Large Theatre Research Articles

ROBOTIC EQUIPMENT OF THEATER STAGES

Background. The topic of the article is timely. Many interesting and technically quite feasible ideas in equipping the stage were not implemented in the theater due to the lack of direct groundwork and limited time resources. Problem statement. Generalization of the latest experience in the field of theatrical machinery requires raising the issue to the level of an interdisciplinary scientific direction based on mechanics, mechatronics and robotics. Purpose. The need to implement the increasingly complex ideas of performance directors in a modern theater requires the improvement of demonstration equipment, primarily theatrical machinery based on new scientific achievements and modern technical means of mechanization and automation. Research methods. Special stage robots can have a very different appearance, for example, they can be zoomorphic or anthropomorphic, but while maintaining the style of constructivism, they can have a man-made appearance. Such robots can perform complex movements, while they usually have numerous moving parts with independent drives. To provide flexible motion control capabilities with a focus on spectator perception, it is required to use microprocessor control with coordination from central control computers. Results. When setting requirements for such a technique, the orientation towards visual perception is specific, which is also used in demonstration robotics. Based on the scientific generalization of previous and new experience in creating technical equipment for theatrical productions of large theaters, the paper describes and characterizes typical tasks of creating and working out a scientific base for creating modern and promising equipment for theatrical productions based on general principles and practical methods of mechanics, mechatronics and robotics.

Establishing the New York Hippodrome as an Intrinsically ‘American’ Entertainment Venue Through Publicity & A Yankee Circus on Mars’s Performance Practice

Publicity materials heralded the New York Hippodrome as the world's largest theatre and the National Theatre. Managers Elmer Dundy and Fred Thompson based their claim for national status on the venue's size. Their ideology considered big to be better because it proclaimed success, efficiency, and the organisation and consumption of pleasurable experiences to be the responsibility of every American citizen-consumer. Using publicity, costume designs, sketches, illustrations, production stills, newspaper reports and a scrapbook, I explore their nationalistic vision. I demonstrate how the opening's entertainments performed Dundy and Thompson's populist Americanness through narrative, design aesthetics and moments that exceeded the dramatic frame. The first of the two night's productions, A Yankee Circus on Mars (1905), presented Mars as an idealised surrogate America. The production deliberately centred circus to designate their venue as ‘American’ due to circus's status as an intrinsically American entertainment. Circus provided practical benefits in filling the vast interior with spectacle and covering long stage waits. Presenting circus end-on in the New York Hippodrome designated the venue ‘American’, but created an experience that was akin to circus. Focusing on responses to aerial acts, I demonstrate the visual gains and visceral losses to experiencing aerialists within the Hippodrome space.

ЛИМИНАЛЬНАЯ НАРРАТОЛОГИЯ ДРАМАТУРГИИ АЛЕКСЕЯ СЛАПОВСКОГО

In the dramaturgical work of A. Slapovsky, realistic and unrealistic artistry is synthesized, revealed in a wide representational field of various stadium states and situations. At the same time, the balance between the different semantic and emotional components of the studied poetics is clearly visible. Heterogeneity of motivation and plot, “simultaneity” of characters, recursiveness of chronotope are signs of liminal narratology of A. Slapovsky. All the plays of the book “The Truest Love” are classified by the playwriter himself – “plays for large theaters” and “plays for small theaters” – which is due to their duration. However, it is the ambiguity and a certain illusory nature of what is happening on the stage that seems important. The material for this research is the play “The Poor Millionaire”, characterized by deliberate schematism and determinism. The unity of the “liminal” multicomponence is achieved, among other things, by the introduction of the integrating action of the leading character, which becomes an element of the paratext with the corresponding coordinating functionality and is usually correlated with the figure of the author. The general idea of isomorphism of language, text and the world in the process of analysis suggests the idea of a possible project comparison of representational systems of different, but related, dramatic epochs. Slapovsky’s oeuvre as a phenomenon is characterized by a complex of liminality in its binary, discrete and, at the same time, heterogeneous artistry. This complex correlates with the narratology of the image, with characterology, the study of which leads the author to generalizations of universal significance.

