Theatrical Activity Research Articles

John Marston’s Stationers, 1607–1633

Abstract This essay revisits the publication of John Marston’s writings following his withdrawal from theatrical activity. It directs attention away from Marston’s presumed interventions and examines the choices and activities of five stationers: Thomas Thorpe, Thomas Archer, Richard Hawkins, Hugh Perry, and William Sheares. Their release of Marston’s writing offers a sharp insight into their various strategies and practices. Thorpe’s handling of What You Will and Histrio-mastix is best understood in relation to his choice to publish the plays of Marston, Jonson, and Chapman—and those of no other dramatist. Archer’s release of The Insatiate Countesse makes most sense in relation to the Overbury scandal. Hawkins—unlike his peers—progressively accentuated authorial agency in the successive editions of The Metamorphosis of Pigmalions Image within his series of Alcilia-led compilations. Perry and Sheares seem to have been running a joint enterprise at the time of The Workes of Mr John Marston of 1633. By turning towards the choices made by these stationers and placing less emphasis on the hypothesis of Marston’s reluctance to be associated with his writings, a new history of reception, dissemination, and publishing enterprise emerges.

Театрально-ігрова діяльність як засіб розвитку культури мовлення дітей старшого дошкільного віку

The general characteristics of theater and game activities in preschool education institutions as a means of developing the speech culture of senior preschool children are presented. The interdependence of the development of communication skills with the successful socialization of a child and his/her education at school, the importance of speech in the formation of child’s higher mental functions is substantiated. It is emphasized that speech culture is an indispensable element of general human culture; theatrical and game activities make it possible to develop the abilities of each child, to form creative imagination, communication skills; the main tasks of speech development are defined as: education of the sound culture of speech, enrichment and activation of the vocabulary of preschool children, formation of the grammatical structure of speech, formation of coherent speech skills. The essence of the concepts of «speech culture» and «theatrical and game activity» is defined. The classification of theatrical games depending on their type and specific plot and role content is presented: director’s games and dramatization games; it is noted that theatrical activity is a specific type of children’s activity, one of the most favorite types of creativity. The types of theatrical activity of senior preschoolers are presented, which are classified according to the method of organization (individual or collective games), content of theatrical activity (games based on the plots of literary works, dramatization games, staging), types of game material (puppet theater, toy theater, finger theater, etc.). It is indicated that children of senior preschool age already have a certain amount of game skills: to build a plot plan, distribute and assign roles, independently prepare attributes and scenery, use methods of collective communication. Senior preschoolers can also change the beginning and end of familiar plots, invent the course of events which the character gets into, introduce new characters into the storyline. Keywords: speech development, speech culture, senior preschool children, preschool education institution, theater and game activity.

ARCHITECTURAL-TYPOLOGICAL PROPOSALS AND DESIGNS FOR NON-STATIONARY STRUCTURES INTENDED FOR THEATRICAL, SPECTACLE, AND CULTURAL-EDUCATIONAL ACTIVITIES AMIDST RUINS, DURING THE RESTORATION OF LOSSES, AND IN THE AFTERMATH OF THE VICTORY OVER THE RUSSIAN FEDERATION

The publication highlights the architectural and typological diversity of non-stationary structures designed for theatrical, spectacle, and cultural-educational activities during the reconstruction of stationary buildings after their destruction, as well as in the post-victory period over the russian federation. The authors draw on the achievements of global architectural and design science in the design of such objects, relying specifically on advancements in educational, exploratory, experimental, competitive design, and scientific research conducted by the Department of Architectural Environment Design at the Institute of Architecture and Design of the Lviv Polytechnic National University. The scientific foundation and design experience of the Department of Architecture and Urban Studies in creating architecture for non-stationary objects for theatrical and performance activities with a wide architectural typological range can and should be utilized from the time of ruins to the moment of restoring the infrastructure of stationary objects that have been destroyed. The previous typological range of formation of non-stationary objects can be classified as follows: By means of transportation: mobile, movable, transportable objects. By functional-spatial solution, non-stationary objects can appear as places of action, those shaping space and resembling universal podiums, platforms, stages, halls, various scenographic-theatrical installations. Non-stationary objects can be for one-time or permanent (long-term) use. The structures and configurations of such objects can be modular, transformable, or with a permanent structural-spatial scheme. Based on the composition of structural-planning and functional elements, objects can be formed with a minimum, average, or large number of elements. Considering the transportation methods, taking into account the geography of Ukraine, the following can be proposed: road transport; by watercraft; railway; air – helicopters, airplanes, hot air balloons, airships, etc., as well as combined transportation.

