events unfold both in space and time became a place of consolidation of Ukrainian artists, with the synergistic association of representatives in various art branches and movements. A scenographic sketch, that is, a two-dimensional realisation of idea of a future four-dimensional work, is a unique phenomenon to study the evolution of the avant-garde’s concept of the space-time continuum. Through the example of works of both distinguished and less known Ukrainian

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13

Miles, Patrick. "Reviews : Improvisation in Drama. By Anthony Frost and Ralph Yarrow. (New Directions in Theatre.) London: Macmillan, 1990. Pp ix + 214. £30.00." Journal of European Studies 21, no. 2 (1991): 149–50. http://dx.doi.org/10.1177/004724419102100207.

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14

Davis, Tracy C. "Upstaging Big Daddy: Directing Theater as If Gender and Race Matter. Ellen Donkin , Susan ClementActing out: Feminist Performances. Lynda Hart , Peggy Phelan." Signs: Journal of Women in Culture and Society 20, no. 2 (1995): 441–43. http://dx.doi.org/10.1086/494985.

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15

Alyabieva, Liudmila A., Irina M. Sakhno, and Tatiana E. Fadeeva. "PRACTICE AS RESEARCH: CREATIVE AND RESEARCH. PRACTICE IN THE FORMAT OF POSTGRADUATE EDUCATION." Scientific and analytical journal Burganov House. The space of culture 17, no. 4 (2021): 91–109. http://dx.doi.org/10.36340/2071-6818-2021-17-4-91-109.

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The authors of the article focus on the discussion format of practical research. In recent years, practice as research has become a direction of research activity in foreign universities and an object of close attention from the Russian academic community. Representatives of various disciplines in art and the humanities convincingly argue the need for such a format of creative practice in performance, theatre, dance and contemporary art. Practice as research includes different forms and ways of representing applied and project art products. Today, a practising researcher causes controversy and

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16

Murakami, Ineke, and Donovan Sherman. "Performance beyond Drama." Journal of Medieval and Early Modern Studies 51, no. 3 (2021): 387–95. http://dx.doi.org/10.1215/10829636-9295002.

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The field of performance studies has invigorated premodern scholarship by directing critical attention to live, ephemeral events that unsettle the textual archive. This special issue of JMEMS builds on this work by stepping away from the usual emphasis on theater and its texts to examine “performance” conceived more broadly. With case studies that range from a pig-clubbing “game” in medieval festivals to the gnomic utterances of secretive eighteenth-century philosophical rituals, these essays ask how we study a medium that has, by its nature, disappeared. How, in other words, do we engage text

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17

Vasilyeva, Varvara V., and Eduard S. Klyshinsky. "An Onomasticon-Based Quantitative Method for Identifying of Storylines in a Literary Work." IKBFU's Vestnik. Series: Philology, Pedagogy, Psychology, no. 4 (2024): 47–60. http://dx.doi.org/10.5922/vestnikpsy-2024-4-5.

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One of the branches of digital humanities research is the analysis of the structure of literary works. Among the research directions in this field, the creation of a social network of character interactions is particularly popular. Another important task is the analysis of the structure of a work, the identification of narrative units, and their comparison. This article proposes a quantitative method for identifying plot lines based on the analysis of character names and location names. The author’s division of the text into chapters is used as the unit of analysis, as it most adequately refle

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18

Stamboldžioski, Katja. "The Rise of the Ljubljana School of Documentary Film at TV Ljubljana (1981–1990) and the Transformation of the Documentary." Ars & Humanitas 17, no. 1 (2023): 271–84. http://dx.doi.org/10.4312/ars.17.1.271-284.

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The article discusses a specific period of the production of the documentary genre at TV Ljubljana, known as the period of the Ljubljana School of Documentary Film (19811990). The focus of this research is predominantly the conditions and limitations of production, under which documentary films and practices, as well as the routines of the creators, were created, to analyse how production practices were reflected in the form and style of documentary films. The documentary films of this period began to move away from news coverage with current political content and the explanatory mode of repr

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19

Dillon, Matthew. "By Gods, Tongues, and Dogs: the use of Oaths in Aristophanic Comedy." Greece and Rome 42, no. 2 (1995): 135–51. http://dx.doi.org/10.1017/s0017383500025584.

