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Articoli di riviste sul tema "Experimental theatre"

Autore: Grafiati

Pubblicato: 4 giugno 2021

Ultima modifica: 25 luglio 2025

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1

Firestein, Stuart. "Experimental theatre." Nature 443, no. 7114 (2006): 913–14. http://dx.doi.org/10.1038/443913a.

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2

Kauffmann, Stanley. "Broadway and the Necessity for ‘Bad Theatre’." New Theatre Quarterly 1, no. 4 (1985): 359–63. http://dx.doi.org/10.1017/s0266464x00001779.

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Is Broadway necessary? As the focus for new writing and major experimental work in the USA shifts ever further from the old theatre district around Times Square – first to off- and then to off-off-Broadway, more recently to the flourishing regional theatres – many critics have come to regard Broadway either as an economic anachronism, failing to perpetuate past glories, or simply as an irrelevance to ‘real’ theatre. Yet Stanley Kauffmann argues that a focal point for a nation's theatre is more than the sum of sometimes fraying parts, and works on the imagination in ways that cannot be evaluate

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3

Jesenko, Primož. "Balbina’s “theatre in the round”." Maska 31, no. 181 (2016): 160–65. http://dx.doi.org/10.1386/maska.31.181-182.160_7.

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With an overview of the life and work of Balbina Battelino Baranovič (1921–2015), the article emphasises her role in the Slovenian theatre scene. She founded theatres, researched contemporary theatrical practices, and, thanks to a strong connection to French and American theatre, broadened the horizons of the Slovenian and Yugoslav theatre of the time, while enabling actors to flourish under contemporary approaches. The founder of the Experimental Theatre, she also introduced theatre in the round to the Slovenian artistic space.

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Kreicberga, Zane. "Performances that Disappeared." Nordic Theatre Studies 35, no. 1 (2024): 106–19. http://dx.doi.org/10.7146/nts.v35i1.145377.

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The article explores the alternative theatre and performance culture of the late 1980s in Latvia focusing on two independent companies that were established in 1987, namely The Experimental Theatre Studio led by theatre director Ilmārs Elerts and The Theatre Studio No. 8 uniting young theatre makers who refused to join the dominant state-funded repertory theatres. Both companies existed only for a few years and their activities and impact on Latvian theatre have not been properly researched until now. The article suggests negotiating the inherited strict binary division in research between pro

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5

Sierz, Aleks. "Experimental Theatre in Cario." New Theatre Quarterly 12, no. 45 (1996): 86–87. http://dx.doi.org/10.1017/s0266464x00009672.

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Braun, Kazimierz. "Druga Reforma Teatru." Zarządzanie w Kulturze 25, no. 1-2 (2024): 181–97. http://dx.doi.org/10.4467/20843976zk.24.019.20137.

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The history of theatre in the twentieth century distinguishes two theatre reforms. The first took place from the final years of the nineteenth century into the late 1930s. The second was from the mid-1950s to the late 1980s. These were movements of renewal and modernization of the art of theatre. Started by individual artists and small groups and assisted by playwrights and theorists – who were often the artists themselves – both reforms gradually reached wider areas of theatre life. The Second Reform was a reformist movement of young, avant-garde, rebellious and experimental theatre in a sear

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7

Nуkonenko, Ruslan. "Experimental Creative Workshop "Theatre in the Basket": Means of Plastic Expressiveness." Bulletin of KNUKiM. Series in Arts, no. 42 (July 14, 2020): 177–82. https://doi.org/10.31866/2410-1176.42.2020.207649.

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The purpose of the article is to identify and characterise the means of plastic expressiveness for performances and one-man productions of the experimental creative workshop “Theatre in the Basket”. Research methodology. The method of systematic art studies analysis and a descriptive method (to interpret and analyse the individual methods of plastic directing by I. Volytska) were applied, a comparative method (to identify the features of the plastic expressiveness for the performances of “Theatre in the Basket” and to follow the internal connections between the director

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8

Harun, Afrizal, Kurniasih Zaitun, and Susandro Susandro. "Postdramatik: Dramaturgi Teater Indonesia Kontemporer." Dance and Theatre Review 4, no. 2 (2022): 57–69. http://dx.doi.org/10.24821/dtr.v4i2.6450.