'Theatre for Liberation' during the Period of IPKF in Srilanka

The Indian Peace Keeping Force (IPKF) was in Sri Lanka from 1987 to 1990. Later, the IPKF withdrew from Sri Lanka due to Gruella attacks, political maneuvering and pressure from the Sri Lankan government. During this period, property loss and human disasters were reported in the north and east of Sri Lanka. Because of the war between the Indian Peace Force and the LTTE; there was no public space for grammatist performances, theatre activism was stand still. In this environment, two political dramas named ‘Kalathil Kaththan’ and ‘Sathiiyai Venra Savu’ were produced and performed in more than a thousand places. It was aimed at mobilizing support for liberation among the masses. Here, Political Drama is based on political ideology drama. It usually deals with political issues and ideas. Support or oppose a particular political ideology. The LTTE in Sri Lanka was destroyed by a military operation in 2009. They were famous for documentation of Their work, but while destroying LTTE, during that time their archives were also destroyed and thus none of the artistic activities documents they had collected remained, although there were some documents in libraries and individuals which were either destroyed by them due to military threats or hidden so that they could not be taken out. At the same time, many of those who participated in the theatre activities for liberation during the LTTE era live in disguise, avoiding their artistic Identities. Therefore, it seems that the plays of this period are deeply buried in the minds of those who saw them and the artists who participated in them. Due to this, we have to rediscover the plays that are deeply buried in the mind. This study is an attempt to excavate their memories by meeting theatre creators who worked in the ‘Theatre for Liberation’ and who are currently living in isolation due to the political and military crisis. After almost 10 – 20 years, they partially recovered the dramas that were buried deep in their minds after a long discussion. The information is closely related to the social and political power structures, so discourse analysis has been analyzed using the theoretical method (Discourse Analysis) and based on the concept of liberation theatre.

ВООБРАЖЕНИЕ КАК «ЭКРАН ВНУТРЕННЕГО ВИДЕНИЯ» В ТВОРЧЕСКОМ ПРОЦЕССЕ РАБОТЫ АКТЁРА НАД РОЛЬЮ

The relevance of this study is due to the fact that the concept of imagination, which is much talked about in psychology, remains incomplete outside of theatrical discourse, actor's and director's understanding of this category. Imagination is not a spontaneous, automatically developing process, but an in-depth process based primarily on the intellectual capabilities of the actor through the manifestation of his analytical abilities, which are directly related to the degree of development of his imagination, which determines the professional quality of the actor. The algorithm of the work of the imagination, its phased development is investigated. Examples are given from the pedagogical experience of the author of the article on activating the imagination of students - trainings and tasks that develop figurative thinking and, as a result, acting skills. An integral part of learning is tasks for the memory of physical actions, where the subject is imaginary, and actions with it are real. The problems of interaction between the actor and the spectator in the performances of the puppet theater are touched upon: the role of imagination control in theatrical activity. Lack of imagination or thoughtless departure from it leads to a negative result: instead of "co-creation", immersion in the picture created by the actor, repulsive feelings awaken in the viewer. Imagination has a special role in theater as a "three-dimensional art".

