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Articoli di riviste sul tema "Theater"

Autore: Grafiati

Pubblicato: 4 giugno 2021

Ultima modifica: 25 luglio 2025

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1

Zabalueva, Tatiana, and Arkady Zakharov. "Formation of adaptive spaces: a technological transformation of theater architecture." Revista Gestão & Tecnologia 24, Special (2024): 39–59. https://doi.org/10.20397/2177-6652/2024.v24i00.2761.

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Objective: The article explores the historical evolution and technological transformation of theater architecture. The primary goal is to analyze how technological advancements and changing societal needs have impacted the design and functionality of theaters across different periods and regions. Methods: The study uses a historical retrospective approach, comparative analysis, and architectural documentation to trace the transformation of theater architecture. Data was gathered through the examination of historical records, architectural plans, and modern theater projects. The integration of

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Veksler, Asya F. "Nadezhda Bromley and Boris Sushkevich: Actors, Directors, Vakhtangov Followers (Materials for a Creative Biography)." Observatory of Culture 17, no. 5 (2020): 526–37. http://dx.doi.org/10.25281/2072-3156-2020-17-5-526-537.

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Boris Sushkevich and Nadezhda Bromley (Sushkevich-Bromley) are remarkable theatrical figures, actors and directors whose lot was connected with the bright and dramatic periods of our country’s theatrical life from the beginning to the middle of the 20th century. They devoted a part of their professional life to the 1st Studio of the Moscow Art Theatre (from 1919 — Moscow Art Academic Theatre), which later became a separate theater (Moscow Art Academic Theatre II, 1924—1936). Since the middle of the 1930s, they worked in leading Leningrad theaters — the Leningrad State Academic Drama Theater (A

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Morozova, Irina Pavlovna. "Theatre activity in the southern Urals at the initial period of the thaw." Samara Journal of Science 6, no. 4 (2017): 169–73. http://dx.doi.org/10.17816/snv201764211.

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The paper deals with the problems of theatre activity development in the southern Urals at the initial period of the thaw. The research objective is to define what changes happened in the theatre activity in the Southern Urals after Stalins repressions in 1953-1964. For the research the author used periodicals, archival documents, books about the theater. The research has shown that after Stalins personality cult exposure there were big theater changes in the southern Urals. People became more interested in the theatre. It was in Bashkiria where the theater developed greatly. The paper examine

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Gbè, Junias. "Novarina’s Theatre: The Revolution of the Word or the Decline of the Body." Uirtus 3, no. 2 (2023): 203. https://doi.org/10.59384/uirtus.2023.2696.

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The 1950s marked a decisive turning point in contemporary French dramaturgy. Indeed Samuel, Beckett, Ionesco, Jean Genet, to name but a few, incorporate new theatrical writing techniques centered on the body and speech. The rules of traditional theater are put in the drawer to make way for a theater that wants to be revolutionary with the inert body, the disarticulated dialogical discourse, the drama disappears, the characters without psychology. Clearly certain theaters that disavow classical theatre. It is in this vein of Valère Novarina to revolutionize this theatrical technique while addin

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Piddubnyi, Ihor. "Theatrical activities in Bukovyna during World War II (1941-1944)." Scientific Papers of the Kamianets-Podilskyi National Ivan Ohiienko University. History 42 (January 12, 2024): 297–321. http://dx.doi.org/10.32626/2309-2254.2023-42.297-321.

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The purpose of the study is to analyze the conditions of theater activities in Bukovyna during the German-Soviet war, based on the available sources and existing developments of theater history researchers. The methodology of the study is based on the principles of historicism, objectivity, system and the use of methods of analysis and synthesis, problem-chronological, biographical, historical-genetic ones. The scientific novelty lies in the fact that for the first time in Ukrainian historiography, the state of theatre activities during World War II, specifically the period of the German-Sovie

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6

Agaeva, Ekaterina V., Tikhon S. Sergeev, and Renata V. Mikhailova. "THE PROBLEM OF TRAINING THEATER PERSONNEL FOR CHUVASHIA IN THE 20–30s OF THE XX CENTURY." Vestnik Chuvashskogo universiteta, no. 2 (June 25, 2021): 5–10. http://dx.doi.org/10.47026/1810-1909-2021-2-5-10.

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In the 1920s Chuvashia was developing rapidly, and the growth in the number of cultural institutions was observed. The cadres of the creative intelligentsia were in demand, but there were no field-oriented specialized educational institutions in the republic. The issue of training specialists began to be dealt with at the level of state and party bodies. One of the first to open was the theater studio, which gave the opportunity to strengthen the staff of two republican theaters. Moderate funding allocated to support the theater arts, and the entire culture as a whole, of course affected its q

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7

Khubulova, Svetlana. "FORMATION OF THE NEW THEATER IN TIMES OF THE REVOLUTION AND CIVIL WAR ON TEREK." History, Archeology and Ethnography of the Caucasus 15, no. 1 (2019): 22–27. http://dx.doi.org/10.32653/ch15122-27.