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Postdramatic: The Dramaturgy of Contemporary Indonesian Theater. The research attempts to explain a new possibility in theatre practice in Indonesia, which was initially formed through the power of words in the form of dialogue depicted in drama scripts. Since then, there was another tendency which was a matter of fact, in the early 1920s, for which Antonin Artaud initiated. Various terms have been used to describe new trends in the dramaturgy of Indonesian theatre since the 1970s up to now, such as cutting-edge theatre, avant-garde theatre, experimental theatre, body theatre, visual/visual th

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9

Lacey, Stephen, and Andrew Davies. "Other Theatres: The Development of Alternative and Experimental Theatre in Britain." Yearbook of English Studies 20 (1990): 360. http://dx.doi.org/10.2307/3507640.

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Cornish, Roger, and Andrew Davies. "Other Theatres: The Development of Alternative and Experimental Theatre in Britain." Theatre Journal 40, no. 4 (1988): 576. http://dx.doi.org/10.2307/3207914.

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Stadtler, Florian. "National representations, national theatres: Aubrey Menen and the experimental theatre company." Studies in Theatre and Performance 38, no. 1 (2017): 23–35. http://dx.doi.org/10.1080/14682761.2017.1303282.

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12

Shepard, Sam. "Experimental Theatre Then and Now." PAJ: A Journal of Performance and Art 40, no. 1 (2018): 3–4. http://dx.doi.org/10.1162/pajj_a_00388.

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13

Roche, Anthony. "Experimental Irish theatre: after Yeats." Irish Studies Review 21, no. 2 (2013): 247–49. http://dx.doi.org/10.1080/09670882.2013.777618.

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14

Douxami, Christine. "Brazilian Black Theatre: A Political Theatre Against Racism." TDR/The Drama Review 63, no. 1 (2019): 32–51. http://dx.doi.org/10.1162/dram_a_00815.

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Black Brazilian theatre constitutes a political and artistic response to the racial discrimination characteristic of Brazilian society. As early as 1944, young members of the recently created black political movement saw theatre as a potential weapon to transform Brazilian society and created the Teatro Experimental do Negro (Black Experimental Theatre). This activist theatre continues to this day to pave the way for other black theatre companies.

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15

DOLZHENKOVA, Marina Igorevna, Olga Alekseyevna DOROZHKINA, Larisa Aleksandrovna ROMANINA, and Oksana Germanovna PROKHOROVA. "THEATRE THERAPY TECHNOLOGY IN MODERN SOCIAL REHABILITATION." Tambov University Review. Series: Humanities, no. 177 (2018): 59–69. http://dx.doi.org/10.20310/1810-0201-2018-23-177-59-69.

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The technologies of theatre therapy in modern social rehabilitation are presented, the components of the pair of theatre system are revealed: game therapy; hospital clownery; psychodrama; psychomelodrama; satidrama; figurative psychodrama; pesso-therapy; psychogymnastics; “theatre of the oppressed”; forum theatre; “political theatre”; invisible theatre; theatre of memories; playback theatre; theatre of homeless artists or other unprotected categories; theatre of sports. It is noted that theatre therapy is extremely important for the social rehabilitation of children. We discuss some of the mos

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16

Cesare, T. Nikki, and Mariellen R. Sandford. "To Avant or Not to Avant: Questioning the Experimental, the New, and the Potential to Shock in the New Garde." TDR/The Drama Review 54, no. 4 (2010): 7–10. http://dx.doi.org/10.1162/dram_a_00021.

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A flush of new theatre ensembles producing, for the most part, group-devised work prompts questions about the viability of the term avantgarde, the confluence of events behind the activity of this latest “bunch of experimental theatres,” and their relationship to the original “bunch” from the 1970s.

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Moraru, Iuliana. "4. Jerzy Grotowski’s Laboratory, A Model for the Experimental Workshop." Review of Artistic Education 1, no. 23 (2022): 146–51. http://dx.doi.org/10.2478/rae-2022-0019.

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Abstract Grotowski concludes that theatre can exist without sets, without costumes, without music and without light effects and even without text. The argument in support of this surprising thesis comes from the very history of the theatre. In the evolution of theatrical art, the text was one of the last elements to be added. The theatre cannot exist without actors, not even the puppet theatre, behind the stage being hidden another manipulative actor. Furthermore, it cannot exist without the audience. Consequently, following the successive eliminations, only two elements remain: the actor and

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18

Rodiņa, Ieva, and Ērika Zirne. "Teātra kritika Covid-19 pandēmijas laikā (2020–2022)." Aktuālās problēmas literatūras un kultūras pētniecībā rakstu krājums, no. 29 (February 22, 2024): 234–48. http://dx.doi.org/10.37384/aplkp.2024.29.234.

