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Artykuły w czasopismach na temat „Pictures in the theater”

Autor: Grafiati

Data publikacji: 27 lipca 2024

Data aktualizacji: 31 lipca 2025

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1

Wicks, Frank. "Picture This." Mechanical Engineering 126, no. 07 (2004): 32–35. http://dx.doi.org/10.1115/1.2004-jul-3.

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This article highlights that the adage, a picture is worth a thousand words, is a flawed understatement. Our memories, knowledge, and opinions rely heavily on pictures. Words can only provide an explanation to information contained in a good picture. Time always moves forward, but a picture allows us to look back to some prior moment in time. Photography, which means writing with light, would require replacing the artist’s paper with a chemically coated screen, exposing the screen to the image, and then stabilizing the resulting picture. The first practical photographic process was announced i

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Langworthy, D. ""LISTEN TO THE PICTURES"-ROBERT WILSON & GERMAN THEATER CRITICISM." Theater 23, no. 1 (1992): 35–40. http://dx.doi.org/10.1215/01610775-23-1-35.

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Jannarone, Kimberly. "Jarry's Caesar Antichrist and the Theatre of the Book." New Theatre Quarterly 25, no. 2 (2009): 121–36. http://dx.doi.org/10.1017/s0266464x09000220.

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The familiarity bred by the notoriety in its own times of Alfred Jarry's Ubu Roi has been accompanied by neglect for his other work, especially that which seems of peripheral interest to the theatre practitioner. In this article, Kimberly Jannarone argues that his earlier Caesar Antichrist falls into the unusual category of ‘a piece of theatre not intended for the stage’ – apparently unstageable, yet not a closet drama since, in Jarry's scrupulous care for its published form, he created his own ‘theatre of the book’, anticipating the later modernist use of collage while also demonstrating in w

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Smekalin, I. "Movies That Change Lives. Evaluating the Social Impact of Motion Pictures and the Practice of Evidence in Filmmaking." Positive changes 3, no. 2 (2023): 28–38. http://dx.doi.org/10.55140/2782-5817-2023-3-2-28-38.

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Cinema is one of the most popular art forms among people of all ages. Just like music, theater, architecture, literature or painting, cinema certainly has an impact on people. At the same time, it has the capability to not just draw attention to social problems, but also to change people’s attitudes and behaviors — thus changing the world as a whole. This article provides an overview of various approaches to researching social impact of motion pictures and raises a number of important issues related to the current state of the impact assessment industry in motion pictures.

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Perevalova, Yelena V. "“The theater is an open book, it is a living picture of life accessible to everyone”: Problems of the domestic theater on the pages of the newspaper Moskovskie Vedomosti and the weekly Sovremennaya Letopis’ (1860s–1870s)." Voprosy zhurnalistiki, no. 16 (2024): 150–77. https://doi.org/10.17223/26188422/16/10.

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The article analyzes the speeches on the national theater transformation by one of the most influential Russian publications of the 1860s-1880s - the newspaper Moskovskie Vedomosti with its appendix, the weekly Sovremennaya Letopis’; the authoritative publicist Mikhail Katkov was its editor-publisher. The relevance of the research is due to the need to study the historical experience of the domestic theater business in connection with the ongoing processes of reforming the modern Russian theater, as well as the growing interest in the role of domestic conservative journalism in the cultural li

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Yurganov, Andrei L'. "On the original version of the play "Fear" by Stalinist playwright Alexander Afinogenov. 1930s." Herald of an archivist, no. 2 (2024): 480–94. http://dx.doi.org/10.28995/2073-0101-2024-2-480-494.

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The article examines the work of Stalinist playwright Alexander Nikolaevich Afinogenov (1904-1941) through the prism of his complicity in the ideological campaigns of the Bolshevik Party. The study of the impact of party-state ideology on the broad masses of people during the Stalinist era is a priority direction of historical science. However, this direction needs further thematic and problematic expansion. The ideological campaigns of the Bolshevik Party in the 1930s found their artistic expression on the theatrical stage, in the plays of the most famous playwrights. This interaction between

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Dr, Keerty Goyal. "THEATER: A PERFORMING ART OF KNITTING EMOTIONS." International Journal of Human Resource & Industrial Research 3, no. 3 (2016): 73–78. https://doi.org/10.5281/zenodo.10699920.