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Abstract. The article is devoted to the problem of the state of theatre life in the Terek region in 1917-1920, which is little studied in the regional historiography. The author introduces into the scientific circulation a corpus of new archival documents, which makes it possible to reconstruct the main activities of local theaters, to consider the influence of Moscow touring groups on the theatrical repertoire and audience preferences in the Terek region. The author dwelled on the difficulties experienced by theater companies in the difficult conditions of the revolution, the Civil War and th

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8

Szuster, Magdalena. "Theater Without a Script—Improvisation and the Experimental Stage of the Early Mid-Twentieth Century in the United States." Text Matters, no. 9 (December 30, 2019): 374–92. http://dx.doi.org/10.18778/2083-2931.09.23.

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It was in the mid-twentieth century that the independent theatrical form based entirely on improvisation, known now as improvisational/improvised theatre, impro or improv, came into existence and took shape. Viola Spolin, the intellectual and the logician behind the improvisational movement, first used her improvised games as a WPA worker running theater classes for underprivileged youth in Chicago in 1939. But it was not until 1955 that her son, Paul Sills, together with a college theater group, the Compass Players, used Spolin’s games on stage. In the 1970s Sills made the format famous with

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9

Lkhagvasuren, Damdinsuren, and Batsaikhan Dashdondog. "On the issue of establishing the origins of the State Academic Opera and Ballet Theater." Mongolian Journal of Arts and Culture 25, no. 49 (2024): 122–30. https://doi.org/10.69561/mjac.v25i49.3835.

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The State Central Theater, founded in 1931, was a traditional drama theater. In 1943, the theater was renamed the State Musical Drama Theater. In 1963, the party and government decided to reorganize the theater into two new professional theaters: the Opera and Ballet Theater and the Drama Theater, and the theater was divided into two independent theaters. The current Academic Opera and Ballet Theater (ADBOT) has been counting its age since 1963, which is a mistake. However, it is reasonable and historically significant to start counting its age from 1943, when the Musical Theater was founded.

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Agratina, Elena E. "Jean-Honoré Fragonard’s Work and the Theatre Culture of the 18th Century." Observatory of Culture 16, no. 4 (2019): 406–17. http://dx.doi.org/10.25281/2072-3156-2019-16-4-406-417.

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The article, for the first time, examines the work of the master of the 18th century Jean-Honoré Fragonard (1732—1806) within the context of the theatre culture of that time. Being a student of François Boucher (1703—1770), who was working as a theater decorator for a long time, Fragonard from his youth had the opportunity to join the world of theater. The painter’s passion for the stage greatly influenced the thematic and figurative composition of his works. Early historical paintings of Fragonard, such as “Jeroboam Sacrificing to Idols” (1752, School of Fine Arts, Paris), were create

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Pransiska, Dona, and Hasan Hasan. "Pembelajaran Teater Tradisional Melalui Metode Sosiodrama Pada Kelas X SMA Islam Az-Zahrah Palembang." Jurnal Sitakara 8, no. 2 (2023): 183–92. http://dx.doi.org/10.31851/sitakara.v8i2.12830.

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This study aims to identify and describe the traditional theater learning process through the sociodrama method in class X Islamic Senior High School Az-Zahrah Palembang. This research method uses qualitative methods with data collection techniques, namely observation, interviews and documentation. In the processof collecting data, the researchers directly observed the traditional theater learning process at Islamic Senior High School AzZahrah Palembang, where the subject in this study wasclass X IPA3 withatotalof 20 students. The researcher also directly interviewed the arts and culture teach

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Yakovenko, Mariia. "Organization of Theatrical Activity Within the Non-Governmental Sector of Culture." Socio-Cultural Management Journal 5, no. 2 (2022): 159–74. https://doi.org/10.31866/2709-846X.2.2022.267547.

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<em>Introduction.</em> The importance of studying independent theatre initiatives in the Ukrainian context is not only theoretical but also practical because it is not just a comparison of different models but also the formulation of recommendations for theatre reform in Ukraine. The emergence of independent theater organizations gave rise to independent artistic practice, which dramatically increased competition among theaters in the struggle for the audience. As a result, the ability to use management and marketing technologies as a tool for market promotion began to play a leading role

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Rindel, Jens Holger. "Acoustical aspects of the development of Greek theaters in the 4th century B.C.E." Journal of the Acoustical Society of America 157, no. 3 (2025): 2042–66. https://doi.org/10.1121/10.0036255.