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The experience of the pandemic period (2020–2022) has become part of the recent history of Latvian theatre, and the purpose of this article is to analyse the adaptation of criticism to the ‘new normal’ in terms of both form and content. The article’s research object is the reviews by theatre critics in the Latvian printed press and electronic media during the period of pandemic restrictions – from March 13, 2020, until spring 2022. After March 13, 2020, when the first outbreak of Covid-19 began in Latvia, inevitable confusion arose not only in theatres but also in the press writing about the t

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19

Puszak, Lubomir. "Твори Лесі Українки у світлі рампи сучасного театру". Kultury Wschodniosłowiańskie - Oblicza i Dialog, № 7 (31 липня 2018): 135–52. http://dx.doi.org/10.14746/kw.2017.7.11.

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The paper continues an earlier work on the stage production of dramatic works by Lesya Ukrainka in Ukrainian theatres. It presents the overview of stage productions put on in the years of 2012 to 2016, as well as productions, which had been staged earlier but are still performed on the stage. The study is based on the overview and the analysis of publications in Ukrainian theatre periodicals available online, as well as on the data presented on the websites of Ukrainian theatres. The analysis of the material leadsto the conclusion that Lesya Ukrainka’s dramatic works included in the current li

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20

Brigstocke, Julian. "Experimental authority in the lecture theatre." Journal of Geography in Higher Education 44, no. 3 (2019): 370–86. http://dx.doi.org/10.1080/03098265.2019.1698527.

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21

BIERNAT, JUSTYNA. "The Landscape of Węgajty Theatre." Theatre Research International 46, no. 3 (2021): 303–21. http://dx.doi.org/10.1017/s0307883321000286.

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The alternative culture in Poland formed between the late 1970s and the second half of the 1990s. In this period many artists were moving from cities into the countryside in order to find space for independent and experimental art. Among these new settlers were Erdmute and Wacław Sobaszek, who made their home in a small rural settlement of Węgajty in the 1980s. The Sobaszeks converted an abandoned farm into a stage and soon their undertaking became one of the most prominent alternative theatres in Poland. This article explores intersections of the Sobaszeks's art and rural landscape through th

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22

Dan, Marcela Livia. "Cum a transformat pandemia artele?" Symbolon 23, SI (2022): 57–64. http://dx.doi.org/10.46522/s.2022.s1.6.

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2020 was a difficult year for all the artists as well as for the audience. The artists were forced to bring masks on stage that they would never have wanted. Many art creators have moved their shows online. The public was also affected by all this madness. The people stayed at home and paid tickets online for shows broadcasted online. For many theater makers, preserving a palpable sense of liveness was paramount in adapting a theatri-cal project for a digital medium. Plays and monologues on Zoom about lockdown life had most appreciated on the virtual space. Online plays had a lot of success in

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23

Orel, Barbara. "The World of Odour in the Slovenian Performing Arts." Amfiteater 9, no. 2021-2 (2021): 92–98. http://dx.doi.org/10.51937/amfiteater-2021-2/92-98.

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The article provides an overview of performances on Slovenian stages that have used odour to stimulate the audience’s senses and arouse transformational effects. Representing the first research of this kind into Slovenian culture, the author demonstrates that odour was used as a means of sensory perception, especially in experimental theatre practices since the 1970s. One of the first such works was Cimetova vrata ladje norcev in druge spremembe (The Cinnamon Door of the Ship of Fools and Other Changes), a performance art piece directed by Tomaž Kralj at Glej Theatre in 1975. In the 1990s, the

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24

Żurowski, Andrzej, and Piotr Kuhiwzak. "Old and New in the Polish Theatre: a Season at the Stary." New Theatre Quarterly 3, no. 10 (1987): 178–83. http://dx.doi.org/10.1017/s0266464x00008666.

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The Stary Theatre in Cracow has. since the death of its former director Konrad Swinarski, enjoyed a reputation for more eclectic work than those Polish theatres identified with a single, strong directorial ‘line’. Its recent season nevertheless reveals that this ‘old’ playhouse, as its name translates, remains in the vanguard of new and experimental work, with three productions of contrasting styles but shared stature – Wajda's Crime and Punishment. Pasolini's Affabulazione. and Bradecki's A Pattern of Metaphysical Evidence. The leading Polish critic Andrzej Żurowski. who is also vice-presiden

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Chandra Uniyal,, Dr Bipin. "Grotowski´s Poor Theatre: An Experiment in Theatre." SMART MOVES JOURNAL IJELLH 7, no. 12 (2019): 14. http://dx.doi.org/10.24113/ijellh.v7i12.10240.

