Concept Of Theatre Research Articles

Archiving in Twilight

Archiving in Twilight

Singing (vocal) as a component of ballet: the experience of interpreting the phenomenon in the context of artistic trends of the early 20th century

The article is devoted to one of the forms of creative synthesis of types of art, which is being actualized in the modern space-time of musical and stage compositions, including through its own historical and genetic code. Singing in ballet appears in the context of art of the early 20th century as a common aesthetic phenomenon. However, music criticism and academic science have not yet provided the explanation of its mechanisms (image-aesthetic, psychological, form-creating, communicative), its overriding tasks in the concepts of modern musical theatre. The experience of problem statement in the field of interpretology provides the relevance of the topic of the article and determines the novelty of the obtained results.
 The purpose of the article is to reveal the preconditions and content of the functional unity of the art of singing and dance against the background of artistic trends of the early 20th century (starting with “Pulcinella” by I. Stravinsky).
 The creative tandem of dance and singing has its roots in ancient Greek culture, on which the creators of the French tradition of ballets du court (J.-B. Llully focused. In the realm of «mixed genres» of baroque music, the «golden age» of homo musicus began. The latest history of singing in ballet begins with I. Stravinsky, his «Pulchinelli». The obtained results of the research of the problem “What is singing in ballet — a tribute to history or an invention of modern culture”? First, the presence of the “genetic code” of this phenomenon in the art of Western Europe of the Modern times; secondly, the regularity of the tendency to synthesize singing in the art of ballet as a manifestation of neoclassicism, closely related to the historicism of compositional thinking of I. Stravinsky.
 The conclusions outline the preconditions and content of the functional unity of singing and dance in the format of artistic trends of the early 20th century: 1) the historical and cultural code of French art (singing — dramatic play — dance); 2) personal self-reflection of I. Stravinsky (his relations on the basis of creative cooperation in the early 20th century later formed a wide range of communication for artists: O. Rodin, A. Modigliani, K. Monet, P. Picasso, V. Kandinsky); 3) imitation of pre-classical, pre-baroque, and ancient folk traditions. In general, the revival of the function of singing in ballet of the 20th century took place on the basis of musical historicism and serves as a mental sign of the birth of neoclassicism.

Total Dance: Examining Interdisciplinarity In/Through Dance

Creative Arts Educ Ther (2021) 7(2):187–199 DOI: 10.15212/CAET/2021/7/18 Total Dance: Examining Interdisciplinarity In/Through Dance Abstract In this paper, I aim to argue about the potential of dance as movement that creates total dance in the sense of E. T. Kirby’s concept of total theater or Wagner’s Gesamtkunstwerk, total artwork. Movement creates moving images, moving sculptures, and moving sounds, allowing bodies to reach their full performance potential in what I term total dance. By total dance, I refer to a moving sculptural assemblage that entails moving images and creates moving sounds. Through this analysis of total dance, I aim to propose that both movement analyses and corporeality are inherently interdisciplinary. Keywords: dance, performance, sculpture, cross-arts, interdisciplinarity 摘要 本文旨在根据E.T.Kirby的整体戏剧或瓦格纳的整体艺术作品Gesamtkunstwerk的概 念, 来探讨舞蹈作为创造整体舞蹈的动作的潜力。动作创造了移动的图像、移动的雕塑 和移动的声音, 使得身体在作者所讲的整体舞蹈中充分发挥其表演潜力。作者叙述的整 体舞蹈是指一个移动的雕塑组合, 它包括移动的图像和创造移动的声音。通过对整体舞 蹈的分析, 作者旨在提出动作分析和身体性在本质上是跨学科的。 关键词： 舞蹈, 表演, 雕塑, 跨领域艺术, 多学科性

К истории режиссерского театра в Испании: «Медея» Сиприано де Риваса Черифа в античном театре Мериды (1933 г.)