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The gods appear in nearly every passage of Aristophanic dialogue; it is hard to imagine more than five minutes passing in the comic theatre before hearing the name of an Olympian deity. This remarkable density is perhaps less telling than it might seem, for the vast majority of such references occur in oaths. Formally, an oath calls on one or more gods to witness (using the particles nē or ma) an assertion, a denial, or a promise. Less formally, simple oaths with nē or ma add colour and emphasis to colloquial language, somewhat like ‘swear words’ in English, and it is this usage which predomin

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20

Kurochkin, Oleksandr. "Traditional Images Genesis of Folklore Carnival as Ukrainians National World." Bulletin of Kyiv National University of Culture and Arts. Series in Stage Art 1, no. 2 (2018): 47–62. https://doi.org/10.31866/2616-759x.2.2018.153224.

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The purpose of the article. Deep into the archaic layers of the outlook in the ancient Slavs, the author seeks to trace the genesis and the ritual masking institute evolution, the game and ceremonial-etiquette reincarnation, on its basis a motley gallery of traditional images in Ukrainian folk carnival has been formed. Research methods. The historical-genetic method, or the retrospective reconstruction method, which is used not only in the humanities but also in the natural sciences, it is served as a guide. It is based on the idea that the initial stages of the development of certain objects

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21

Wells, Nathaniel, Scott D. Sommerfeldt, and Jonathan D. Blotter. "Optimization of loudspeaker positions for virtual auditory displays in a free-field environment." Journal of the Acoustical Society of America 151, no. 4 (2022): A251. http://dx.doi.org/10.1121/10.0011227.

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Virtual acoustic environments are created by mimicking the pressures of real acoustic sources at a listener’s ears. In this way, a listener can perceive virtual acoustic sources as coming from any desired direction. There are multiple methods to accomplish this using headphones or loudspeaker arrays, but not all are practical for everyday use. Some use cases limit the use of headphones or the number and position of loudspeakers, such as automobiles and home theater systems. These limitations also put bounds on the performance of each possible system, such as allowable head movement and the acc

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22

Quilon, Annabelle, and Rosemarie Perreras. "Communication Climate as Predictor of Perceived Corporate Governance and Organizational Success." Bedan Research Journal 5, no. 1 (2020): 191–213. http://dx.doi.org/10.58870/berj.v5i1.17.

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Empirical studies proved that good corporate governance had a positive link to the success of an organization. Good in directing and managing organizational processes, structures, and information mean satisfaction guaranteed was given to all stakeholders. Essential factor like working atmosphere may be considered when looking into corporate governance as well as organizational success. However, limited literature focused on the importance of communication climate and its connection to corporate governance and organizational success. Hence, this study looked into the predicting effect of commun

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23

Cavanagh, Clare. "Pseudo-revolution in Poetic Language: Julia Kristeva and the Russian Avant-garde." Slavic Review 52, no. 2 (1993): 283–97. http://dx.doi.org/10.2307/2499923.

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It is important to stress that these peculiar pseudo-revolutions, imported from Russia and carried out under the protection of the army and the police, were full of authentic revolutionary psychology and their adherents experienced them with grand pathos, enthusiasm, and eschatological faith in an absolutely new world. Poets found themselves on the proscenium for the last time. They thought they were playing their customary part in the glorious European drama and had no inkling that the theatre manager had changed the program at the last minute and substituted a trivial farce.–Milan Kundera, L

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24

Du, Ling. "Clémence de Grandval in the French artistic culture of the XIX century." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 63, no. 63 (2023): 144–58. http://dx.doi.org/10.34064/khnum1-63.08.

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Statement of the problem. One of the main issues of the humanities has always been to study urgent problems due to the proceses of economic and social life, changes of artistic guidelines, one of which is to comprehend the specifics of the functioning of contemporary art. Nevertheless, the direction of music scholarship that explores the culture of previous eras and the work of little-known «second-rate» artists remains no less important. In this aspect, the XIX century, namely the era of Romanticism, attracts attention with the flourishing of salon culture, the interest in the work of the Mus

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25

Birat, Jean-Pierre. "The environment and materials, from the standpoints of ethics, social sciences, law and politics." Matériaux & Techniques 107, no. 1 (2019): 102. http://dx.doi.org/10.1051/mattech/2018067.