ALLA GORSKA IN THE MEMORIES OF CONTEMPORARIES

ALLA GORSKA IN THE MEMORIES OF CONTEMPORARIES

STEAM интеграция на изкуствата и математиката в детската градина

The article analyzes the essence of the approach to the integration of arts and mathematics and its role in the formation of the universal 4K skills (creativity, communication, cooperation, criticality) in children of preschool age. A comparison of STEM and STEAM is made, describing their methods for forming the four groups of skills of the 4K system. Three types of curricula are distinguished in which art is used as an end or a means of learning. A model of the integration of arts and mathematics to develop creative and active personalities is presented. Ideas and examples of thematic projects for the integration of visual and theatrical activities in the teaching of mathematics in kindergarten are given.

УСЛОВНО-МЕТАФОРИЧЕСКИЙ КОСТЮМ И ГРИМ НА СОВРЕМЕННОЙ МИНСКОЙ ДРАМАТИЧЕСКОЙ СЦЕНЕ

The article presents an analysis of the development of stylistic features of conditionally etaphorical costumes and make-up in the modern Belarusian theater based on the examples of modern performances of the Minsk drama stage. The images are viewed through the context of the integral perception of the performance. The main trends in the development of the figurative solution of the hero in the realities of the Belarusian theater are considered. The author examines a little-studied topic, where, despite numerous scientific works devoted to the activities of the country's theaters, almost no one has turned to studying problems in the field of the character's scenographic image. The author forms a number of problems in creating images for the Belarusian scene, analyzes the most common techniques of conditionally metaphorical costumes of dramatic productions in Minsk and studies problems in the field of the scenographic image of the character in the visual solution of the performance.

Online learning of theatrical art and realization of theatrical creative activity (on the example of distance course “Let the Theatre Start!”)

Online learning of theatrical art and realization of theatrical creative activity (on the example of distance course “Let the Theatre Start!”)

ГАЗЕТА «НОВИЙ ЧАС» (1923–1939 рр.) ПРО ТЕАТРАЛЬНЕ ЖИТТЯ ГАЛИЧИНИ

The article examines the peculiarity of the coverage of theatrical life in Galicia in the «Novyi Chas» newspaper (Lviv, 1923–1939). The subject of the materials offered to readers is analyzed, and determines their genre affiliation, among which, in particular, with articles and reviews prevailing among them. Newspaper publications dedicated to the activities of theaters and organizations involved in the development of theatrical art in Galicia during the 1920s and 1930s are considered. These included: the «Ukrainskyi Teatr» cooperative (Lviv) and the «Prosvitianskyi Teatr» society (Sokal). The articles are mentioned, particularly those that raised topical issues of the theater sphere at the time, such as the lack of a repertoire that would contribute to the national development of society and limited funding. The circle of authors of «Novyi Chas» are outlined, wich consisted of publicists, theater critics, and cultural figures who have made a significant contribution to the development of Ukrainian theater and actively popularized it among the public, particularly A. Budzynovskyi, P. Lysiak, S. Chernetskyi. Keywords: Theater subjects, performance, the audience, «Novyi Chas» newspaper, «Ruska Besida» society, article, review.

Broadway in Hollywood: film producer David O. Selznick and his theatrical ties in the 1940s

This article examines the theatrical activities and connections of famed Hollywood film producer David O. Selznick. Based on a study of archival materials and articles in the contemporary U.S. press, the author reconstructs Selznick's relationship to the theatre and argues that it was characterised by ambiguity. On the one hand, the producer used the theatre as a source of acting talent and a training ground for honing the skills of his contract actors; on the other hand, the theatre represented a burden in terms of time and financial resources, and its positive impact on Selznick's business and creative activities was limited, given its relatively modest audience appeal, especially compared to the mass appeal of mainstream Hollywood cinema.