Damage and Renewal at the Württembergische Staatstheater, Stuttgart

AbstractThe dual theatre complex of the Württembergische Staatstheater in Stuttgart sustained serious damage during the Second World War. While the larger theatre was eventually able to be repaired, the smaller theatre was destroyed, leading to a multi-phased and controversial process to determine how best to replace it. Many of Stuttgart's citizens publicly pleaded that the smaller theatre should be reconstructed according to its original design, in order to restore its historical beauty and its integrity with the complex. The company's Intendant and numerous architects, however, took a more modern approach that manifested in a variety of proposed designs, including that by Hans Volkart, which opened in 1962. Countering the binary represented by ‘faithful reconstruction’ on one end (Vienna, Munich) and by completely modern designs on the other (West Berlin, Cologne), the case of Stuttgart perhaps serves as a better metaphor for the compromises of continuity and change in post-war culture.

Evacuation Simulation of Large Theater Based on Pyrosim and Pathfinder

Large-scale theaters with dense personnel are novel and unique, but there are many potential hidden dangers. Once an unexpected accident or disaster occurs, it is easy to cause crowd panic, and leads to congestion of evacuation path, aggravation of evacuation difficulty, crowding, stampede, and other group injuries. Therefore, studying the architectural characteristics of large theaters and evacuation behavior under fire can provide reference for the evacuation of such buildings and the preparation of emergency plans. This study took a large theater that can accommodate more than 1500 people as the research object, built a 3D model based on BIM, used Pyrosim and Pathfinder simulation software to simulate the smoke diffusion and personnel evacuation in the case of the building fire, observed whether all personnel could evacuate within the safe evacuation time, and analyzed the existing problems in the evacuation process. According to the results, it was difficult to evacuate due to the high crowd density and complex composition of large theaters. In short, appropriately increasing the width of evacuation doors and ensuring the normal operation of firefighting facilities can ensure the safe evacuation of personnel.

THE AVENGARDIAN IMAGE OF THE PERSON IN CHOREOGRAPHY OF THE EARLY XX CENTURY

Formulation of the problem. The relevance of the article is due to the appeal to the work of two Ukrainian ballet dancers, choreographers of Polish origin, Vaclav and Bronislava Nezhinsky, who were avant-garde reformers of the stage image of the tank in the space of choreographic synthesis of the early twentieth century. The problematic field of interpretation of the philosophy of the act of the brother and sister Nezhinsky in choreography is metaphorically described as “cubism”, requiring a separate stylistic and morphological analysis as an aesthetic phenomenon. The purpose of the article is to determine the aesthetic features of the philosophical reflection of innovative choreographers in the context of the synthesis of the arts. The research methodology is determined by phenomenological and dialectical methods, which allows us to determine the image of a human artist in the context of the transformation of choreographic culture, the integrity of the phenomenon of play, tanka and the dialectics of stylistic transformations of theatrical synthesis of arts. The novelty of the article. V. Nizhinsky transformed the classical tanka system, created a polysystemic whole of choreography, where discrete elements of poses acquire signs of a continual weaving of “cubism”. Sister Bronislava, like her brother, also grew up on the platforms of Diaghilev’s seasons, became a peculiar, rather extravagant choreographer. They entered the world culture not by surprise, choreographers comprehend and reflect in their work what exists around them as an aesthetic synthesis. Conclusions. V. Nezhinskaya and B. Nezhinskaya formed a certain “anti-system” in the space of the classical tank, began the avant-garde transformation of choreographic culture, which brought choreography closer to modern painting, and encouraged the emergence of the latest stage syntheses. Vaclav was an avant-garde choreographer. Sometimes they look for confirmation of avant-garde in Dalcroze’s theory of rhythm, it is believed that Dalcroze seemed to have influenced him – Diaghilev provided Dalcroze’s assistant to Nezhinsky to help. Nevertheless, V. Nezhinsky did not know the artsy logistics of the French master. And if he knew, he was not a logician, he was a more intuitive actor of the large theater of the Tank.