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This research paper is about Grotowski´s poor theatre. Before Grotowski´s there were many theatre, but these theatre were not suitable for Grotowski´s purpose. Before Grotowski´s theatre there were Schechner´s Environmental theatre, Stainslavaski´s Experimental theatre, Meyerhold´s Avant-grade theatre, Alexander Tiraov´s Kamerney theatre, Brecht´s Epic theatre, Judith Malina and Tulian Beck´s Living theatre, Bread and Puppet theatre by Peter Schumana. During the 1960´s a voice of deploration came by a number of persons, who demanded the abandonment of every element of the theatre borrowed from

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26

Islam, Md Alemul. "Parallel Interplay between Tradition and Folk Theatre: A Study of select works of Vijay Tendulkar." International Journal of English Literature and Social Sciences 8, no. 5 (2023): 210–14. http://dx.doi.org/10.22161/ijels.85.34.

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Folk theatre is the root of modern Indian drama, and with the advancement of modernity, folk theatre keeps balancing the dynamic aspect of modernity. Most of India's well-known playwrights overcame the limitations of regional language throughout the 1970s and produced a number of excellent plays on a national scale. The majority of their experimental productions were focused on incorporating Indian folk theatre components or performance traditions into mainstream theatre. As a result, we see Utpal Dutt using Jatra in Surya Sikar and Girish Karnad adopting Yakshagna, a traditional type of theat

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Quintero, Craig. "Pilgrimage As a Pedagogical Practice in Contemporary Taiwanese Theatre: U Theatre and the Baishatun Ma-tsu Pilgrimage." TDR/The Drama Review 46, no. 1 (2002): 131–48. http://dx.doi.org/10.1162/105420402753555903.

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An experimental theatre on a religious pilgrimage? It sounds like a contradiction. But in Taiwan an increasing number of experimental theatre companies have incorporated traditional ritual practice into their performer training.

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Sprogøe, Charlotte. "Live Experiences in the Theater Gardens of Contemporary Art." Peripeti 19, no. 35 (2022): 97–108. http://dx.doi.org/10.7146/peri.v19i35.130635.

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Theatre has been a model for curatorial experiments throughout the history of experimental exhibitions. This article will look into contemporary experiments with curating exhibition formats that come alive as virtual, ‘lucid dreams’ through the uses of theatrical tropes such as Narrator, Stage, Backdrop – and through the integration of affect, living matter, organic form and worldlike backdrops into the formats, as in the historic Theater Gardens.

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29

Malița, Ramona. "Madame de Staël ou le plaidoyer pour une vie seconde : le théâtre." Studia Universitatis Babeş-Bolyai Dramatica 65, no. 2 (2020): 39–56. http://dx.doi.org/10.24193/subbdrama.2020.2.02.

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"Madame de Staël or the Necessity of a Second Life: The Theatre. Our contribution proposes an incursion into literary history at the time of the First Wave of French Romanticism. The subject of the investigation is Madame de Staël’s experimental theatre and the dramatic seasons that she organized between 1804 and 1811 in Coppet and Geneva. Our conclusions are twofold: on the aesthetic side, Coppet’s dramatic representations had the role of changing the aesthetic and literary canons of the early 19th century; on the historical side, the Coppet Group is one of the first romantic cenacles whose r

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30

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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Ekaterina, Eryomina. "INDEPENDENT ENSEMBLES AND NEW DIRECTIONS IN THEATRICAL ART OF BELARUS OFTHE 2010S." Proceedings of Altai State Academy of Culture and Arts, no. 1 (2021): 42–49. http://dx.doi.org/10.32340/2414-9101-2021-1-42-49.

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The paper briefly describes creative activity of Belarusian independent theatre ensembles in experimental genres of stage art in the 2010s. Range of creative quest of Belarusian theatre of the second decade of the 21st century embraces various genres and directions: social, documentary, inclusive theatre, interactive baby theatre, puppet show, etc. The author points out on creative approach of Belarusian independent theatre figures to understanding and adaptation of conceptual and artistic achievement of directors' and actors' experiences f the world theatre, that exclude its blind taking.