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In ancient Greece, the 4th century B.C.E. was a time of rapid development in arts, culture, science, politics, and theater architecture. The first part of this article describes the origin and use of the Greek theater building and its connection to the Dionysus cult and festivals with musical and drama competitions. Next, scientific context is discussed as a background regarding the highly skilled architects who designed these theaters. The 4th century B.C.E. is characterized by the blooming of the sciences, especially mathematics, strongly stimulated by Plato's Academy near Athens. The archit

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Kondrashkina, Elena V., and Igor A. Sharshov. "Amateur theatre arts as a means of creative self-development in adolescents with disabilities." Psychological-Pedagogical Journal GAUDEAMUS 23, no. 1 (2024): 67–75. http://dx.doi.org/10.20310/1810-231x-2024-23-1-67-75.

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Revealed features of theatre art are in its educational influence on emotions and self-development of personality. We consider amateur theater as a developing environment in which activities aimed at personal development based on the available potential can be fully realized in accordance with the norms of morality and cultural context accepted in society. The characteristic features of amateur theatre art in comparison with professional theater are revealed. The emphasis is placed on the social accessibility of amateur theater, that is, its openness to all age and social groups of the populat

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Vukajlov, Ljiljana, Aleksandra Milinkovic, Dijana Brkljac, and Olivera Dobrivojevic. "Evaluation model of the quality of theater locations: Case study - Novi Sad, Serbia." Facta universitatis - series: Architecture and Civil Engineering 15, no. 2 (2017): 225–38. http://dx.doi.org/10.2298/fuace170206017v.

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With the development of information technologies and weakening of the economic power of citizens in the Republic of Serbia, interest in classical theater has decreased. As a result of their reduced activity, theater facilities are gradually deteriorating, and some are being adapted while others are being closed. The main objective of this paper is to evaluate the quality of significant urban parameters, to observe the possibilities for improvement of the functioning of theaters, and to propose concrete measures for revitalization of their surroundings. The efficiency and validity of a defined

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Cull Ó Maoilearca, Laura. "Die Gleichsetzung von Theater und Philosophie: Laruelle, Badiou & Gesten der Autorität in der Philosophie des Theaters." Performance Philosophy 3, no. 2 (2017): 487. http://dx.doi.org/10.21476/pp.2017.32179.

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In diesem Artikel werde ich François Laruelles Begriff der ‚Non-Standard‘ Ästhetik untersuchen, um eine kritische Perspektive auf Alain Badious vielfältige Äußerungen über die Philosophie des Theaters zu entwickeln. Während es zunächst so erscheint, als ob Badiou in Werken wie In Praise of Theatre (2015) aufgeschlossen gegenüber dem eigenen Denken des Theaters wäre und tatsächlich die Funktion der Philosophie im Verhältnis zu einem ontologischen Privileg zurückzustufen würde, das (von ihm) nun der Mengentheorie zugesprochen wird, werde ich aufzeigen, dass eben dieses Wohlwollen, aus einer Laru

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LIZUNOV, PAVEL. "POSTCARD PORTRAIT: LIFE AND FATE ARTISTS OF THE IMPERIAL MARIINSKY BALLET THEATER LYDIA MUROMSKAYA (CHUPYATOVA)." History and Modern Perspectives 4, no. 4 (2022): 113–21. http://dx.doi.org/10.33693/2658-4654-2022-4-4-113-121.

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The article is dedicated to the ballet dancer L.N. Muromskaya (Chupyatova). After completing the course of the ballet department of the St. Petersburg Theater School in 1906, she was accepted into the ballet troupe of the corps de ballet of the Imperial Mariinsky Theater. She danced with such «stars» of Russian ballet as M.F. Kshesinskaya, A.P. Pavlova, T.P. Karsavina, A.Ya. Vaganova, V.F. Nezhinsky and others. In 1912, Muromskaya became the first dancer of the Mariinsky Theatre. There was only one step left before the title of ballerina, i.e., obtaining the highest rank in the hierarchy of Ru

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Gong, Gangseok. "A Study on the ‘Police Theater’ for Cultivating‘Police Professionalism’." Institute of Humanities at Soonchunhyang University 43, no. 4 (2024): 215–51. https://doi.org/10.35222/ihsu.2024.43.4.215.