Touring the Screen: Cinematic Resonances of Diaghilev's Ballets Russes

Touring the Screen: Cinematic Resonances of Diaghilev's Ballets Russes

Making a Home for Film, Making Film a Home: The Nomadic Cinephilia of Ruun Nuur

Making a Home for Film, Making Film a Home:The Nomadic Cinephilia of Ruun Nuur Girish Shambu (bio) Cinephilia in the twenty-first century has been the site of a profound rupture. This rupture, enabled by digital and internet technologies, has remade the entire "moving image supply chain" from production to consumption. In the case of film exhibition, specifically, one might trace the birth of this transformation to the moment when Netflix began offering streaming as an option for some of its movies and TV shows in 2007.1 This shift accelerated during the COVID-19 pandemic in 2020, as thousands of movie theaters around the country closed, and film exhibition moved en masse from physical to virtual spaces. The disruption experienced by large theater chains and the simultaneous growth of streaming have commanded the headlines in film exhibition news since the pandemic began. However, what risks being overlooked is the broad array of innovations already underway that promise to alter and expand the landscape of future film exhibition—not just in the virtual realm but in that of physical screening spaces. Nicolas Rapold, in an essay for the Criterion Collection website, celebrates the rise of microcinemas and the role they play in reimagining cinephilia post pandemic.2 The term microcinema dates back to the 1990s, and refers to small, local DIY film spaces or series that often feature eclectic, imaginative programming. In the case of Brooklyn alone, he cites such disparate microcinemas as the thirty-seat Spectacle Theater, with its wide-ranging programs of rare and obscure art cinema and genre films; Union Docs, devoted to nonfiction work; and Light Industry, whose focus is primarily experimental and artists' cinema. Further, his examples of microcinemas go well beyond the United States and [End Page 201] include "Filmhuis Cavia in Amsterdam; Los Otros in Manila, Philippines; the Sudanese Film Club (spotlighted in last year's festival documentary Talking About Trees [FR, 2019]); and the Red de Microcines network of community exhibition spaces across Peru." Rapold argues that even though the pandemic has prevented microcinemas from holding physical screenings, they have been better positioned than larger, traditional theatrical spaces to navigate the crisis. Some have switched to streaming, others to drive-in screenings; in general, their smaller scale has allowed microcinemas a measure of financial flexibility. Other factors, like the transitory nature of their programming and their ability to use multiple locations (since most microcinemas don't own and operate their own brick-and-mortar space) have added to this flexibility. If all this bodes well for their post-pandemic future, microcinemas are making an additional, less-discussed but important contribution to cinephilia through nomadic cinema. This alternate form of film exhibition refers to traveling cinemas, which have a rich and varied history, especially in Asia and Africa. A documentary devoted to the tent cinemas of India, The Cinema Travellers (Shirley Abraham and Amit Madheshiya, US, 2016), attracted global attention in film culture after being screened at the Cannes Film Festival in 2016.3 It helped unearth a valuable account of traveling cinemas that were part of religious fairs (jatras) in Maharashtra in the 1940s.4 In Africa, mobile cinema units consisting of vans with projectors and collapsible screens date at least as far back as that decade, when they were used by colonial governments (for example, by the British in Nigeria) to mount showings of both developmentalist documentaries and Western fiction films for audiences in remote locations.5 Traveling cinemas continued to flourish in Africa after decolonization. For example, after Morocco's independence from France in 1956, the government instituted a film caravan program that became popular; its aim was to educate and entertain rural audiences that had no access to theaters.6 The present-day Sunshine Cinema, for instance, belongs to this lineage. A solar-powered mobile cinema network founded in 2013, it holds film screenings all over southern Africa while explicitly aiming to build communities around social justice issues.7 The cinema screens a variety of African feature films, documentaries and animated films, while partnering with local organizations that are engaged with social issues related to the themes of the chosen films. In this sense, Sunshine Cinema is influenced...

New Typologies of Contemporary Shopping Malls in Egypt

Contemporary shopping malls in Egypt have created new public spaces for lifestyle and leisure, which complement the commercial logic of consumer behavior. Mega malls in Egypt are simultaneously merging shopping, leisure, and entertainment, creating an ambivalence. They are representations of the globalized economy, but also manifest a certain uniqueness through their typology, their mode of insertion in the urban fabric and the type of public spaces created in them. This paper traces four new typologies in the design of six mega shopping malls in Egypt, constructed since 2010, as they integrate new public gathering spaces for leisure, recreation, and entertainment. Data on the new malls in Egypt was collected from corporate websites and promotional brochures, Google Maps and Street View, TripAdvisor, social media websites, visitor comments and news articles. A key finding is the trend of integration of large outdoor recreational spaces such as courtyards and plazas in mall design, the inclusion of a water element for attraction as well as the transition in function from simply offering goods and services to one that offers experiences and events to encourage recurring visits to the mall. The transformation of the mall parallels changes in conceptualizing the city of the 20th century as a large marketplace, an emporium of consumption, to conceptualizing the city of the 21st century as a large theatre and a festive place.