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<em>Theater being and direct medium operates on human level with its audience. Though theater has always been facing upheavals and difficulties claiming for the audience but finally has a beauty of its own. The accomplishment that an artist and the director expect from the audience is only the curtain falling with a thunderous applause. Theater artists live in a world of their own and are fully passionate about their work. Theater is an art to be felt and experienced. Theater is a live medium of entertainment which engages its audience through creative expression. The artist has the inner pict

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Hennig-Thurau, Thorsten, Victor Henning, and Henrik Sattler. "Consumer File Sharing of Motion Pictures." Journal of Marketing 71, no. 4 (2007): 1–18. http://dx.doi.org/10.1509/jmkg.71.4.001.

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Illegal consumer file sharing of motion pictures is considered a major threat to the movie industry. Whereas industry advocates and some scholars postulate a cannibalistic effect on commercial forms of movie consumption, other researchers deny this effect, though sound evidence is lacking on both sides. Drawing on extant research and utility theory, the authors present hypotheses on the consequences and determinants of consumer file sharing and test them with data from a controlled longitudinal panel study of German consumers. The data contain information on the consumers' intentions toward an

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Kareem, Nazar Shibib, and Hayder Jaafar Aldaghlawy. "Pictures of death in the Iraqi theatrical performance." Funon Al-Basrah Journal, no. 22 (March 20, 2022): 178–206. https://doi.org/10.5281/zenodo.7779693.

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The research deals with the concept of death as one of the important phenomena that cast a shadow over the nature and entity of the individual.  Human civilizations and religions have been interested in its two parts of heavenly and positivism, and the perception of it has become clear, each according to his beliefs and behaviors.  With the development of human thought, currents and schools began to appear in various sciences by studying that phenomenon, especially after the outbreak of the World War and its consequences in human life at all levels, especially social and economic, an

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10

Hennig-Thurau, Thorsten, Victor Henning, Henrik Sattler, Felix Eggers, and Mark B. Houston. "The Last Picture Show? Timing and Order of Movie Distribution Channels." Journal of Marketing 71, no. 4 (2007): 63–83. http://dx.doi.org/10.1509/jmkg.71.4.063.

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Movies and other media goods are traditionally distributed across distinct sequential channels (e.g., theaters, home video, video on demand). The optimality of the currently employed timing and order of channel openings has become a matter of contentious debate among both industry experts and marketing scholars. In this article, the authors present a model of revenue generation across four sequential distribution channels, combining choice-based conjoint data with other information. Drawing on stratified random samples for three major markets—namely, the United States, Japan, and Germany—and a

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11

Stamm, Michael. "Watching News in Public: The Rituals and Responses of Newsreel Theater Audiences." JCMS: Journal of Cinema and Media Studies 63, no. 2 (2024): 96–118. http://dx.doi.org/10.1353/cj.2024.a919193.

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abstract: From roughly 1930 to 1950, newsreel theaters played important roles in urban and film cultures. These small (200- to 600-seat) theaters showed hour-long loops of news that patrons could drop into from morning to midnight. Some aspects of the newsreel theater experience extended the rituals of nickelodeon spectatorship of earlier decades, and others predated the post–World War II development of television news consumption. Newsreel theaters allowed patrons to pass the time watching motion picture news, and they became politically charged spaces offering ways for people to watch and re

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Kumb, Florian, and Reinhard E. Kunz. "Winner-Takes-All”: Influencing Factors of the Post-Theatrical Supply and Demand in Motion Picture Exhibition." Journal of Creative Industries and Cultural Studies 8 (2017): 77–117. http://dx.doi.org/10.56140/jocis-v8-4.

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The post-theatrical exhibition has become essential for motion pictures to break even. Nevertheless, besides the first attempts to study TV broadcasters and streaming providers as release windows, academic research in marketing has concentrated primarily on the initial theat-rical release. This article examines factors influencing supply and demand during the sequential release process of the motion picture industry. The authors build a modelling framework to ana-lyze the drivers resulting in comprehensive supply and strong demand in major exhibition win-dows (i.e., during the home video, vide

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13

Holman, Tomlinson. "Motion picture theater loudspeaker system." Journal of the Acoustical Society of America 81, no. 5 (1987): 1662. http://dx.doi.org/10.1121/1.395048.

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KOPYLOV, Roman S. "Kachalov Academic Russian Drama Theater in the new social and cultural life of Kazan at the beginning of the 21st century." Service plus 17, no. 4 (2023): 24–32. https://doi.org/10.5281/zenodo.10609942.