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Materials are deeply connected with the environment, because they stem from raw materials extracted from the geosphere, rely on large amounts of energy and of water in their production stage, project emissions to air, water and soil when their ores (or minerals) are mined, when they are made in steel mills or cement kilns, including very significant amounts of greenhouse gases. They also contribute to emissions and energy consumption of the artifacts of which they are part, either consumption or investment goods. Their connection with the biosphere raises many issues, in terms of toxicology, e

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26

Antić Gaber, Milica, and Marko Krevs. "Many Faces of Migrations." Ars & Humanitas 7, no. 2 (2013): 7–16. http://dx.doi.org/10.4312/ars.7.2.7-16.

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Temporary or permanent, local or international, voluntary or forced, legal or illegal, registered or unregistered migrations of individuals, whole communities or individual groups are an important factor in constructing and modifying (modern) societies. The extent of international migrations is truly immense. At the time of the preparation of this publication more than 200 million people have been involved in migrations in a single year according to the United Nations. Furthermore, three times more wish to migrate, mostly from sub-Saharan Africa towards some of the most economically developed

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27

Antić Gaber, Milica, and Marko Krevs. "Many Faces of Migrations." Ars & Humanitas 7, no. 2 (2013): 7–16. http://dx.doi.org/10.4312/ah.7.2.7-16.

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Temporary or permanent, local or international, voluntary or forced, legal or illegal, registered or unregistered migrations of individuals, whole communities or individual groups are an important factor in constructing and modifying (modern) societies. The extent of international migrations is truly immense. At the time of the preparation of this publication more than 200 million people have been involved in migrations in a single year according to the United Nations. Furthermore, three times more wish to migrate, mostly from sub-Saharan Africa towards some of the most economically developed

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28

"The role of theatre in the training of students of Humanities." Journal of V. N. Karazin Kharkiv National University, Series "Philology", no. 81 (2019). http://dx.doi.org/10.26565/2227-1864-2019-81-20.

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The article analyzes one of the peculiarities of organization of educational process at the Faculty of Philology, namely the use of elements of performing art in literary studies and extracurricular activity. The main ways of interaction between theatre and University in this field are visiting theatre, discussing plays, creating amateur theatres, writing literary scripts, plays, reviews, research articles and monographs dedicated to development of theatre and drama. It also contains the analysis of activity of the most prolific amateur theatres directors, these are V. Sachenko, A. Svashenko,

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29

Maziashvili, David. "Spare Hamlet." Text and Interpretation, 2023. http://dx.doi.org/10.55804/jtsu-2960-9461-2023-14.

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In 2023, the whole world eagerly awaited the release of the book Spare by Prince Harry. It is not only the prince’s admirers and the people who are interested in the British monarchy, but also academics from humanities and popular magazines express their interest in Spare, which increases Harry’s popularity in all social groups of Western society. Spare introduces the British Monarchy through the eyes of the insider. Probably, the most popular and tragic story in the history of English and world literature narrated by the insider is Hamlet. In Shakespeare’s times, the theatre played the same r

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30

Cole, Emma. "Fragments, Immersivity, and Reception: Punchdrunk on Aeschylus’ Kabeiroi." International Journal of the Classical Tradition, March 6, 2021. http://dx.doi.org/10.1007/s12138-020-00578-9.

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AbstractA preoccupation with fragmentation has defined many recent responses to antiquity. Within scholarship this focus takes the form of poststructuralist-informed readings, which highlight how any text can be perceived as fragmentary due to the epistemologies that we use to frame our readings. Within artistic practice there is a corresponding privileging of fragmentation through the dismembering of text. Yet one does not need to deconstruct a text, or to point to the gaps in meaning that persist in any textual encounter, to think through fragmentation.In this essay, I propose that utilising

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31

Yagi, Naoko. "Listening to a Pinter double bill: Mitchell’s direction of Mountain Language and Ashes to Ashes at the Royal Court Theatre." Sound Studies, February 20, 2023, 1–22. http://dx.doi.org/10.1080/20551940.2022.2147330.