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This study aims to explore the effectiveness of ‘police theater’ as a program for fostering ‘police professionalism.’ It begins by reviewing Boal’s ‘Forum Theatre’ and Aristotle’s concept of ‘Catharsis’, examining how these ideas are received today and discussing the significance of police theater in this context. The study then identifies commonalities between the ‘police theater method’ and the ‘Forum Theatre format’, analyzing how participants’ experiences of catharsis contribute to cultivating ‘police professionalism’. The analysis reveals that trainees recognized the importance of ‘unders

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Akram, M., and P. K. Bhoyar. "Impact of COVID-19 and Online Streaming Services on the Movie Theater." CARDIOMETRY, no. 25 (February 14, 2023): 627–32. http://dx.doi.org/10.18137/cardiometry.2022.25.627632.

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Movie Theaters in India face a big crisis amid COVID-19, which leads to the shutdown of Theaters for more than five months. In the meantime, Online Streaming Services are expanding their business and revenue like never before. This scenario raises the very prominent questions (1) whether the movie theater business will survive this hard time and get back to normal growth and business once COVID-19 cases will reduce. The situation gets back to ‘old normal’. (2) Will Online Streaming services and Movie Theater business co-exist in the future, as Satellite TV and Movie Theater exist for many deca

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Zhexin, Li, and Photchanachan Sarana. "Influencing Factors on Four Chinese Grand Theaters' Brand Image." Education Quarterly Reviews 6, no. 1 (2023): 351–60. https://doi.org/10.31014/aior.1993.06.01.712.

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The objective of this paper was to investigate influencing factors in building four Chinese grand theaters’ brand image. The Grand theaters as research objectives are respectively the National Center for Performing Arts, Shanghai Grand Theater, Guangzhou Opera House, and Shenzhen Grand Theater. A survey questionnaire was used to collect data from more than 1000 audiences of each theater and 4025 complete questionnaires retrieved and a quantitative method via SPSS version 23.0 was used to analyze the correlational and regression statistical research outcomes.

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Vazhynskyi, Serhii. "THEATER PR: PR STRATEGY IN THE MODERN THEATER ENVIRONMENT." Integrated communications 18, no. 2 (2024): 124–29. https://doi.org/10.28925/2524-2644.2024.1816.

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The article explores the importance and relevance of PR strategies in the contemporary theater environment. It examines the approaches and tools theaters can use to attract, retain, and engage with audiences in an era of rapidly changing technologies and cultural trends. The article reveals the importance of analyzing the need to understand the target audience and studying its expectations for further developing individual strategies. The article explores approaches to using social networks and the Internet for active audience interaction, particularly through regular publications, video conte

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Kułakowska, Katarzyna, Katarzyna Kalinowska, Olga Drygas, and Michał Bargielski. "Individual and Community Crises in a Pandemic: The Social Theater of Ambulatory Care." Pamiętnik Teatralny 69, no. 4 (2020): 63–84. http://dx.doi.org/10.36744/pt.455.

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This article offers a preliminary diagnosis of Polish social theaters with regard to the crises of the individual and the community during the Covid-19 pandemic. The interpretive framework is Lidia Zamkow’s concept of the theater of ambulatory care, which allows us to locate the activity of social theaters in the context of Michel de Certeau’s tactics and Jack Halberstam’s low theories. The theater of ambulatory care recognizes the needs of individuals and communities in a pandemic crisis and reacts to them in different ways. We distinguish and describe three ideal types of diagnoses and the r

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Belov, Alexey V. "Serf Theater of the Demidovs ‘Sloboda Palace’ in German Quarter: Organization, Creativity and Decline of the Noble Home Theaters Tradition in Moscow at the Turn of 19th Century." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 69 (2023): 119–31. http://dx.doi.org/10.37816/2073-9567-2023-69-119-131.

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Serf theaters played an important role in the development of the European theatrical tradition in Russia. For the most part they were nonprofessional and private. Both public and professional serf collectives were rather rare. The paper analyzed the history of the home serf theater, created by Russian nobles and industrialists N. A. and N. N. Demidov. It functioned in their Moscow house “Sloboda Palace”, located within the German Quarter — an elite suburb which contributed to the spread of theatrical culture here. The Demidov Theater was related to a small group of serf theaters that stood bet

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Gordeev, Petr N. "Ivan Vasilyevich Ekskuzovich — Architect and Theater Figure." Vestnik of Saint Petersburg University. Arts 14, no. 1 (2024): 34–59. http://dx.doi.org/10.21638/spbu15.2024.103.

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For the first time the article gives a biographical study of the major theatrical figure and St Petersburg architect I. V. Ekskuzovich. Having graduated from the Institute of Civil Engineers in his youth, he has built several buildings in the capital of the Russian Empire, but his lifework was the management of academic theaters in Leningrad and Moscow. In this article there was first established the existence of the “Ekskuzovich coterie” in 1917, which also included V. E. Meyerhold, conductor N. A. Malko and a certain number of the artists of the Mariinsky Theatre; the role of the coterie in

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Zehra, Shamail, Kiran Karamat, and Niza Qureshi. "THEATRE IN THE DIGITAL AGE: CHALLENGES AND AUDIENCE VIEWING EXPERIENCES." Pakistan Journal of Social Research 05, no. 01 (2023): 609–16. http://dx.doi.org/10.52567/pjsr.v5i01.1384.