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The subject of the study is Kachalov Academic Russian Drama Theater. The study is based on the principle of systematicity, not covering all the factual material, but the main and most significant external and internal connections of the historical phenomenon being studied. The study is also based on the principle of historicism, which allows us to consider the activities of the theater in accordance with the historical situation and in connection with the socio-political and cultural life of the city. This principle allows us to identify the main changes and trends during historical developmen

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15

Dalila, Syina, Setyo Yanuartuti, and Indar Sabri. "Aesthetic Experience in Theatre in Non-Formal Education: a Review of Creativity Theory." Jurnal Kreativitas Pengabdian Kepada Masyarakat (PKM) 6, no. 7 (2023): 2723–37. http://dx.doi.org/10.33024/jkpm.v6i7.10002.

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ABSTRACT Failure to foster creativity in learners from an early age will complicate their development at the next age level. This failure can occur due to misconceptions that art teaching should be oriented towards the process and aesthetic experience of learners, but also leads to the demand to become proficient in certain areas of art. An interesting phenomenon is found in the case of non-formal education which is more flexible in managing learning. This study focuses on the review of creativity theory on aesthetic experience in theater distribution in non-formal education. This study aims t

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16

Sendetskyi, Andrii. "Cultural and artistic dialogue of ukrainian theaters in polish periodicals at the beginning of the 21st century." Bulletin of Mariupol State University Series Philosophy culture studies sociology 12, no. 23 (2022): 131–43. http://dx.doi.org/10.34079/2226-2849-2022-12-23-131-143.

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The paper gives an analysis of articles, reports, and reviews of specialized Polish periodicals from 2000 to 2010, which include interviews, reviews, impressions, and comments of theater experts about contemporary cultural and artistic events in Poland in which Ukrainian artists participated. To fulfill the tasks set in the research, the author considers the main theatrical magazines of Poland “Dialog. Miesięcznik poświęcony dramaturgii współczesnej”, “Didaskalia”, “Pamiętnik Teatralny”, “Scena”, “Teatr”, which have had a long history of activity since the last century. The analytical work of

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17

Hapchuk, Yuliia. "Non-repertory Theater in the Performing Art of Kyiv at the End of the 20th – the Beginning of the 21st Century." Bulletin of KNUKiM. Series in Arts, no. 39 (December 10, 2018): 16–23. https://doi.org/10.31866/2410-1176.39.2018.153644.

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The purpose of the article is to reveal the state of cultural and artistic activity of non-repertory theaters of Kyiv. The research methodology was based on the principle of the cultural-historical approach, which allowed for highlighting the main directions of cultural and artistic activity of non-repertory theaters of Kyiv at the present stage and finding out the forms and ways of positioning various theatrical brands, as well as the classification method, which helped to categorize independent theatrical organizations according to the form of subordination. The scientifi

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18

Zaatov, Ismet A. "Crym Girey I – the founder of the classical theater in the Crimea (on the issue of 257 years experience of the Crimean Tatar`s first theatrical productions of the European type theater)." Crimean Historical Review, no. 1 (2020): 100–135. http://dx.doi.org/10.22378/kio.2020.1.100-135.

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The formation process of the Crimean Tatar theater can be divided into the following periods: medieval – folk theater (the initial round dance and toy puppet theater of shadows “Karagoz”, the theater of one actor “meddah”, the arena theater “orta oyuny”); Khan`s theater in the middle of the XVIII century (penetration into the Crimea of European theater traditions in the era of the Crimean Khan Crym Girey I); the revival of traditions of the Crimean Tatar theater late XIX–XX centuries (the activities of a theater-goers group of the Jadidist Crimean Tatar youth–followers of I. Gasprinsky, under

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Djaha, Siti Susanti Mallida. "THE EMERGENCE OF NEW MEDIUM." Notion: Journal of Linguistics, Literature and Culture 1, no. 1 (2019): 21. http://dx.doi.org/10.12928/notion.v1i1.712.

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This study aims at finding the development of new medium of drama in English literary history. From the very first emergence of drama, the plays that have been written were performed in the theater and in many kinds of theater were appears to represent some ideas from the society. As time passing by, these kind of theater had a kind of transformation to be the new medium that we called motion picture. This motion picture began with the silent movie, then it became the talking picture, and it was improved to be the cinema. In its development until today, which we had been known as the movie. Th

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20

Winter, Scarlett. "Zwischen gemalter Poesie und poetischem Theater. Grenzgänge des Medienkünstlers Joan Miró." Zeitschrift für Katalanistik 21 (July 1, 2008): 77–95. http://dx.doi.org/10.46586/zfk.2008.77-95.