The Impact of the Technological Situation of Metamodern on the Development of Theatrical Culture

The article attempts to analyze the impact of the technological breakthrough inherent in the metamodern situation on the development of theatrical culture. The role and importance of Internet resources in the process of embodying theatrical art within the stage space is revealed. Various aspects of innovative technologies in the field of theatrical art, their influence on the process of formation of creative content in accordance with the principles of metamodern are considered. The analysis of the transformation of theatrical activity is carried out, in the process of popularization of neural networks and artificial intelligence, the principle of "pendularity", vividly characterizing modern theatrical culture, is revealed. The transformations of the role of the director, artist, playwright in the conditions of the formation of a new cultural era are outlined.

Oswajanie Inności przez teatr – na przykładzie projektu „NIEW(INNY)”

The aim of the article is to show the potential of theatrical art in intercultural education, and more specifically in the process of taming the broadly understood Otherness. The first part of the study presents the conceptual categories: the Other and the Stranger in the perspective of intercultural education. The intercultural intentions of art are also characterized, with particular focus on theatre and emphasizing the role of theatre activities in developing attitudes of tolerance towards cultural diversity. The most important features of theatre allowing for the recognition of theatre as an effective and attractive tool for intercultural education were indicated. The second part of the study is related to educational practice, as it is a record of an original theatre project addressed to primary school students, aimed at sensitizing to cultural differences. As part of the project, a spectacle dealing with the issues of various dimensions of Strangeness / Otherness (biological, economic, cultural, geophysical, mental) was realized, emphasizing their relativity and contextuality. There were also theatrical and intercultural workshops referring to the performance and to developing the attitude of tolerance with the use of such theatrical techniques as: movement games, drama, theatre improvisation, voice games with theatrical intention.

The Reality of School Theater Activities in Basic Education Schools in The City of Erbil and Ways to Develop it From The Viewpoint of Teachers and Specialized Supervisors

The aim of the research is to reveal the reality of school theater activities in basic education schools in the city of Erbil and ways to develop it from the point of view of art education teachers, and specialized supervisors. The descriptive-analytical approach was followed as a research methodology according to the nature of its subject and objectives. The research community consisted of (370) teacher of the art education, and (16) specialized supervisors in the city center of Erbil, and the research sample included (74) teacher of the art education and (9) supervisors, who were deliberately chosen from the research community according to their field of specialization. The research tool consisted of two questionnaires, one of which was open to reveal the reality of the school theater activities, and the other was closed. It included (27) items as a problems and (36) items as a suggestions for developing activities. Its apparent validity and reliability were extracted by re-application, and after applying the two questionnaires in their final form at the original research sample. The data were statistically processed using the weighted mean equation and the percentile weight, and from most prominent results of the research as a problems are the following:
 1- Looking at the subject of art education and its theatrical activities at a lower level compared to the rest of the study subjects prescribed by the rest of the teaching staff in basic education schools, as well as the students’ families and society in general.
 2- Weak interest in art education and school theater activities from the responsible and relevant authorities in the Ministry of Education and the General Directorate of Education in Erbil Governorate.
 3- Weak interest in School Theater activities by the administrations in basic education schools in Erbil city.
 Among the most prominent suggestions to development the theatrical activities at schools are the following:
 A- Establishing or providing suitable halls for artistic activities, including school theater activities and their requirements in basic education schools in the city of Erbil.
 B- Allocating appropriate and sufficient lessons for the art of School Theater and its activities within the lessonss of art education subject prescribed in basic education schools.
 The research ended with a set of conclusions, recommendations and suggestions as a titles of other researchs.