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Lanchak, Yaroslav, Andrii Maslov-Lysychkin, Iryna Maslova-Lysychkina, and Butko Butko. "Physical Theatre as a Form of Theatrical Art: Ukrainian Context." Bulletin of Kyiv National University of Culture and Arts. Series in Stage Art 6, no. 2 (2023): 127–40. https://doi.org/10.31866/2616-759X.6.2.2023.288151.

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The article is devoted to the consideration of one of the newest experimental forms of performing arts – physical theatre. Physical theatre is a theatrical form that emerged and spread in the late twentieth and early twenty-first centuries in several European countries and the United States and is little studied in Ukrainian art history. <strong>The purpose of the study </strong>is to analyse the artistic and social experience of physical theatre in the context of artistic practices of the late twentieth and early twenty-first centuries, and identify its achievements and problem areas. This ph

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Molony, Martin G. "Nelson Paine, Experimental Theatre, and Puppetry in Ireland, 1942–1952." Estudios Irlandeses, no. 18 (March 17, 2023): 67–78. http://dx.doi.org/10.24162/ei2023-11392.

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In 1942, a young Dublin architect, Nelson Paine, formed the Dublin Marionette Group on foot of an international re-appraisal of the potential of the puppet theatre as a form of expression. This Group became the nucleus of experimental theatre in the Irish capital and influenced several well-known Irish creative artists over the decade of its existence and beyond. It attracted the involvement of actors, artists and dramatists of the period and performed in professional settings, including eight seasons at the Peacock Theatre and for each of the first four years of the Wexford Opera Festival. Th

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Speckenbach, Jan, and Thomas Irmer. "In Interview: On the Development of Video in the Theatre." New Theatre Quarterly 38, no. 3 (2022): 234–41. http://dx.doi.org/10.1017/s0266464x22000161.

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German film artist Jan Speckenbach ingeniously contributed to the development of live video on the stage, and this discussion focuses on his education, as well his as experimental collaborations with director Frank Castorf at the Volksbühne Berlin, starting in 2000. Speckenbach’s background in film and media studies facilitated his explorations of uncharted territory in the theatre, going from a set of fixed cameras on the stage to the use of a camera crew with live-editing for augmented images as part of the whole directing concept and process. His first-hand insights into how actors have int

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Jesenko, Primož. "Hibernation Works for Bears but not for Theatre: The Notion of Community among Theatre Institutions and Experimental Theatre Groups in Slovenia (1955–1967)." Amfiteater 9, no. 2021-2 (2021): 196–217. http://dx.doi.org/10.51937/amfiteater-2021-2/196-217.

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The paper proposes that the experimental theatre scene in Slovenia in the years 1955–1967 formed a community. The performative visions of experimental groups acted as subtle gestures opposing the prominent aesthetic trend that dominated the performing scene in central institutions of postwar theatre creativity. The latter found it difficult to connect with its audience since it dealt with issues of lesser concern and lacked a true connection with progressive theatre currents (predominantly coming from France).

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Edward Flores, Suyo Ballarta Curin Rud,. "THEATER AS A STRATEGY TO IMPROVE ORAL EXPRESSION IN EI STUDENTS OF THE KINGDOM OF SPAIN IN THE COVID-19 PANDEMIC." Psychology and Education Journal 58, no. 1 (2021): 3165–74. http://dx.doi.org/10.17762/pae.v58i1.1222.

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This research formulated as the main objective of determining the influence of the theater, as a strategy on the oral expression of first grade high school students of the I.E. Kingdom of Spain, Barranco- 2020, where theories related to oral expression were considered, in turn conceptions of oral expression and its elements, are revised concept of strategies. The study was quantitative, applied type, with quasi-experimental design, the sample was intentional non-probabilistic and consisted of two groups: Control Group of 25 students and Experimental Group also of 25 first grade high school stu

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Reisoglu, Mert Bahadir. "Berlin/Istanbul Again: Theatre, Memory, and the New Wave of Migration." Seminar 60, no. 4 (2024): 332–49. https://doi.org/10.3138/seminar.60.4.3.