In 1933, Cipriano de Rivas Cherif, one of the central figures of the director’s theatre in Spain, presented the performance “Medea” based on the tragedy of Seneca. It was hold in the ruins of the Roman Theatre in the city of Mérida (Spain). On the basis of the performance material the author attempts to characterize the specifics of Spanish directing in the context of Spanish theatre history and the reception of foreign ideas in it. Attention is paid to the cultural policy of the Second Spanish Republic, when the performance was staged, in particular to the idea of “spreading the theatre” (extensión teatral). In the article it is examined the process of creating the performance including the involvement of a large number of rare sources in Spanish language. The critics reviews are analyzed along with the visual materials. In the course of the study, similar things are identified in the Spanish production and the productions of the Western European theatre. The performance is placed into a wide theatrical context: from festivals in the ancient theatres of Orange, Syracuse and Delphi to the concept of a popular theatre. The author also mentions the production’s life, in particular – the tour in Mexico in 1936. Attention is paid to the A. Artaud’ s review to the production.. In the context of performances based on an ancient plot, parallels are highlighted with the performance “Medea” (1961) by N. Okhlopkov, conclusions are drawn regarding the specifics of performances in the open air.

Theoretical and Conceptual Approaches to Cyber Theatre

The article addresses the question of integration and dispersion in theatre. Theatre is the art of representation, so it is presented as unified and integral, starting with Aristotle's principle of three unities, through Shakespeare, Calderón de la Barca's The Great Theatre of the World or Erwin Piscator and Walter Gropius's model of total theatre. With the outbreak of the coronavirus pandemic, theatre changed, not only by itself but also by necessity, becoming diffuse and imprecise. It broke with one of its foundations: the encounter between spectators and actors in a designated space. Theatre ceased to be a place of performance and the stage was moved to nowhere. Digital theatre assumed an anti-Aristotelian order; the classical principle of the three unities of place, time and action was broken. However, even though the pandemic shook the foundations of theatre and theatre used all the means offered by new technologies, the fundamental concepts of theatre and theatrical space were not abolished.

Artistic and aesthetic principles of German expressive dance in the context of the development of modern dance in the XXI century

The purpose of the article is to identify the artistic and aesthetic features and leading trends in the development of German expressive dance of the first half of the twentieth century. and determine their impact on the development of modern dance in the first decades of the XXI century. Methodology. The system method is applied, thanks to which the peculiarities of German expressive dance are considered; the method of comparative analysis, which helped to identify common and distinctive features in the central concepts of dance K. Joss, M. Wingman, and P. Bausch; method of art history and artistic and stylistic analysis, through which identified and substantiated trends in the development of German modern dance and modern dance). Scientific novelty. The artistic and aesthetic principles of German expressive dance are studied on the basis of the analysis of choreography, aesthetics, and discourse of movement K. Joss, M. Wingman, and P. Bausch; the basic theatrical concepts of the range of emotions of the leading representatives of the German expressive dance motivating physical movement are revealed; determined that P. Bausch, M. Wingman and K. Yosse work with emotional space, which is directly related to physical movement and configures their own unique aesthetics of movement experience - dancers aestheticize the human body, covered and subject to strong emotions. Conclusions. The characteristic interest of German expressionist dance to inconspicuous, accidental, or natural manifestations of corporeality, the focus on violating previously established boundaries of art, the search for innovative ways to approach the chaos of reality, causing the formation of certain models of corporeality, and others. can be clearly seen in the modern dance of the early XXI century – phenomena, representing a unique way of artistic and bodily modeling of the world, become one of the important dancers and generators of current cultural and artistic values ​​and meanings. Key words: German expressive dance, modern dance, artistic and aesthetic principles, K. Joss, M. Wigman, P. Bausch.