Marketing and PR communications in the context of promoting theatre institution

The purpose of the work is to create a marketing and PR development strategy for the Coryphaei Theatre. Research methodology. To solve the research task, general scientific methods have been used: analysis, generalisation, description, and comparative-comparative (study of the theoretical foundations of the research). Besides, the authors have applied specifically scientific methods: structural, systemic, method of included observation, survey (questionnaire), and situational analysis (writing the practical part of the study). The scientific novelty consists in the presentation of practical recommendations for the construction and implementation of a marketing and PR communications strategy for the «Coryphaei Theatre» to attract new viewers and popularise the theatre's activities in society. Cultural and leisure activities are perceived as the process of creating conditions for the individual's motivational choice of subject activity, which is determined by his / her needs and interests. With the development of market relations, cultural and leisure activities closely approached marketing technologies, which are based on the problem of finding and meeting the needs of individual citizens or public groups. The issue of improving the system of promoting theatrical services in the form of marketing and PR communications, which allows focusing the available limited resources of organisations on the main strategic directions of conquering target market segments under conditions of increased competition, is gaining special relevance. At the same time, the task of promoting a theatrical product comes to the fore, which is currently one of the most promising types of business activity for theatre institutions that want to stay on the socio-cultural market. Conclusions. We have analysed the market of theatrical services provided by the «Coryphaei Theatre» and the conditions of the competitive environment in the Kropyvnytskyi city, considered pricing in the theatre sector, developed a system for implementing marketing and PR in the work of the theatre, and developed recommendations for the theatre’s advertising and PR policy. Key words:theatre, marketing, communication, PR, socio-cultural sphere, leisure, performances.

SCHOOL THEATER AS A FORM OF EXTRACURRICULAR EDUCATION (on the example of educational institutions of Yadrin in the second half of the XIX – early XX century)

Extracurricular education began to develop actively in the second half of the XIX century, when the Russian Empire was experiencing great shifts in all spheres of life. The changes caused an increase in the cultural needs in all segments of the society. One of extracurricular education forms was the school theater. The interaction between school and theater, as one of the types of arts, is historically conditioned. At the initial stage of its existence, since the time of Ancient Greece, theatrical art was one of the methods of cognition. The school theater performed several functions: didactic, educational and educational ones. In educational institutions, all performances were staged mainly basing on works of the Russian classical literature. In addition, many publications appeared in in printed press of the second half of the XIX – early XX century in which the teaching intelligentsia and professional actors gave recommendations for staging school and home performances.
 
 The aim of the work was to study student theater and concert activities at a non-classical secondary schools, a women’s gymnasium and a city school of Yadrin in the second half of the XIX – early XX century. The article analyzes the repertoire and the nature of the presentations. Separately, the work mentions people on whose initiative the theatrical art flourished in the educational institutions of Yadrin. The authors note students’ charitable activity, namely giving performances and literary and musical evenings that were very profitable. The research is based on archival materials, literature and memories. The methodological basis of the study was a set of scientific techniques and principles used in the study of socio-economic and socio-cultural life – objectivity, scientificity, complexity and comprehensiveness. The fundamental method in the work was the principle of historicism. The practical significance of the study lies in disclosure of “blindspots” on this problematics.

MEDIATIZATION OF NDOKWA MASQUERADE PERFORMANCES: THE AESTHETIC DYNAMICS OF AN AFRICAN INDIGENOUS CARNIVAL

This article examines the mediatization of the aesthetic dynamics or dimensions in the masquerade performances of the Ndokwa people in Delta State, Nigeria. Masquerade performances and carnivals are spectacular indigenous theatrical activities or forms that involve the impersonation of fictive characters by costumed performers in Nigeria and across Africa. These art forms share similar elements that make them culturally significant in terms of creativity and social commentary. The Ndokwa masquerade performances during festive celebrations have been on for over two decades but have virtually not been given the deserved publicity to project them as fine tourist events. Deploying Etop Akwang’s “Medialization” model, this study uses historical-analytic, key informant interview (KII) and direct observation to consider the uniqueness of the Ndokwa masquerade performance. It holds that the masquerade performance is a valuable cultural product that combines the characteristics of carnivals and celebrations of fluid cultural exchange that appear to have led to hybridized cultural performances amongst the people. It highlights some of the aesthetic dimensions of the Ndokwa masquerades and how they could be made more culturally viable and economically appealing through the use of new media outlets. This article, therefore, advocates for the use of social media as a trendy form of mediatization or media production to give visibility to Ndokwa masquerade performances in the global cultural space.