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Summary: This article explores Joan Miró’s artistic experiments, which range from work in genres such as painting and poetry, music, dramatic performances to dance performances, and in which the artist puts his own mark on the image-text-dialogue and dramatic poetry. The artist’s curiosity to experiment and his interest in transboundary “dimensionalism” spark new techniques of intermedial combinatorics and reflection. Miró’s poetic writings, dramatic drafts and other forms of productions appear from this vantage point as pictorial texts, visionary spectacles and dream-analogous projections, wh

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21

نزار شبيب كريم and حيدر جعفر الدغلاوي. "Pictures of death in the Iraqi theatrical performance." Funon Al-Basrah Journal, no. 22 (March 20, 2022): 187–206. http://dx.doi.org/10.59767/bfj.5300.1976.

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The research deals with the concept of death as one of the important phenomena that cast a shadow over the nature and entity of the individual. Human civilizations and religions have been interested in its two parts of heavenly and positivism, and the perception of it has become clear, each according to his beliefs and behaviors. With the development of human thought, currents and schools began to appear in various sciences by studying that phenomenon, especially after the outbreak of the World War and its consequences in human life at all levels, especially social and economic, and given the

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Shcherbakova, Marina I. "MEMORIES BY S.V. MAKSIMOV ABOUT A.N. OSTROVSKY: TO THE PREHISTORY OF MEMOIRS." Vestnik of Kostroma State University 29, S (2023): 115–20. http://dx.doi.org/10.34216/1998-0817-2023-29-s-115-120.

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For the first time, the article publishes archival materials related to the creative history of the memoir essays of the writer S.V. Maksimov about A.N. Ostrovsky “Literary Expedition” and “Alexander Nikolaevich Ostrovsky”. The time of the origin of the idea of memories is determined, the circumstances that accompanied the work of Maximov, their close connection with the memories of the founder of the oral story genre I.F. Gorbunov. Genre-forming techniques of Maximov’s everyday writing prose, which bring the writer’s books closer to his memoirs, are revealed. Feedback is also emphasized: in M

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Хуан, Сяоюй. "CONCEPT THEATER IN M. PLISETSKAYA’S INDIVIDUAL-AUTHOR’S PICTURE OF THE WORLD." Tomsk state pedagogical university bulletin, no. 4(222) (July 15, 2022): 73–84. http://dx.doi.org/10.23951/1609-624x-2022-4-73-84.

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Введение. В настоящее время изучение языковой картины мира (ЯКМ) осуществляется в различных областях гуманитарных наук. Вербализация и реконструкция индивидуальной картины мира являются важными задачами современной лингвистики, осуществляются на основе анализа конкретных концептов. Рассматривается концепт театр в индивидуально-авторской картине мира Майи Плисецкой.Цель – на фоне национальной картины мира определить понятийные, образные и оценочные составляющие концепта театр, которые характерны для индивидуально-авторской картины мира М. Плисецкой.Материал и методы. Исследование проводится на

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Gu, Cui, and Thanachart Lornklang. "The Use of Picture-word Inductive Model and Readers’ Theater to Improve Chinese EFL Learners’ Vocabulary Learning Achievement." Advances in Language and Literary Studies 12, no. 3 (2021): 120. http://dx.doi.org/10.7575/aiac.alls.v.12n.3.p.120.

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Vocabulary, as the fundament of any language, is one of the most crucial aspects of language learning. And it also draws great attention from Chinese learners of English as a foreign language (EFL). This study conducted an experiment to examine the effectiveness of the picture-word inductive model (PWIM) and readers’ theater on Chinese primary EFL learners’ vocabulary learning achievement. The samples were 34 fifth-grade students from a primary school of China. The students received a vocabulary learning treatment with the lesson plans constructed based on the picture-word inductive model and

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Kunii, Y., and R. Sakamoto. "ACQUISITION OF 3D INFORMATION FOR VANISHED STRUCTURE BY USING ONLY AN ANCIENT PICTURE." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLI-B5 (June 15, 2016): 311–14. http://dx.doi.org/10.5194/isprs-archives-xli-b5-311-2016.

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In order to acquire 3D information for reconstruction of vanished historical structure, grasp of 3D shape of such structure was attempted by using an ancient picture. Generally, 3D information of a structure is acquired by photogrammetric theory which requires two or more pictures. This paper clarifies that the geometrical information of the structure was obtained only from an ancient picture, and 3D information was acquired. This kind of method was applied for an ancient picture of the Old Imperial Theatre. The Old Imperial Theatre in the picture is constituted by two-point perspective. There

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Kunii, Y., and R. Sakamoto. "ACQUISITION OF 3D INFORMATION FOR VANISHED STRUCTURE BY USING ONLY AN ANCIENT PICTURE." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLI-B5 (June 15, 2016): 311–14. http://dx.doi.org/10.5194/isprsarchives-xli-b5-311-2016.