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A digital native audience may find it more difficult to be captivated by a theatrical performance in the age of technology, yet theater has evolved and survived every technological advancement. The popularity of the plays in Shakespeare's day appears to have been largely dependent on audience behavior, much as it was in the times of Aristophanes and Plautus. In our local Pakistani context, the study investigates whether theater can survive in the present digital media landscape and addresses the key elements that can affect a viewer's decision to see theater in a live setting. A good play, pro

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Gumennyk, Inna. "RESEARCH OF ARCHITECTURE FORMATION LANDSCAPE THEATERS IN UKRAINE." Architectural Bulletin of KNUCA, no. 22-23 (December 12, 2021): 190–98. http://dx.doi.org/10.32347/2519-8661.2021.22-23.190-198.

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The article is devoted to the problems of landscape theaters architecture formation on the territory of Ukraine in the realities which have developed in the course of typology development and an arrangement of the cultural data and entertaining and leisure establishments in modern conditions. The article examines the specifics of the landscape theaters location depending on the functional purpose, capacity of the auditorium and attendance level of various theatrical performances in the open air in Ukraine. Based on the results of professional questionnaires and analysis of statisti

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Demchenko, Mariia. "MARKETING MANAGEMENT IN THE FIELD OF THEATRE ARTS." Vìsnik Sumsʹkogo deržavnogo unìversitetu 2024, no. 2 (2024): 55–63. http://dx.doi.org/10.21272/1817-9215.2024.2-06.

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Even taking into account the difficult conditions of life in Ukraine, society always strives to restore itself by filling itself with positive emotions. Considering these aspects, the theater industry is still growing even faster than during the pandemic since 2020. Accordingly, today marketing is an important tool for the successful functioning and development of theatrical art, ensuring its accessibility, popularity and financial stability. The purpose of the article is to analyze the effectiveness of marketing management support in the field of theatrical art. The results of the analysis of

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Warstat, Matthias. "Ästhetik der Anwendung: Thesen zur gegenwärtigen Relation von Theater und Alltag." Paragrana 26, no. 2 (2017): 26–41. http://dx.doi.org/10.1515/para-2017-0018.

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AbstractDas Verhältnis von Theater und Alltag ist heute im Wandel begriffen. Als Ereigniskunst ist das Theater mit seinen Praktiken des Hervorhebens und Zeigens traditionell um Außeralltäglichkeit bemüht: Es will seinem Publikum etwas Besonderes bieten, das aus den Routinen des Alltags herausragt. Von daher besteht eine Art natürlicher Distanz zwischen Theater und Alltag, die aber überbrückt werden kann und historisch von vielen (etwa sozialrealistischen oder dokumentarischen) Theaterformen auch schon in Frage gestellt oder überwunden wurde. In jüngster Zeit, so die These dieses Beitrags, ist

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Meyer, Martina. "Ideen teilen und entwickeln." Bühnentechnische Rundschau 116, Sonderband-2022 (2022): 58–59. http://dx.doi.org/10.5771/0007-3091-2022-sonderband-2022-058.

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Der erste Kongress „Zukunft des Theaters – Theater der Zukunft“ fand Ende April im Theater Dortmund statt. Akteur:innen aus Theater- und Opernhäusern arbeiten in einem Netzwerk zusammen, das sich stetig erweitert. Aus einem regelmäßigen Austausch der Beteiligten sollen Ideen zu Veränderungen in den Betrieben erarbeitet und diese in die Häuser getragen werden. von Martina Meyer

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Zhu, JiaWei, and HaiTao Sun. "Research and sound quality analysis of little theaters in Guangdong universities." INTER-NOISE and NOISE-CON Congress and Conference Proceedings 268, no. 6 (2023): 2953–62. http://dx.doi.org/10.3397/in_2023_0426.

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Little theaters have become a new type of theater form with their low investment costs, diverse space designs, and rich performance genres. In this paper the building acoustic design is focused on as a key point to research the audience hall space, the spatial shape, stage form and audience hall seating capacity in little theaters, and it is explored that the applicability of such new audience hall spaces to domestic theater design guidelines. One of the typical little theaters is studied by ODEON simulation. The simulation results show that the mid-frequency value of reverberation time (T30)

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Ahmadova, Gulkhara. "WORLDLY SIGNIFICANCE OF THEATERS: IREVAN STATE AZERBAIJAN DRAMA THEATER." Scientific Journal of Polonia University 58, no. 3 (2023): 10–14. http://dx.doi.org/10.23856/5801.