205 Simulation as a form of Immersive Theatre

Immersive theatre is a style of theatre that removes the fourth wall of traditional theatre turning the audience into participants and engaging the five senses such as sight, sound, touch, taste and smell; a concept applied equally to multi-professional, human factor-based simulation. Peter Brook, one of our greatest theatre directors, says, ‘Drama is exposure; it is confrontation; it is a contradiction, and it leads to analysis, construction, recognition and eventually to an awakening of understanding’. This is without doubt what we do in simulation. We create scenarios, ‘the drama’, we create managing deteriorating patients, the ‘confrontation and contradiction’ and we enter debriefing, the ‘analysis, construction and eventual awakening of understanding’. Using the concepts of immersive theatre and drama, creating more realistic environments and authentic interactions, we can offer the participants a greater sense of reality in which to practice vital inter-professional medical care. High-fidelity simulation encompasses more than just a technological top of the range manikin which often comes at a premium cost. High-fidelity simulation is an attack on all of the senses, visually sick patients, noises and smells of the environment, even touch and taste. The soundscape of an emergency room, smells of humans, drugs, equipment, tastes of stewed tea and warm water, the touch of a sick patient or a disruptive relative in a visually authentic space creates the perfect setting for an immersive simulation experience. By implementing psychological, sociological and physical fidelity, we offer a unique way of practicing essential skills of interprofessional working not only to enhance patient care and safety but also to allow a greater understanding of ourselves and others in stressful, urgent and critical situations. Applying ideas from the world of drama and theatre, creating authentic immersive environments can give participants the freedom to be in the simulation and steer them away from acting in the simulation.

“Winds Are Blowing” by Hanna Havrylets in the Theatrical Interpretation of the Chamber Choir "Kyiv"

The author has characterized the demonstrative features of the choral theater genre and their embodiment in the performance of historical oratorio "Winds are blowing" by Ganna Havrylets by the Municipal Academic Chamber Choir "Kyiv". The author defines the affiliation of this play to the type of choral theater "History in the Faces", as 12 historical songs recorded by O. Koshyts during the Kuban expedition (1903-1905) were selected, processed and combined into a dramatic integrity by composer Ganna Gavrilets. They focus on pictures of the national liberation struggle of the Ukrainian people. The theatrical concept of staging in the communicative link is built: composer - conductor - arranger - director - spectator. It was found that in order to dynamize the performance the authors of concert-theatrical performance (conductor Mykola Hobdych, director Vasyl Vovkun) made structural changes (removed individual numbers, added the final instrumental number), enriched the timbre sound palette of the chamber choir with additional instruments (bandura, reed pipe or flute, percussion), which are used by choristers simultaneously with singing. Approaches to the theatrical performances with personification images and general choral scenes, alternating in the form of contrast of drama of the work were underlined. It is established that in the choral works of the cycle with personified imagery the emphasis was on more effective individual acting means (facial expressions, plastics, movements), in epic songs - on more static but symbolically filled mise-en-scène factors (graphic-spatial forms of stage arrangement of performers on stage). It is noted that the directors contributed to the better disclosure of the content of the play through the integrated use of the background (eg, costumes), mise-en-scène and acting means of theatrical choral performance. These artistic techniques also increased the spectacle, concert and stage representativeness and created a variety of acoustic effects.

Staging resistance matters! Deconstructing structures of power and oppression in Ngugi Wa Thiong’o and Micere Githae Mugo’s The Trial of Dedan Kimathi and Dario Fo’s Accidental Death of an Anarchist

ABSTRACT Situated on parallel cultural geographies of the global north and south, this study seeks to critically interpret Dario Fo, Ngugi wa Thiong’o and Micere Githae Mugo’s theatre as representative of radical theatres of resistance and cultural intervention in their searing reinterpretation of Kenyan and Italian cultural discourse. Through staging narratives of systemic oppression and injustice, these dramatists salvage the history of the subaltern from the ruins of colonial and fascist regimes, thereby transforming their theatre into Marxist tools of counter-information. The concept of theatre as a form of anti-establishment political action and counter-discourse will be analyzed through The Trial of Dedan Kimathi (1976) and Accidental Death of an Anarchist (1970). Both plays are rooted in specific historical situations that are a part of the collective consciousness of the nation. However, through the use of revolutionary methods – humour, indigenous performance traditions, a critically-invested audience, the rejection of the traditional idea of empathy and catharsis, Fo, Wa Thiong’o and Mugo force spectators in the words of Nicholas Brown ‘to take seriously the possibility that art can be at war – in more than a metaphorical sense – with the state.’