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In order to acquire 3D information for reconstruction of vanished historical structure, grasp of 3D shape of such structure was attempted by using an ancient picture. Generally, 3D information of a structure is acquired by photogrammetric theory which requires two or more pictures. This paper clarifies that the geometrical information of the structure was obtained only from an ancient picture, and 3D information was acquired. This kind of method was applied for an ancient picture of the Old Imperial Theatre. The Old Imperial Theatre in the picture is constituted by two-point perspective. There

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Partola, Y. V. "Problems of Teaching Theater Criticism in the First Years of the Kharkiv Theater Institute." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 51, no. 51 (2018): 41–69. http://dx.doi.org/10.34064/khnum1-51.02.

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Background. The history of theater criticism in Ukraine is a poorly understood science area. The process of formation and development of Theater Studies education is even less learned page of our theatrical process. Currently we have mainly short background history descriptions of the single theatrical departments than the reproduction of the whole process. Kharkiv Theater Institute (now the Kharkiv National University of Arts named after I. P. Kotlyarevsky) is highlighted in several publications that date back to the jubilee dates of the educational institution (the articles by N. Logvinova (

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Kirillova, A. S. "Literary and Theatrical Parody in the Context of the Discussion on the Development of the National Theater of the Early 20th Century." Russian Studies in Philology, no. 1 (March 13, 2025): 79–90. https://doi.org/10.18384/2949-5008-2025-1-79-90.

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Aim. To prove the participation of literary and theatrical parodies of the “Crooked Mirror” cabaret theater in the controversy about the development of Russian drama and theater at the beginning of the 20th century through opposition to the collection of articles “Theater. The book about the new theater”.Methodology. The article analyzes the socio-cultural context of the discussion on the problems of Russian theatrical art and the participation in it of the resonant collection-manifesto “Theater. The book about the new theater”, as well as literary and theatrical parodies staged by the “Crooke

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Bell, J. "BREAD AND PUPPET'S STREET THEATER PICTURE STORIES." Theater 22, no. 3 (1991): 8. http://dx.doi.org/10.1215/01610775-22-3-8.

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Jarosz, Robert. "Japanese talking pictures: magic lanterns, silent cinema and kamishibai in the context of etoki storytelling tradition." Silva Iaponicarum 69 (July 30, 2024): 9–35. http://dx.doi.org/10.14746/sijp.2023.69.1.

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The paper examines the relations between three different visual media with inherent oral narration which have coexisted in Japan at the beginning of the 20th century – magic lanterns, silent cinema and kamishibai (paper theater). The figures of the oral narrators present in these three media, most notably represented by the benshi, are intertwined with each other and derive from a much older, transmedial storytelling practice, which in Japan became known as etoki. The author explores different roles and modalities of these three media, highlighting their performative aspects and examining the

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Oliveira Lopes, Rui. "A New Light on the Shadows of Heavenly Bodies." Religion and the Arts 20, no. 1-2 (2016): 160–96. http://dx.doi.org/10.1163/15685292-02001008.

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The distinct tradition of Indian shadow puppetry has been the subject of much interest among scholars, focusing mainly on its origin, the mutual exchange between different regions across Asia, and the relationship between theater performance and popular culture. This study discusses the similarities of shadow puppets with temple mural painting and loose-leaf paintings, and shows how puppets may have shifted technically from narrative paintings on loose-leaf folios toward motion pictures, in order to create a more interactive link between the audience and the storyteller. The first part of this

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Poliakova, Yu Yu. "Researches of Kharkiv’s Theater Culture of the 19th and the first half of the 20th cc.: Problems of Historiography." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 51, no. 51 (2018): 142–63. http://dx.doi.org/10.34064/khnum1-51.08.

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Background. Recently, specialists in drama studies have displayed growing interest to the problems of historiography concerning theaters. One of its most urgent tasks is to reveal just how much the scientific approach is applied to creating a historical paper. This goes hand in glove with studies into sociopolitical and scientific worldview of authors of the researches, the sources used, the interpretation of facts as well as the style of material’s presentation. Objectives, methods and materials of the research. The purpose of this study is to outline the circle of the most important sources,

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Nikiforova, Larisa V., and Anna M. Zinovyeva. "Theodore Géricault’s Living Picture “Raft of the Medusa” in Scenography: Visual Experience of the Romantic Era." Vestnik of Saint Petersburg University. Arts 13, no. 4 (2023): 639–63. http://dx.doi.org/10.21638/spbu15.2023.403.