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Historically and even now, the literary and cultural environment of Azerbaijan is known both in the East and in the West. As a result of the severe tragedies, deportations, and genocides inflicted on the people of Azerbaijan, scientific and educational institutions, state institutions, museums, natural monuments, and cultural centers created in our country have suffered as much as our people. Theaters were also forced to live the fate of refugees. Today Shusha Musical Drama Theater, Aghdam State Drama Theater, Fuzili State Drama Theater continue their activities in the field of refugees. All t

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Ахмедов, А. "Russian Drama on the Azerbaijani Stage in the Period of Independence: Analysis of Creative Trends." Nasledie Vekov, no. 4(32) (December 31, 2022): 72–80. http://dx.doi.org/10.36343/sb.2022.32.4.006.

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Автором выявляются основные тенденции, определявшие обращение театральных деятелей Азербайджана к произведениям русской классики и современной российской литературы в годы независимости (1991–2021). Научный обзор выполнен с опорой на сообщения электронных СМИ о театральных премьерах, критические статьи, а также исследования историков культуры и театроведов. Проанализированы наиболее яркие работы, созданные труппами азербайджанских театров по произведениям Ф. М. Достоевского, Н. В. Гоголя, А. П. Чехова, А. Н. Толстого, Ю. М. Полякова и др. Охарактеризованы особенности работы режиссеров над пост

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Latsik, Yevhen, Mariya Markovych, Nataliya Hryhoruk, Mykola Bazhanov, and Zoya Matsyshina. "History of the development of theater architecture: (5th century BC – beginning of the 20th century)." History of science and technology 14, no. 1 (2024): 254–83. http://dx.doi.org/10.32703/2415-7422-2024-14-1-254-283.

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The article analyzes the stages of formation and development of theater architecture (from antiquity to 1900) in accordance with the evolution of culture, historical, social and economic development of human society. A description of the technologies of the theater building of different eras, its design and construction norms are presented. The authors made an attempt to explain the evolution of architectural styles of theater buildings from ancient times to modern times. It helps to understand the influence of cultural, technological and social factors on architectural decisions. The impact o

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Boros, Kinga. "„Teatrul nu este o formă democratică” – dar facultățile de teatru?" Symbolon 25, no. 1 (46) (2024): 129–35. https://doi.org/10.46522/s.2024.01.11.

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The paper aims to be a reflection on the possibilities of theater faculties to increase the level of inclusion in their institution, and by that, indirectly in theater and in society in general. Art can be an important factor of social change; artistic freedom comes with responsibilities: we can use the power of art to promote a more inclusive and fair society. Being a teaching staff member at a university where acting, puppetry, directing, theatrology, scenography and choreography classes are organized, these specializations are the ones I have in mind and to which I refer. The examination st

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Germay, Robert. "DO NASCIMENTO DA ASSOCIAÇÃO INTERNACIONAL DE TEATRO NA UNIVERSIDADE, OU QUANDO UMA NECESSIDADE DO TU CRIA O ÓRGÃO AITU." O Teatro Transcende 21, no. 1 (2016): 30. http://dx.doi.org/10.7867/2236-6644.2016v21n1p30-41.

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RESUMO Do nascimento da Associação Internacional de Teatro na Universidade, ou Quando uma necessidade do TU cria o órgão AITUDesde a criacão das primeiras universidades na Idade Média, a atividade teatral universitária esteve diretamente ligada às matérias ensinadas como um auxiliar do ensino, e essencialmente praticada intra muros. Após a 2a. guerra mundial (1945), o teatro universitário iria acentuar o fenômeno de sua abertura e de sua internacionalização. Rompendo os muros da universidade, o teatro conquistaria cada vez mais visibilidade, e inúmeros grupos universitários se veriam tentados

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Agayeva, Malakhat Rafael. "Central Asian playwrights' works on the Azerbaijani stage." Klironomy 1, no. 7 (2023): 16–25. https://doi.org/10.47451/art2023-03-02.

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It is a historical tradition of the Azerbaijani theater to refer to translated works, to show examples of world drama, works of neighboring nations. Central Asian playwrights’ woks (Fitrat’s (Abduarif Rashidov) “Indian Inventors”) have been staged on the stage of the Azerbaijani theater since the mid-1920s. Central Asian playwrights’ works contributed to bring our peoples closer and develop cultural relationships besides enriching the repertoire of Azerbaijani theaters. The subjects of these works introduced people to the culture, art and moral norms of other nati

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Zawistowska, Monika. "Teatr czasu wojny 1939–1945 w świetle zadań i wartości." Dydaktyka Polonistyczna 15, no. 6 (2020): 202–12. http://dx.doi.org/10.15584/dyd.pol.15.2020.14.