An overview of the Open Scene of the Village and the World

What should a book about theater look like? How about the one about a category of theatrical performances in the ethnological dimension? Research project of the Institute of Romanian Philology B. P. Hasdeu stimulates research into socio-cultural contexts and European connections, and Eugeniu Coseriu urges us to open up universally - each with his own field of research. In the sub-theme National Folklore Corpus, the popular (folkloric) theater is my area of expertise and the Latin phrase Theatrum mundi = The spectacle of the world. The world seen as a spectacle it is the universal concept of theatricality. The definite sign of the theater is the character. In illo tempore, man invented an incredible, saving theater, modeling fictional characters from the most abundant matter - from what he did not know, out of ignorance. For phenomena that man could not explain in the beginning, he shaped ... spirits, supernatural beings, elves. The nebula of imaginary characters fell into two broad categories – the good and the evil ones. In order to understand the diversity of masks and clothing of modern times, it is imperative to accept a scaffolding of archetypal dichotomies, resulting from this modeling of beginnings: life - death, good - evil, beauty - ugly, God - Satan, love - hate , wealth - poverty, Christ - Herod, the wise – the stupid ... All the characters - not just from the theater of any kind - are derived from these archetypal dichotomies, and the triggering axial motives, in which it manifests itself in tension, are love, fertility, fecundity, disease, healing, death, resurrection. The Romanian folk theater is part of the same spectacle of the world, and the eternal scene is on the doorstep of the house with a spinster to be married. More important deduction - this is also the engine that sets the characters and the scene in motion: the love that moves the sky and ... the scene.

Steven Berkoff Tiyatrosu ve Sink the Belgrano!

Abstract: Steven Berkoff is one of the living legends of British theatre. He has spent most of his adult life on stage. He has written, directed and acted in numerous plays. He has also appeared in many well-known movies, such as A Clockwork Orange (1971), Rambo (1985) and Underworld (1985). In spite of his multifaceted international career, little scholarly research has been conducted on Steven Berkoff’s art. The aim of this paper is to outline the key characteristics of Berkoff’s conception of theatre, usually referred to as Berkovian aesthetic, and present a political reading of his celebrated play, Sink the Belgrano! (1986). The play deals with The Falklands War between England and Argentina, particularly focusing on the events that led to the sinking of the Argentinian Navy light cruiser The General Belgrano by the British nuclear submarine HMS Conqueror. The play also reflects Berkoff’s tendency to bring together various experimental dramatic techniques. The present paper firstly highlights the key characteristics of Bekovian aesthetic and then presents a comprehensive analysis of Sink the Belgrano! as one of Berkoff’s quintessential plays.