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This article demonstrates the connections between visual and the theatrical mise en scène, raises the question of the inclusion of a live painting in the theatrical narrative as a form of interpretation of original painting, and finally presents the diversity of visual experience of the era in which static images coexisted with the moving ones. For the first time Géricault’s painting was animated on stage in 1820, a year after it was exhibited at the Salon (W. T. Moncrieff ’s melodrama “The Wreck of the Medusa, or the Fatal Raft”, London). Then in 1839 audiences saw it in Paris in a drama by C

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Severina, Yelena. "Crimean Tableaux of Catherine II’s Court as the Visual Record of the Russian Empire’s Southern Expansion." ВИВЛIОθИКА: E-Journal of Eighteenth-Century Russian Studies 10 (December 15, 2022): 113–40. http://dx.doi.org/10.21900/j.vivliofika.v10.1148.

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This article analyzes celebrations of Russian military victories over the Ottoman Turks during Catherine II’s reign on the examples of pictures (tableaux) featured in fireworks, illuminations, triumphal arches, processions, and instances of live theater. Performing the Crimean conquest via these artistic displays, from the early 1770s—the time when Crimea first begins to appear in them—and until Catherine’s final years, served as a way of incorporating the peninsula as a part of the imperial design and of announcing the Crimean Tatar as the latest member of the Russian Empire’s supporting cast

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AL-KUBAISI, Iman Abdul Sattar Atallah. "MENTAL CATHARSIS IN CHILD THEATER PERFORMANCES." RIMAK International Journal of Humanities and Social Sciences 03, no. 04 (2021): 22–33. http://dx.doi.org/10.47832/2717-8293.4-3.3.

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In the twenties of the twentieth century there appeared a tendency declaring that art has a major task is to cleansing reality from everything that seems strange to it. But this proposition took another characteristic of the German director and writer (Berthold Brecht) after he initiated a revolution that declared its rejection of the previous concepts of theater and Aristotelian drama in the introduction of alienation in his theatrical doctrine, which was later called (dialectical theater), This is a shift towards another concept of purification that goes beyond the emotion towards addressing

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Shchukina, Yu P. "Features of Volodymyr Morskoy’s theatrе criticism (1920–1940 years)". Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 51, № 51 (2018): 70–83. http://dx.doi.org/10.34064/khnum1-51.03.

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Background. Today, analyzing the Ukrainian theatrical movement of the first half of XX century, we can’t bypass V. Morskoy’s critical legacy. Volodimir Saveliyovich Morskoy (the real name – Vulf Mordkovich) is one of the providing Ukrainian theatrical and film critics of the first half of the XX century. He left us his always argumentative, but sometimes contradictious evaluations of dramatic art masters: the directors of Kharkiv Ukrainian drama theatre “Berezil” (from 1935 it named after T. Shevchenko) L. Kurbas, B. Tyagno, L. Dubovik, Yu. Bortnik, V. Inkizhinov, M. Krushelnitsky, M. Osherovs

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Bell, David. "Floating world at Te Papa: the Heriot collection." Tuhinga 30 (June 1, 2019): 56–81. https://doi.org/10.3897/tuhinga.30.e34248.

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This article examines Edo period (1603–1868) Japanese artworks acquired by the Museum of New Zealand Te Papa Tongarewa from the Ian and Mary Heriot collection in 2016. It situates its commentary on these works of art in the context of the emergence of a new, affluent, educated middle class and a new ‘floating world’ sensibility that favoured the enjoyment of literature, visual and decorative arts, kabuki theatre and the teahouses, restaurants and pleasures of the Yoshiwara licensed brothel district of Edo, the city we know today as Tokyo. It constructs a historical narrative for the broader de

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Krøgholt, Ida. "The Picture of Snow White." Peripeti 14, S6 (2017): 37–39. http://dx.doi.org/10.7146/peri.v14is6.110661.

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   As reality theater The Picture of Snow White (1994) demonstrates how certain fragments of reality can function as the material of the performance, and at first glance The Picture of Snow White resembles the readymade’s approach to form.  

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Silva, Rosângela Margarida da, Dayanne Cicera da Silva, Crislaine Maria da Silva, and Luiz Augustinho Menezes da Silva. "Teatro de fantoches como recursos alternativos para o ensino de morcegos." Research, Society and Development 12, no. 4 (2023): e2512440879. http://dx.doi.org/10.33448/rsd-v12i4.40879.