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32

Seutaʻafili Patrick Thomsen, Lana Lopesi, and Marcia Leenen-Young. "Introduction: Charting Provocations and Exploring New Directions for Pacific Research in Aotearoa–New Zealand from Pacific Early Career Academic (PECA) Perspectives." Journal of New Zealand Studies, NS33 (December 14, 2021). http://dx.doi.org/10.26686/jnzs.ins33.7378.

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“Uplifting Moana Perspectives: Emerging Pacific Researchers and New Directions in New Zealand-Based Pacific Research” presents a shared vision for the future of Pacific research by Pacific early career academics (PECA) primarily based in Aotearoa–New Zealand. The task of charting new directions in imagining possibilities for Pacific research is a critical one, which speaks to our communities’ long and storied history in Aotearoa: a reality incongruent with the lack of Pacific scholars employed in permanent positions in New Zealand universities.[i] This special issue challenges the idea that th

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33

Bonazzi, Michele, Giulia Cancellieri, and Francesco Casarin. "Omnivorous cultural consumption and the co-creation of cultural products: Interactive versus participatory art." Journal of Consumer Culture, June 3, 2023, 146954052311815. http://dx.doi.org/10.1177/14695405231181510.

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How do omnivorous consumers perceive co-creation in cultural consumption? In this article, we combine observation data on co-created cultural productions, focus groups and field interviews to investigate omnivorous consumers’ perceptions of artistic experiences characterized by different degrees of co-creation. We explored this topic in the context of co-creative theatre, an emergent theatrical genre that provides for the active involvement of omnivorous consumers in the staging of a theatrical performance. Our findings reveal new dimensions of what it means for omnivorous consumers to be cult

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34

Cristina Frosini. "The art of composing: between autonomy and heteronomy." TECHNE - Journal of Technology for Architecture and Environment, May 25, 2021, 44–50. http://dx.doi.org/10.36253/techne-10978.

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«Music conveys different meanings to everyone, and sometimes, it can even communicate different things at different times to the same person», Daniel Barenboim once said. This is tantamount to saying that music is influenced by the context in which it is played, whilst at the same time influencing the context of those who are listening to it. As such, music exists within a system of relationships. From this, it follows that music can be interpreted as a public art – when it is performed in front of an audience – when it is played by one or more musicians in the presence of a listener or listen

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35

Hall, Karen, and Patrick Sutczak. "Boots on the Ground: Site-Based Regionality and Creative Practice in the Tasmanian Midlands." M/C Journal 22, no. 3 (2019). http://dx.doi.org/10.5204/mcj.1537.

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IntroductionRegional identity is a constant construction, in which landscape, human activity and cultural imaginary build a narrative of place. For the Tasmanian Midlands, the interactions between history, ecology and agriculture both define place and present problems in how to recognise, communicate and balance these interactions. In this sense, regionality is defined not so much as a relation of margin to centre, but as a specific accretion of environmental and cultural histories. According weight to more-than-human perspectives, a region can be seen as a constellation of plant, animal and h

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Nairn, Angelique. "Crafting the Grotesque." M/C Journal 28, no. 2 (2025). https://doi.org/10.5204/mcj.3164.

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Introduction Special effects (SFX) makeup has long been a powerful tool in the world of performance, used to transform, distort, and reimagine the human form in service of storytelling. From the eerie creatures of horror to the fantastical beings of science fiction, prosthetic makeup plays a crucial role in shaping the visual language of genre media. The American television show Face Off (2011-2018) brought this behind-the-scenes artistry to the forefront, offering viewers an in-depth look at the creative processes of professional special effects and prosthetic makeup artists. Running for 13 s

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37

Bender, Stuart Marshall. "You Are Not Expected to Survive: Affective Friction in the Combat Shooter Game Battlefield 1." M/C Journal 20, no. 1 (2017). http://dx.doi.org/10.5204/mcj.1207.

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IntroductionI stumble to my feet breathing heavily and, over the roar of a tank, a nearby soldier yells right into my face: “We’re surrounded! We have to hold this line!” I follow him, moving past burning debris and wounded men being helped walk back in the opposite direction. Shells explode around me, a whistle sounds, and then the Hun attack; shadowy figures that I fire upon as they approach through the battlefield fog and smoke. I shoot some. I take cover behind walls as others fire back. I reload the weapon. I am hit by incoming fire, and a red damage indicator appears onscreen, so I move

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