C. Orff. stage cantata «Carmina Burana»: grotesque as a means of creating an artistic image of the Fried Swan

The purpose of the article is to analyze the image of the Fried Swan from the stage cantata of Carl Orff "Carmina Burana" through the category of grotesque - the worldview principle in the culture of the Middle Ages and one of the leading types of artistic imagery in art nouveau. The paper reviews literary and musicological research on the grotesque as an aesthetic category and its application as a method of revealing the artistic image. What is being analyzed: the aesthetics of vagrant poetry, which is the basis of the libretto of Karl Orff's stage cantata; traditions of interpretation of the image of a swan in mythology, folk culture, folklore of different peoples of Europe, Christianity, literature of the Middle Ages, the Renaissance and the New Age, in particular in Romanticism, as well as in the fine arts; features of Latin poetry in general and "Swan Song" from the poetry of vagrants in particular; application of alliteration; a variant of translation into Ukrainian is provided, which is intended for a more accurate understanding of the essence of the image, reveals its new facets and is addressed to the performers of the Fried Swan part in the preparatory period of work on the image, as well as listeners. The image of the Fried Swan is the embodiment of "grotesque realism" (A. Gurevich) of the Middle Ages. The methodology is based on the application of a holistic musicological analysis, which includes philosophical-aesthetic, literary-linguistic and musical-theoretical levels. The scientific novelty of the work lies in the application of the grotesque as a philosophical and aesthetic category for studying, in particular, one of the most original images of K. Orff's work and the concept of modern musical theater in general. Therefore, the artistic and aesthetic interpretation of the figurative sphere of the cantata is considered relevant, and this work is the first such attempt in Ukrainian musicology. Conclusions. The image of the Fried Swan embodies the grotesque, in which the high and the low, the believable and the unreal, the tragic and the comic, coexist. It reflects the mentality of the Middle Ages as a unity of antinomies and at the same time possesses the characteristic features of the culture of art nouveau, where the grotesque is a typical tool for perceiving reality. The image of the Fried Swan can be considered as a kind of "key" for understanding two "artistic mentality" at once - of the Middle Ages and of the Art Nouveau.

A Study on the Possibility of Liberal Theatre Class Employing Documentary Theatre Focusing on Die Ermittlung and The Acting Motivation

Documentary theatre is not only notable for its trends among contemporary theatre, but also for its various characteristics, many of which can connect learners' lives and society, as well as draw upon their critical cognition and convergent thinking skills. This article notes the educational implications found in documentary theatre, and discusses the possibility of liberal theatre courses employing documentary theatre. Classes like this convey knowledge of the theatre and is attempts to learn through it. In addition, various practical activities can be carried out by utilizing the convergence properties of the theatre, and from these activities learners can experience something quite aesthetic in nature that they otherwise might have missed. In this sense, this paper focuses on Die Ermittlung and The Acting Motivation. In traditional documentary theatre, Die Ermittlung, which deals with social issues, can provide an opportunity to critically recognize social problems. On the other hand, from the auto-documentary theatre we have The Acting Motivation, which expands the concept of documentary theatre that was previously discussed, and also reflects on the lives of young people and the society they must relate to. Not only can learners acquire knowledge of the theatre, but they can also reflect on society and themselves through its productions. In addition, the step-by-step activities attempted in conjunction with this class aim at helping students solve problems, and to express themselves using a theatrical-based imagination. The purpose of the final step of the program--the appreciation and reflection process--is to integrate learning with individual experiences, and to further find new questions. Through these discussions, the possibility of using documentary theatre as a practical model for convergence education and another class models is presented.

Tennessee Williams’s lyrical drama

Critics, scholars and readers alike have hailed Tennessee Williams as the greatest Southern playwright and one of the most distinguished dramatists in the history of American drama. He is indisputably the most renowned American playwright of the second half of the 20th century. This article endeavors to make an overview of Tennessee Williams’s lyrical drama, focusing on its main features such as characterization, art, language, major themes represented in his plays, etc. Williams introduced the innovative concept of the Plastic Theater into the American drama, which combined all elements of production- dialogue, action, setting, lighting, even props - in a unified and symbolic expression of truth. Williams was a very prolific playwright, poet and prose writer but his three plays- The Glass Menagerie, his most experimental play; A Streetcar Named Desire, his masterpiece; and Cat on a Hot Tin Roof, his most popular play- have entered and captivated the imagination of theater audiences for generations.