"Атлантида советского искусства": классика и постнеклассика

The fundamental work of Professor G. G. Dadamyan "Atlantis of Soviet Art" is an interdisciplinary university course. The scientist taught it for many years at the Russian Institute of Theater Arts (GITIS – the largest theater university in Europe, founded in 1878). This course was also a great success in other higher educational institutions. The materials of this unique research are regularly reproduced both at universities and at scientific conferences in memory of Professor Dadamyan, in Moscow. The author of this article has been cooperating with these institutions for many years, as well as with colleagues and students of the outstanding scientist. The article deals with the methodological approaches of the book by G.G. Dadamyan, which are fruitful and relevant for the interdisciplinary analysis of artistic culture. G. G. Dadamyan examines the period between 1917 and 1932 in the book "Atlantis of Soviet Art". He divides it into several paradigms. According to G. G. Dadamyan, each paradigm is based on the unity and interpenetration of political, genre, and space-time matrices. Proposed by G. G. The Dadamian methodology allows you to synchronize different aspects of culture. One of the goals of the proposed article is also to draw attention to the original methodology of G. G. Dadamyan. It allows us to compare the Russian avant-garde and socio-political processes in a multi-layered social time. In this article, the hypothesis is put forward that the paradigms, according to Dadamyan, are comparable with the natural-scientific approaches of post-non-classical studies. The unique concept of Professor G. G. Dadamyan deserves to be promoted on the world scientific podiums.

« Rabat, a Metropolitan City », Between Displayed Image, Reality of Image and Identity

Embodying for a long time the image of an administrative capital where the functionary dominate, where the urban setting is aging and where quality of life is declining, the city of Rabat has recently embarked on a frantic race to reinvent a new image: a modern, innovative and qualitative image.In order to achieve this, several projects and programs of development, embellishment and construction, has been initiated with a common feature which is greatness (large theater, high towers, large stations, large arteries, new centralities, etc.). This greatness aspect is visible through the importance of the areas involved, the volumes and the shapes designed, the modes of transport developed, the means and resources deployed in add to the promotion of architectural signatures of the renowned architects, and the modes of governance and project management. Henceforth, Rabat shows its ambition as a city of culture, as a green city and as a “city of light”. The time of Rabat, as administrative city, is over.However, the image displayed and publicized seems controversial compared to the reality of certain urban spaces, often with high heritage value, that develop on the margins of programs and projects initiated. Real deficits are observed in terms of basic equipment and services, in terms of transport network and in terms of urban coherence and social cohesion. Everything contributes to an urban image with two facets: one more qualitative, more modern and more elitist, while the other is more spontaneous, more vulnerable and more devalued.Faced with this identity transition and this double temporality, what image and identity do we want for Rabat? What vocations do we claim for this city which aspires to become a national and international metropolis? What developments should be advocated for a capital with such a rich and diversified history? What relationship can be established between the local identity and the global identity of the city? How does the citizen apprehend his living spaces in the face of such universal urban model, where social connections as well as the spatial relationship mutate towards new practices?These questions will be enlightened through the confrontation of major projects underway and urban realities, through the analysis of the new urban model which is universal, modern and generating a new image and a new urban identity, as well as through the impact of these major projects both on the urban landscape and quality of life. It’s with these considerations in mind that this paper is drawn up: « Rabat, a metropolitan city », between displayed image and reality of image and identity.

The determination of the true geometrical form of Great Ephesus theater, Turkey by using field surveys

The current deals with the determination of the ‘true’ geometrical shape of the Great theatre of Ephesus, which is the largest theatre in Asia Minor. To detect the geometrical form of the theatre a precise point dataset was created using terrestrial measurements performed directly on the theatre site. The well-known ellipse and circle fitting algorithms were presented for detecting the precise geometrical shape of the amphitheatre rings. The study reveals that ellipse geometry fits well to the theatre arcs that is amphitheatre rings are generally elliptical in shape. The precise metric values of the parameters of the geometrical shape were computed to characterise theatre features.

Recruitment and Selection of Teaching Artists of Color in Nonprofit Theatre Arts Education

ABSTRACTStudents in P-12 schools are losing access to the benefits of arts education. As more students identify as minority, the predominantly White teachers are not keeping pace to reflect students. Communities partner with nonprofit theatres, who staff programs with teaching artists. Teaching artists of color are necessary to reflect today's classrooms. This study focuses on how nonprofit theatre education departments can recruit and hire teaching artists of color. The method used was structured qualitative interviews focused on large regional theatres. The results demonstrate how organizations must prioritize diversity and expand diversity practices into recruitment and selection.