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The puppet theater is an alternative teaching resource for the development of activities aimed at Environmental Education, with the aim of facilitating teaching and student learning, streamlining classes and demystifying incoherent aspects. In this research, it has a qualitative approach and is characterized as a participant. We used a theatrical play to teach students Biology content, such as the importance of bats and more information about these animals, in a relaxed way, and to deconstruct the negative perceptions they have about bats. Students from public and private schools, aged between

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Ulkar, Mammadova. "THE TIME FACTOR IN THE CREATIVITY OF THEATER DIRECTORS OF YOUNG AUDIENCES." Problems of Arts and Culture International scientific journal 17, no. 2 (2023): 98–105. https://doi.org/10.5281/zenodo.8105942.

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In this article, the influence of the time factor in the creativity of the directors of the Azerbaijan State Young Spectators Theater, its approach and solutions are involved in the research.In the idea-aesthetic presentation of the children’s performances created in the Theater established in 1929, which bears the influence of time, the author explores the issues of how ideological-political, social-moral issues are portrayed in the interpretation of images, in the scale and movement structure, in general, in the artistic-plastic solution of the play.  The subject is studied in the

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Blažić, Milena Mileva. "Subversive Children's Literature - a Puppet Play Georgie and the Three Thieves by Alenka Gerlovič in the Context." Amfiteater 9, no. 2021-2 (2021): 170–72. http://dx.doi.org/10.51937/amfiteater-2021-2/170-172.

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The article deals with the puppet play by the painter Alenka Gerlovič (1919–2010), entitled Jurček in trije razbojniki (Jurček (George/Georgie) and the Three Thieves). The play premièred at the Partisan Puppet Theater in 1944 and was published in 1950, with pictures from the puppet show. It is an expression of the author‘s ethical attitude towards Fascism and Nazism and the horrors of war. As the analysis shows, Alenka Gerlovič‘s play places her among the world‘s leading youth writers who have commented on the events of the war. Alenka Gerlovič uses Jurček to create an "imaginary screen" that

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Udina, Vera I. "The metamorphoses of musical theater in the culture of pre-revolutionary Russian province." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 46 (2022): 224–36. http://dx.doi.org/10.17223/22220836/46/19.

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Article is devoted to system characteristic of the musical theater in the context of the culture of the pre-revolutionary Russian province. On the example of the opera genre top trends of historical development of provincial theater of Russia throughout XVIII - the beginnings of the 20th centuries are analyzed: the periodization of musical and theatrical process in the province, the social, cultural and historical conditionality of this process. According to the selected stages change of genre musical and scenic dominants (the early comic opera, the vaudeville, the operetta, the Russian and Eu

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Kabdiyeva, Saniya. "Chinghiz Aitmatov’s Mythopoetic Picture of the World through the Context of Modern Stage Interpretations (In Russian)." Saryn 12, no. 1 (2024): 83–100. http://dx.doi.org/10.59850/saryn.1.12.2024.170.

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The theatrical process in Central Asia is characterized by a common history of formation and development, basic principles and at the same time the originality and artistic heterogeneity of national theaters. A theater festival that is currently acquiring important significance as a space for dialogue between cultures serves as an indicator of its transformation in the region. Using the example of the winning performances of the VI International Theater Festival “Aitmatov and Theater” (2023), the mythopoetic picture of the world of Chinghiz Aitmatov is studied in the context of modern stage in

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Sokol, Olena. "The Creative Universe of T. Levchuk's Cinematography During the Khrushchev's Thaw." Bulletin of KNUKiM. Series in Arts, no. 38 (August 16, 2018): 70–81. https://doi.org/10.31866/2410-1176.38.2018.141745.

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The purpose of the article. The article is devoted to the creative and social activity of the leading Ukrainian Soviet film director, T. Levchuk, in 1953–1964: the creative work of the artist in the context of the specifics of Ukrainian film production and his membership in the Union of Cinematographers of the USSR were analyzed. The research methodology consisted in the principles of objectivity and historicism, based on the problem-chronological, specific-historical, descriptive, statistical and logical-analytical methods of scientific cognition. The

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Nesen, Iryna. "The Role of Costume in the Formation of the Character Image in the Theater of the Corypheses (1882 – 1914)." National Academy of Managerial Staff of Culture and Arts Herald, no. 2 (September 17, 2021): 154–58. http://dx.doi.org/10.32461/2226-3209.2.2021.239997.