Speech Techniques as an Important Tool of Verbal Action in the Art of the Actor

The relevance of the study is conditioned upon the fact that contemporary art undergoes various transformations. Notably, modern theater is aimed at creating a variety of entertainment forms. It depends on the bright scenery, outrageous acting and the availability of experimental performances. Speech techniques as an important tool of verbal action in the art of the actor also acquired a specific, even paradoxical character. The theatrical work becomes quite subjective and individualised, embodies the inner well-being of the artist in the depiction of his emotions, worldview and more. In this regard, the article aims to determine the nature and features of speech techniques in the practice of performing arts. The leading methods of research on this problem are methods of analysis, synthesis, deduction, generalisation and comparison of approaches, which will help determine the main essence of the problem of speech and speech techniques as an important tool of verbal action in the art of the actor. The article presents various approaches to the study and interpretation of the stage word as a socio-cultural phenomenon; the analysis of works of artists, researchers who are engaged in research of this process is carried out; emphasis is placed on psychological difficulties and peculiarities of the organisation of verbal action on the stage; the definition of the essence of the subtext as a category of stage speech is offered; the methods of its embodiment in theatrical practice are substantiated; the specific features of the functioning of intonation in stage works are traced; diagnosed promising methods of developing the technique of stage speech in theatrical activities; the requirements of acting in the context of the development of theater of the 21st century are determined; the process of creating exemplary stage speech is demonstrated; recommendations and main tasks for improving speech techniques as an important tool of verbal action in the art of the actor and component of theatrical art are revealed. The materials of the article are of practical and theoretical value for art critics, actors, directors, culturologists and theater figures, who will be able to improve the forms of work on the word, to develop skills of language and speech culture. In addition, the information may be relevant for students of stage and art, scientists, teachers who will be able to implement certain principles in future theater activities.

Didattica del teatro e Teatro didattico

In the essay I will analyse in depth the teaching of theatre in high schools. I will point out one of the contradictions of Italian high school about theatre teaching: in the morning theatre is taught as a form of literature in the field of Humanities, in the afternoon a theatre workshop is organized at school and in the evening teachers take their students to see live performances. Theatrical literature and theatrical activity are therefore distinct. In Italian schools, the rigid distinction between text and performance remains. I will try to suggest some solutions by referring to recent studies on Aristotle’s Poetics.

대학로 연극인들의 세대별 공연 활동 경험에 관한 내러티브 연구

Since the establishment of ‘Arko Arts Theater’ by the ARTS COUNCIL KOREA in 1981, the area around Dongsung-dong and Hyehwa-dong in Jongno-gu has been called ‘Daehak-ro’ and has become the center of the performing arts. However, there were not many studies that analyzed how Daehang-ro Theater Artist experienced and understood the policies implemented to revitalize the region and the changes in the commercial environment. With this awareness of the problem, this study tried to discuss the experience of theater activities of the Theater Artist staying in Daehang-ro while engaging in the theater culture of Daehang-ro as a narrative research methodology.
 As a result, first of all, the opportunity to enter and settle in Daehak-ro has changed over time from informal and unsystematic inflow through private networks to visible and systematic entry through official recruitment and platforms. Second, unlike the past when certain economic achievements followed the experience of revitalizing Daehak-ro, the current there is only the satisfaction of self-realization of Theater Artist, so the economic requirements as a job are ambiguous. Third, gentrification in cultural and commercial districts is a chronic phenomenon that has continued since the 1980s, and all research participants felt the problem of gentrification. Lastly, the factors of change in Daehak-ro could be summarized as migration through ‘leaving Daehak-ro’, securing a stage through the expansion of public theaters, and political rights as workers.