Notes on Contributors

Notes on Contributors

The environment of the cinematic spectacle. The architecture of the early Russian movie theaters

The emergence of cinema brought about the issue of forming a comfortable environment for film screenings. This essay analyzes the characteristics of the first spaces used for film exhibition in St. Petersburg and Moscow and the architecture of the movie theaters built in these cities in the first decades of the 20th century and characterized by a combination of theatrical architectural traditions, eclectic restaurant design and elements of the fading Art Nouveau style.
 Film exhibition was a profitable business. Initially, screenings were held in rented spaces but soon specialized buildings were designed and constructed. The essay looks at the largest and most popular movie theaters built in St. Petersburgs main street, Nevsky Prospect, and in the center of Moscow, discussing their architectural features and their historical development. Thus, during the 1920s and 1930s, large movie theaters included a foyer with a stage for variety shows and a theater-like auditorium with a high-mounted, dark-framed screen; the spectators entered the auditorium via the main entrance and, after the screening, exited directly to a street or a yard.

The Crucible

The Crucible

서비스 모니터링 효과탐색에 관한 연구 - S 아트센터 주차/카페 서비스를 중심으로 -

The purpose of this study is to investigate the effect of customer contact service on customer satisfaction. In order to achieve this goal, we conducted a survey on the service satisfaction of parking lot and directly managed cafe, which is the foremost point of customer contact service, for spectators at s-Art Center, which is one of the leading large theaters in Korea. A total of 200 questionnaires were used for empirical analysis. As a result of analysis, it was found that the customer contact service at the theater affected customer satisfaction. In other words, all three sub-variables of parking service have a statistically significant effect, and service and departure factors have more influence on the factors of entrance. In other words, all of the seven sub-variables of café satisfaction have statistically significant effects, and they are influenced more in order of order, payment, and greeting. In conclusion, it is necessary to shift from provider-oriented service emphasizing efficiency and convenience to user-oriented service that provides services needed from the customer's point of view. To do this, it is necessary to regularly job training and strengthen cs-education for employee.

Evacuation response behaviour of occupants in a large theatre during a live performance

SummaryThis paper presents the results of an unannounced theatre evacuation involving 1200 occupants. The evacuation took place towards the end of a live theatre performance in the Marlowe Theatre in Kent, UK. In particular, Response Phase behaviours are discussed, and response time data is presented. A significant finding of this work which is different to other reported work is that the occupant response time distribution, while following the typical log‐normal distribution is related to the geometrical positioning of the occupants relative to proximity to exit aisles and exits. Response time is found to increase relative to seat distance from the exit aisles and distance of the seat row to an exit. The identified trends in response time distribution will have a profound impact on the analysis of evacuation times and congestion levels determined using agent based evacuation models and so should be represented within these models. Based on these findings, a generalised methodology is proposed to distribute response time within a theatre for use in evacuation simulation applications. Further experimental analysis is required to determine whether these observations can be generalised and applied to other seated venues such as cinemas, music venues and sports arenas. Copyright © 2017 John Wiley & Sons, Ltd.

Design de serviços para uma experiência significativa na revitalização de um cinema de rua

Nesse trabalho pretende-se propor uma experiência envolvente na revitalização de um cinema de rua que existiu na cidade de Novo Hamburgo – Rio Grande do Sul. O cinema em estudo, o Cine Lumière, era o maior do interior do estado entre 1950 e 1980. Por meio do design de serviços, o objetivo foi apontar possibilidades para resgatar o espaço e oferecer à população atual uma alternativa de lazer e cultura distinta em relação ao modelo dos cinemas contemporâneos.

In Search of Peace: Public Humanities and the Face in Creative Arts

Through this paper, I will consider the roles that the humanities can play in interpreting and interacting with the arts. To investigate this topic, I will use several international examples. These are situated in Cannes, Edinburgh, and London, though they directly connect with countries such as South Africa and Mozambique. The world's best known film festival (Cannes), and the world's largest theatre and arts festival (Edinburgh), alongside the world's first national public museum (the British Museum in London), provide the contexts in which my argument develops. In each of these spaces, one can be confronted by a myriad of human faces, presented publically in innumerable ways. Film posters, stand-up comedy adverts, and exhibition fliers commonly employ the human face to attract, to intrigue, and to entice audiences toward their spectacle. The humanities can both interact with and critically analyse these uses of faces. The human faces in these diverse and dynamic settings provoke questions which the public humanities can address, as they interrogate celebrity, analyse portrayals of suffering, and in the shadows of dangerous memories, even help to create materials to inspire peace.