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In this article I investigate the relationship between contemporary Turkish and German theatres and the transnational exchanges between Istanbul and Berlin after the “new wave” of migration. I focus on Ceren Ercan’s two plays Seni Seviyorum Türkiye (“I Love You, Turkey”) and Berlin Zamanı (“Time for Berlin”). Through her use of dark humour and experimental dramaturgy, Ercan manages to bring together diverse but interconnected issues pertaining to the everyday lives of secular segments of Turkish society. Her exploration of the exilic and nostalgic aspects in these experiences forges new connec

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Leroux, Louis Patrick. "Confessional Drama and Autofiction in Montreal." Canadian Theatre Review 117 (January 2004): 71–73. http://dx.doi.org/10.3138/ctr.117.017.

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There are very few actual experimental theatres left in Montreal. By that I mean companies devoted to works seeking to challenge and surprise the audience constantly, as well as the artists themselves. Resisting the impeding institutionalization of Quebec theatre are the aptly named Nouveau Théâtre Experimental (ΝΤΕ) and Momentum. Interestingly, they both ventured into autobiographical drama last year, with unexpected critical and public hits, which they have fortunately revived this season. Neither of the companies’ front men, Jean-Pierre Ronfard, in the case of the ΝΤΕ, or Jean-Frederic Mess

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Kolchanov, Vladimir V. "M.A. Bulgakov and V.E. Meyerhold: to the poetics of the avant-garde form “upside down theatre” and the erotic reception of the French theatre “nude”." Neophilology, no. 17 (2019): 84–89. http://dx.doi.org/10.20310/2587-6953-2019-5-17-84-89.

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In this study we analyze allusion from the novel by M.A. Bulgakov “The Fatal Eggs”, which, according to most literary critics, see the relations between M.A. Bulgakov and V.E. Meyerhold. Meanwhile, the theatrical avant-garde form of “upside down theatre” and the erotic reception of the French theater “nude”, denoted in it, say the opposite. They point to the political and social and public atmosphere that denies them, which is developing in the era of J.V. Stalin’s knocking together of the indisputable sample of the imperial spectacle. While indulging the tastes of the leader to be printed, M.

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Chiaghanam, Ndubuisi. "Awareness of Theatre Team to Radiation Risk From C-Arm During Surgical Procedures: A Case Study of University of Calabar Teaching Hospital in Nigeria." Journal of Scientific Research in Medical and Biological Sciences 3, no. 2 (2022): 20–27. http://dx.doi.org/10.47631/jsrmbs.v3i2.475.

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Purpose: This study aims to assess the awareness of the theatre team to radiation risk from C-arm as well as their adherence to radiation protection or safety measures in the study Centre. Methods: A non-experimental descriptive design was adopted for this study and a well-structured 27 item questionnaire was distributed to 52 members of the surgical theatre: Surgeons, Anesthesiologists, Theatre nurses and Radiographers in the selected hospital. Of this sample, 49 respondents returned their questionnaires. Results. Results from this study reveal a high level (83.67%) of knowledge of radiation

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Constantinidis, Stratos E. "Rehearsal as a Subsystem: Transactional Analysis and Role Research." New Theatre Quarterly 4, no. 13 (1988): 64–76. http://dx.doi.org/10.1017/s0266464x0000258x.

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What happens during a rehearsal? How are actors' expectations and achievements affected by different directorial approaches, and how do the various ‘systems’ of acting fit with the responses of an audience? From Diderot through Stanislavski. Brecht. and Artaud to the work of such modern experimental directors as Brook, Grotowski, Chaikin, and Schechner, the theory may or may not be adequately tested against the practice. The author of two earlier, complementary studies in empirical theatre research – ‘Feedback as a Subsystem’ and ‘Prompt–Copy as a Subsystem’, both published inKodikas/Code: Ars

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Gardner, Colin. "The Losey–Moscow Connection: Experimental Soviet Theatre and the Living Newspaper." New Theatre Quarterly 30, no. 3 (2014): 249–68. http://dx.doi.org/10.1017/s0266464x14000499.

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Although Joseph Losey is best known as the blacklisted director of films such as the Pinter-scripted The Servant, The Go-Between, and Accident, as well as Mr Klein starring Alain Delon, he also had an important career in leftist theatre prior to making his Hollywood film debut in in the late 1940s. Because of his collaboration with Bertolt Brecht on the 1947 Hollywood production of Galileo, it is assumed that Losey learned from him most of his stagecraft – particularly the use of Verfremdungseffekt and self-reflexivity. However, as this article shows, Losey's apprenticeship was rooted not in t

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Overbeke, Grace. "An Interview with Young Jean Lee." Theatre Survey 57, no. 1 (2015): 37–42. http://dx.doi.org/10.1017/s004055741500054x.