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The publication describes the activity of Polish theater during the Second World War. It is an attempt to look at theater from the perspective of the tasks and values it presented in this particularly difficult period. The article describes the functioning of open and underground theaters and theaters operating in concentration camps. The above-mentioned activities cannot be reduced to one formula or a specific species. In these conditions, the artistic level and innovation of many performances amaze. Paradoxically, this most dramatic theater achieved its greatest autonomy during the occupatio

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

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The article discusses the role and functions of light in the space of modern theater buildings outside the auditorium and stage space. The architectural and structural factors of the formation of the lighting environment in modern theater buildings are determined; trends and features of the functioning of light in the space of modern theaters are revealed. The influence of the architectonics of buildings on the nature of the illumination of theatrical spaces is established. The experience of the formation of the lighting environment of theater buildings on the example of modern domestic and fo

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Mally, Lynn. "The Rise and Fall of the Soviet Youth Theater TRAM." Slavic Review 51, no. 3 (1992): 411–30. http://dx.doi.org/10.2307/2500052.

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“Young people need their own theater, akin to their own spirit,” wrote the actor Nikolai Kriuchkov in a memoir of his life in the theater in the 1920s and 1930s. While he acknowledged that the Soviet Union had developed a network of professional Komsomol theaters aimed at youth, Kriuchkov charged that in general these theaters simply duplicated the repertoire of conventional stages. But TRAM, an acronym for the Theater of Working-Class Youth (Teatr Rabochei Molodezhi), where Kriuchov got his start, was different. “It had its own topical themes, its own character, and young people went willingl

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Tsiphuria, Lela. "Comedy against socialist realism in Georgian theater performances of the twentieth century." Pro Georgia 33, no. 1 (2023): 293–302. http://dx.doi.org/10.61097/12301604/pg33/2023/293-302.

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Since the establishment of the professional theater, about half of the repertoire of Georgian theaters has been comedies. The production of plays by Carlo Goldoni and Carlo Gozzi, brilliant representatives of Italian dramaturgy, was considered appropriate by any censor at every stage of Georgian theater history. With an observation of the Italian and Georgian peoples, many common features can be discovered. Southern temperament, emotions, expressive manners. Because of these similarities in characters, the Georgian audience loves Italian plays and especially Italian comedies. The period of Gol

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Vukajlov, Ljiljana, Aleksandra Milinkovic, and Dijana Brkljac. "Recommendations for urban revitalization of theater locations: A case study - Republic of Serbia." Facta universitatis - series: Architecture and Civil Engineering 17, no. 4 (2019): 387–400. http://dx.doi.org/10.2298/fuace190708023v.

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Theater location quality is researched according to a pre-formed model with the aim to improve quality in the functioning of theaters in settlements of the Republic of Serbia. An omnipresent process of globalization has led to significant changes in the field of culture, and thus a reduction in interest for classic theater performances has occurred. The poor condition of theater buildings in architectural and structural terms as well as their immediate environment, in urbanistic sense, is the result of neglecting the field of culture on a national level for many years. By summing up the total

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Cominato, Elisa. "Das Theater der Zukunft." Bühnentechnische Rundschau 117, Sonderband-2023 (2023): 12–15. http://dx.doi.org/10.5771/0007-3091-2023-sonderband-2023-012.

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Nach zehn Jahren kehrt die SHOWTECH vom 5. bis zum 8. Juni zurück nach Berlin. Unter dem Titel „Theatre of tomorrow – Das Theater der Zukunft“ werden insbesondere im Kongressteil die aktuellen Themen und Herausforderungen der Theater- und Eventbranche diskutiert. Ein Überblick mit Highlights. von Elisa Cominato

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Yakovenko, Mariia. "Organization of Theatrical Activity Within the Non-Governmental Sector of Culture." Socio-Cultural Management Journal 5, no. 2 (2022): 159–74. http://dx.doi.org/10.31866/2709-846x.2.2022.267547.

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Introduction. The importance of studying independent theatre initiatives in the Ukrainian context is not only theoretical but also practical because it is not just a comparison of different models but also the formulation of recommendations for theatre reform in Ukraine. The emergence of independent theater organizations gave rise to independent artistic practice, which dramatically increased competition among theaters in the struggle for the audience. As a result, the ability to use management and marketing technologies as a tool for market promotion began to play a leading role for such inst

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Iudova-Romanova, Kateryna. "Plastic Formation Ways of Scenic Space (From the Ukrainian Theater History)." Bulletin of Kyiv National University of Culture and Arts. Series in Stage Art Current Archives Announcements About 1, no. 2 (2018): 72–92. https://doi.org/10.31866/2616-759x.2.2018.153228.