Dancing in War. Perception of Theater in Wartime Sarajevo: Pippo Delbono, Giorgio Strehler and Peter Schumann

„When I went to Sarajevo, I met a boy“, Pippo Delbono tells us. They talked, and suddenly the boy told him, „I saw an entire city in anger. I’ve seen people become monsters“. And Delbono replied, „And I’ve seen people look at me like I’m a monster. And all the things that turn into monstrosity“. Traveling, for Delbono, is a life experience that turns into a theatrical one at the same time. In 1998, Delbono created a play called War. The story of the boy he meets during his trip to Sarajevo is an introduction to Delbono’s magical world of theater through which he expresses the need to present a life that is born from suffering, illness, war, but in which we still „dancing“. Danzare nella guerra, „dancing in the war“, for Delbono means to oppose the war to the beauty, joy, and poetics of the movement. In 1995, Strehler directed a play called Mother Courage of Sarajevo based on the text written by Bertolt Brecht. For Strehler, Mother Courage of Sarajevo is not just a play, it is a symbol, a political act that portrays war as a human failure. Strehler based his vision of theater on Brecht’s epic theater. One year before, in 1993, with his puppet troupe, The Bread and Puppet, Peter Schumann came to Sarajevo to provide his support. In the first place, we want to show how Delbono’s conception of theater and experience during his trip to Sarajevo intertwine with the primary goal of Sarajevo theater in those years, as „spiritual resistance“, „spiritual needs“, „call to heal wounded souls“, a „super theater“, as Izudin Bajrović calls him, in which theater and life were the same. Through Strehler’s theater, his relationship with Sarajevo, and the breaking of the „fourth wall“, we will talk about theater as research of those eternal human values, but also returning to humane theater. In the third place, through Schumann’s work, we will show how the external theatrical reality intertwines with the internal one as a feature of strong political engagement.

Theater‐fiction and hallucinatory realism in Mo Yan’s The Sandalwood Death

AbstractAs a literary sub‐genre, theater‐fiction implies juxtapositions, collisions, and interactions between theater and novel, which renders it necessary to have literary studies intersected by the theories and concepts of theater and performance studies. Based on a reinterpretation of “theater‐fiction” in light of recent developments in intermedial studies, some questions will be discussed concerning the relations between theater and novel in Mo Yan’s The Sandalwood Death: What is unique about the theater‐fiction intersection in it? How does this bring about innovations in narrative? How does the hybrid form of theater‐fiction contribute to the so‐called “hallucinatory realism” in this novel, which is also characteristic of Mo Yan’s writings in general? Then, it argues that Mo Yan’s fiction can become an important means of political intervention as it plays a significant role in transforming its readers.

‘Homer’ Tackles Aeschylus: Theatrical Adaptation as Process in Anne Washburn’s Mr Burns and Robert Icke’s Oresteia

This article explores the limitations of Linda Hutcheon’s definition of adaptation as distinct “product” and “process” (2013), when applied to ancient theatre and its reception in twenty-first century performance. Two modern productions are used to problematise this binary: Anne Washburn’s Mr Burns (2014) and Robert Icke’s Oresteia (2015), both of which showcase theatre’s inherent status as ephemeral ‘process’. This article borrows Paul Davis’ notion of “culture-text” (1990) alongside terminology from Lawrence Venuti (1995) to describe the multiplicity of influence and interpretation that is so central to theatrical adaptation. Erika Fischer-Lichte’s theorisation of theatre as constituted by “co-presence” (2008) is also used to distinguish live performance from other forms of creative adaptation (e.g. film, literature), as is its inherent futurity (Hall 2013, Langer 1953). Interpretation and memory, integral processes within adaptation, are considered as subjective and fragmentary, following Saidiya Hartman’s perceptions on chosen inheritances (2006) and Donna Haraway’s conception of “situated knowledges” (1988). Margherita Laera’s non-linear temporal conception of both theatre and adaptation (2014) is explored, revealing the cyclical dialogue of temporalities particular to the theatrical adaptation process. Keywords: Greek theatre; adaptation; translation; memory; Aeschylus; Anne Washburn; Robert Icke; Oresteia; Mr Burns; Orestes

RE (VIEWING) THREE-DIMENSIONAL WORLD OF PAKISTAN’S FOLK THEATRE ARTIST IN SAEED’S FORGOTTEN FACES: A PSYCHOANALYTICAL CRITIQUE