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Identified by Time Out New York as “one of the best experimental playwrights in America” and hailed by the New York Times as “the most adventurous downtown playwright of her generation,” Young Jean Lee (Fig. 1) is actively shaping the future of the American theatre. In 2003, she founded Young Jean Lee's Theater Company, through which she has written and directed ten productions. Her full-length plays, including The Shipment and Songs of the Dragons Flying to Heaven, have been published in four collections and performed worldwide. In 2013, she released her first short film, Here Come the Girls,

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Gantar, Jure. "The Death of Character in Postdramatic Comedy." Amfiteater 9, no. 2021-2 (2022): 66–78. http://dx.doi.org/10.51937/amfiteater-2022-1/66-78.

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According to Elinor Fuchs, the main characteristic of postmodern theatre and, consequently, the main reason for the decline of the dramatic text as the most important element of classical theatre is the death of character. While the traditional Hegelian view of drama depends heavily on a unified fictional subject, Fuchs argues that both modern and postmodern theatre destabilise and subvert this subject to the degree that we can no longer see it as a coherent whole. Yet, her theory, like Hans-Thies Lehmann’s, has one notable methodological weakness: she almost entirely ignores comedy. Her study

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Jordan, James. "Audience Disruption in the Theatre of the Weimar Republic." New Theatre Quarterly 1, no. 3 (1985): 283–91. http://dx.doi.org/10.1017/s0266464x00001664.

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Disruption of plays by their audiences has not been an uncommon occurrence in theatre history, but the received wisdom has it that rioting more or less went out of fashion once the house lights could be lowered for the performance. But the combination in the theatre of the Weimar Republic of the politically radical and artistically experimental drama of inter-war Germany with the high political tensions of the times proved an explosive one. The frequent audience disturbances of the period were, however, less the spontaneous expression of genuine indignation than a carefully planned and orchest

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Kidd, Ross. "‘Theatre for Development’: Diary of a Zimbabwe Workshop." New Theatre Quarterly 1, no. 2 (1985): 179–204. http://dx.doi.org/10.1017/s0266464x0000155x.

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The years since independence have seen a remarkable range of work in experimental forms of theatre in the nations of Africa – ‘experimental’, that is, in their shared rejection of the imposed colonial heritage of westernized forms, and the common attempt to revitalize indigenous cultural traditions while making them relevant to present and future development priorities. Ross Kidd, who has worked and written widely in this field, here provides a case study of just one ‘Theatre for Development’ workshop, held in a small Zimbabwe village in August 1983. A member of the secretariat of the Internat

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Ferry, Joan. "Experiences of a Pioneer in Canadian Experimental Theatre." Theatre Research in Canada 8, no. 1 (1987): 59–67. http://dx.doi.org/10.3138/tric.8.1.59.

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Bannister, Anne. "Book Review: Psychodrama: Group Psychotherapy as Experimental Theatre." Dramatherapy 21, no. 1 (1999): 25. http://dx.doi.org/10.1080/02630672.1999.9689506c.

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Renihan, Colleen. "Grand Opera, Musical Brothel: COMUS’s Nightbloom, the CEE, and the Innovation of Canadian Opera." Intersections 41, no. 2 (2021): 29–41. https://doi.org/10.7202/1117688ar.

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In the 1970s and 1980s, a flurry of activity in music theatre—a genre combining the genres of musical theatre, experimental theatre, and opera—prompted the creation of several new Canadian opera/music theatre companies specializing in crossover work, along with a creative outpouring of original genre-defying pieces. In this paper, I explore this period of generic experimentation in the history of Canadian opera, focusing on the work of the innovative company COMUS Music Theatre, founded in 1975 in Toronto. The company sought to revolutionize music theatre by presenting works that engaged with

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Smith, Sophy. "Pervasive theatre." Convergence: The International Journal of Research into New Media Technologies 24, no. 3 (2016): 321–36. http://dx.doi.org/10.1177/1354856516675253.

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This article explores the opportunities and implications for new digital writing in transmedia performance environments. This article centres on the experimental Pervasive Theatre project ( Assault Events 2014, commissioned by futuredream funded through Arts Council England), which explored the potential of online social tools to create a multimedia, collaborative and participatory work situated across multiple platforms. This project brought together researchers, artists, writers, technologists and practitioners from the interdisciplinary fields of digital writing, transmedia and performance

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