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Abstract (sommario):

The purpose of the article is to consider the theatrical space evolution of the Ukrainian theater in terms of architectural and technical provision of its plastic design. The author has used the following research methods: a critical analysis is in the scientific literature development on the theatrical art history, architecture and stage design in order to recapture information on the research topic; art analysis is for the plastics correlation of the stage space of performances and their informative content; synthesis is for combining various characteristics of the spatial and technical supp

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van den Berg, Klaus. "The Geometry of Culture: Urban Space and Theatre Buildings in Twentieth-Century Berlin." Theatre Research International 16, no. 1 (1991): 1–17. http://dx.doi.org/10.1017/s0307883300009986.

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Abstract (sommario):

In her 1983 book, Semiotik des Theaters, Erika Fischer-Lichte referred to theatre as part of ‘die Geometrie der Kultur’, a network of relationships materialized in space that symbolizes cultural experience. The concept of the geometry of culture may enable us to show how, in an urban space, different strands of human activities find their expression in the outline of urban space. Lewis Mumford demonstrates in The City in History that political programmes, economic interests, and cultural concepts influence the city's organization as well as the functions which individual buildings take in the

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Stănescu, Mirona, and Daniel Andronache. "The Importance of Theater Pedagogy from a Student's Perspective. An Empirical Study in a German-Speaking Elementary School in Romania." Educatia 21, no. 18 (May 21, 2020): 109–18. http://dx.doi.org/10.24193/ed21.2020.18.11.

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Could school and theater be seen as a symbiosis? The roots of the school theater go back to the 15th century. Early on, the educators recognized the importance of drama for the development of the students. But what do the students think about the theatrical education for their own development? This paper presents the results of a qualitative research designed to explore the role of education through theater for the personal, social skills and aesthetic development of the students. For this purpose, a semi-structured interview was used. In our qualitative study we examined the effects of theatr

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Jovanov, Lazar. "Theatre City and Identity: Narodno pozorište-Nepszίnház-KPGT". Issues in Ethnology and Anthropology 11, № 1 (2016): 63. http://dx.doi.org/10.21301/eap.v11i1.3.

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This study considers the concept of Theatre City and its role in the formation of the desired identity of a community. More specifically, the research is at a crossroads of sociological and anthropological use of this theater form, in a function of the reconstruction of the community, examining the relationship between theater and the city, as a functional European theater concept, which has the potential to generate multiple socio-cultural values, participating in the formation of the so-called free spaces, free theater, which rejects the idea of elitism because it is intended for the wider p

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Lupu, Andreea Gabriela. "The Reconfiguration of the Theatre Space and the Relationship between Public and Private in the Case of Apartment Theatre." Romanian Journal of Communication and Public Relations 18, no. 3 (2017): 77. http://dx.doi.org/10.21018/rjcpr.2016.3.217.

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<p>This article tackles the means of theatre space reconfiguration in the apartment theater (<em>lorgean theater</em>), simultaneously analyzing the relation between public and private specific to this form of art. Structured around both a theoretical analysis and a qualitative empirical investigation, this paper emphasizes the traits of the theatre space as component of an artistic product received by the audience, and its value in the process of artistic production, within the theatre sector. The case study of <em>lorgean theater, </em>including a participant ob

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Rühle, Günther. "Der Aufbruch." Theater heute 63, no. 10 (2022): 40–47. http://dx.doi.org/10.5771/0040-5507-2022-10-040.

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Die letzten Tage der DDR, begleitet von einem zunehmend selbst - bewussten Theater – und ein später Höhepunkt mit Heiner Müllers «Hamlet»-Inszenierung 1990 im Deutschen Theater Berlin. Ein Vorabdruck aus Günther Rühles posthum erscheinendem 3. Band des «Theaters in Deutschland»

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Man Hong, Dao. "The Stanislavsky system plays an important role in the theater of Vietnam." Voprosy kul'turologii (Issues of Cultural Studies), no. 3 (February 18, 2021): 238 (280)—243 (285). http://dx.doi.org/10.33920/nik-01-2103-04.

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K.S. Stanislavsky plays an important role in the theater of Vietnam. Konstantin Sergeevich Stanislavsky (real name Alekseev; 1863–1938) — actor, director, theater teacher, founder and director of the Moscow Art Theater (Moscow Art Theater). People's Artist of the USSR (1936). An activist, thinker and major theater theorist, he, on the basis of modern science, created a school of theatrical art — the Stanislavsky generation. In addition to a successful psychological approach to the performing arts, he also contributed greatly to the formation of progressive art and art for the people. English v

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