Purpose of the study: This study contextualizes within the border of psychoanalytical perspective specifically focusing on Freud's theory of personality and Lacan’s module of the psyche to evaluate an artist’s mental state that how his/her mental state fluctuates.
 Methodology: Bali Jatti is taken as an exemplary character to project the reality of being an artist. This analysis presents her three-dimensional world, real, theatrical, and psychological, to represent the challenges she faces as she opts to embrace the life of folk theatre. It explores her psychological life and the chaos in which she spends the rest of her life. It probes into social taboos and stigmas that are associated with her life that makes her a stereotypical icon.
 Main Findings: This research concludes that the psychological world of folk theatre Bali is under the hegemonic supremacy of the other two worlds, real and theatrical. This diligent inquiry leads the reader through a steady stream of events of Bali's life which is taken as an exemplary character to project the reality of being an artist.
 Applications of this study: This study provides guidelines to academia and probes into an exploration of the novel concept of Pakistan folk theatre and its artist's three-dimensional world.
 Novelty/Originality of this study: From a theoretical perspective, this study provides important insights into literature by exploring the most demanding skills in folk theatre artists and their three-dimensional world that formulates their destiny and takes their journey of life from glory to demise.

14. The Violin in L’histoire Du Soldat – A Metaphor of the Soul

Abstract From 1909, Stravinsky manifested a keen interest in composing theatre music, as proves the many and various dedicated scores. Almost all of his large works, from the ballet The Firebird (1909-10) to the one-act opera buffa Mavra (1921-22), are written for the stage. Stravinsky thus worked most of the time with scenic presentations, with questions on movement, dance, gestures or scenic tableaus. He develops a particular theatrical instinct: his works have a good scenic orientation, and the correlation with modernism and the new currents in theatre aesthetics is more than obvious. Critics have already analysed and discussed the parallels with such contemporary theatrical concepts as by Bertold Brecht (1898-1956) or Vsevolod Meyerhold (1874-1940). After three great ballets, whose new conception by Stravinsky and Sergei Diaghilev (1872-1929) brought about a fundamental revolution in dance aesthetics, the composer crystallises his notion of incidental music. The aesthetics of L’Histoire du soldat, a work “to be read, played and danced”, is opposed to that of Richard Wagner (1813-83) and his Gesamtkunstwerk (a work blending various arts, a total work of art): a new artistic idea, frozen in gesture and movement, compressed, finding its concentrated expression. Stravinsky establishes a brilliant draft of the issues of Opera, to which he would from now on dedicate himself. Stravinsky’s theatre music reveals a tendency to introduce new concepts in the works written between Sacre du printemps and Pulcinella. A quick look at his stage works before and after L’histoire is necessary in order to fit it in his artistic view.

The needed competencies to activate School Theater from the prospective of school activities operators in Jeddah directorate of education: الكفايات اللازمة لتفعيل المسرح المدرسي من وجهة نظر القائمات على النشاط المسرحي بإدارة تعليم جدة

The study aimed to: Identify the concept of the basic competencies of school theater from the point of view of those in charge of the school theater (women teachers, supervisors and leader of student activity in the education of Jeddah, also to Identify the basic competencies that frame the concept of school theater according to Vision 2030, to learn about the challenges that impede the application of school theater in the educational field, finally knowing the future of school theater according to Vision 2030. The study used the qualitative approach to be the methods used in the study. Population of the study consisted of leader, supervisors of the activity and women teachers of girls ’education schools. The study sample amounted 21 educational supervisors from 4 offices in the Education Department in Jeddah. Important results came as the follows: The presence of the appropriate theatrical text is one of the most important competencies that must be provided to be activated, indicated to some challenges that hindered its development, such as low awareness, , its also mentioned the factors that will affect it in the future, as it recommended the need to raise awareness and provide Theaters equipped to activate theatrical movement, and adopting it as a subject within the educational curriculum, and it has its own teacher.