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The purpose of the article is establishment of relations between scenic outfit and characters personalities in performances of the Theater of the Corypheses (1882 - 1914). In the methods set we are founding on historic basics and inter-disciplinary approaches. In bounds of historic-comparison and, partially, mythological methods liaisons between costumes typology of adjacent periods are tracked. Formal method helps to analyze costume as metaphors of meaning, and iconological approach allows determining semantic time symbols. Scientific novelty of the research is based on the system analysis of

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Tatarenko, Maryna. "Directing of the contemporary French avant-garde theater Nanter-Amandier: stylistic and conceptual innovations." Collection of scientific works “Notes on Art Criticism”, no. 39 (September 1, 2021): 245–50. http://dx.doi.org/10.32461/2226-2180.39.2021.238733.

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The purpose of the article is consideration of stylistic and conceptual innovative ideas directed by the modern French avant-garde theater Nanter-Amandier. The methodology consists of the application of empirical, art history, analytical, axiomatic, functional methods of researching the concept of ideas of avant-garde directing of Nanterre-Amandier theater, its innovations, and search for radical reforms of stage skills, phenomenal artistic techniques of theatrical forms. Scientific Novelty. For the first time, empirical analysis and substantiation of the concept of ideas of avant-garde direct

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Senelick, Laurence. "Émigré Cabaret and the Re-invention of Russia." New Theatre Quarterly 35, no. 1 (2019): 44–59. http://dx.doi.org/10.1017/s0266464x1800060x.

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Before the October Revolution, political exiles and Jewish refugees spread the image of Russia as a vast prison, riven by violence and corruption. After the Revolution, émigrés who scattered across the globe broadcast their idea of a fabulous, high-spirited Russia. Cabaret – an arena for theatrical innovation, stylistic experimentation, and avant-garde audacity – was a choice medium to dramatize this idea to non-Russian audiences. Throughout the 1920s, émigré cabarets enjoyed great popularity: Nikita Baliev's Chauve- Souris in New York, Jurij Jushnij's Die Blaue Vogel in Berlin, J. Son's Masch

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Лурье, Зинаида Андреевна. "THEATER IN THE PEDAGOGY OF PHILIP MELANCHTHON." Tomsk state pedagogical university bulletin, no. 5(223) (September 26, 2022): 157–67. http://dx.doi.org/10.23951/1609-624x-2022-5-157-167.

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Рассматривается театр в педагогике Филиппа Меланхтона в первую очередь на материале его предисловий и комментариев к изданиям Теренция 1517–1519 гг., 1524–1528 гг. и 1545 г., к которому он возвращался на протяжении почти всей своей деятельности. Ранние редакции были написаны в контексте предпринятой им риторической реформы на факультете искусств Виттенберга; вторая редакция была подготовлена в рамках школьной реформы в Саксонии (для нее составлены схолии), и, наконец, последняя отражает опыт изучения Меланхтоном древнегреческой драматургии (трагедий Еврипида, Софокла и комедий Аристофана). Нес

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Mutama, Chelsea, and Nina Carina. "KAJIAN INOVASI DESAIN BIOSKOP DALAM UPAYA PENGEMBALIAN MINAT GENERASI MILENIAL TERHADAP MOTION PICTURE ENTERTAINMENT." Jurnal Sains, Teknologi, Urban, Perancangan, Arsitektur (Stupa) 1, no. 2 (2020): 767. http://dx.doi.org/10.24912/stupa.v1i2.4436.

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The Millennials Generation or Gen Y, are those born between the year of 1981-2000. The characteristic and lifestyle differences between them and previous generations have resulted in the emergence of new problems and trends in the millennial era, including a phenomena known as The Death of Cinemas that affected the closing of some cinema venues and the drop of cinema ticket sales. According Research conducted by National Cinemedia in the year 2016, The Death of Cinemas is caused by millennials’ dissatisfaction of movie theater venues. There had been no significant changes in the last 20 years

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Т.О., Разуменко. "ТЕАТР ФИЛОСОФСКИХ ОБОБЩЕНИЙ Ф.Г. ЛОРКИ И А.П. ЧЕХОВА". Наукові записки Харківського національного педагогічного університету ім. Г. С. Сковороди "Літературознавство" 2, № 82 (2018): 119–30. https://doi.org/10.5281/zenodo.1490200.

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The article is devoted to the problem of the interference of F.G. Lorca’s Span-ish drama and A.P. Chekhov’s Russian drama. The work analyzes the characters, plots and psychological reflections of both authors about individual’s destinies in the context of their countries. The purpose of the article is to analyze the theater of philosophical generalization of F.G. Lorca and A.P. Chekhov. A.P. Chekhov and F.G. Lorka understood that world development required new forms of drama creation, both they were objective in the world art vision, tried to achieve a symbolic generalization

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