Modern Theatre Research Articles

Orchestral Theatre and the Concert as a Performance Laboratory

In the past decade the National Theatre has presented two restagings of earlier productions, now featuring an onstage orchestra (the Southbank Sinfonia) that has been choreographed and made a key part of the spectacle: Every Good Boy Deserves Favour, by Tom Stoppard, with a musical score by André Previn, performed in 2009 and 2010, and Peter Shaffer’s Amadeus, performed in 2016 and 2018. Contemporaneously, a vanguard of British orchestras has begun to explore how concerts can be presented in ways that are more theatrically sophisticated than the standard concert format. Here Adrian Curtin investigates ‘orchestral theatre’ as an aesthetic proposition by examining the collaborations between the Southbank Sinfonia and the National Theatre, and their legacy in a series of experimental concerts staged by the Southbank Sinfonia entitled #ConcertLab. He aims to identify the artistic and cultural significance of these collaborations and #ConcertLab so as to better understand contemporary efforts to present orchestras (and, more broadly, classical music) in a theatrically innovative manner. Adrian Curtin is a senior lecturer in the Drama Department at the University of Exeter. He is the author of Avant-Garde Theatre Sound: Staging Sonic Modernity (Palgrave, 2014) and Death in Modern Theatre: Stages of Mortality (Manchester University Press, 2019), and principal investigator of the AHRC research network ‘Representing “Classical Music” in the Twenty-First Century’.

Театр «Сатирикон» и современный статус актёрского искусства: к постановке проблемы

The paper defines the problem and outlines approaches to the study of the status of acting in the system of modern theater. Actors have occupied an indisputable preeminent position in the theater since the antiquity until the turn of the 19th–20th centuries, when director’s theater emerged in the avant-garde tradition and there was confrontation between the old and new artistic systems (“actor’s” and “director’s” theater), which today shapes the dynamics of the theatrical process. The experience of the Satirikon Theater and its director K. Raikin, which eagerly apply the actor’s transformation in their performances, is considered essential for determining the essence of contemporary understanding of acting. This experience is summarized in several theses, confirmed by examples from the performances of Satirikon of the 2000s.

The opera “Siberia” by U. Giordano in the context of the composer’s creative work

The opera “Siberia” by U. Giordano in the context of the composer’s creative work

Drama and Theatre Juxtaposed

This paper is on ‘drama and theatre juxtaposed’. Drama is purely performance. This performance happens either on a stage, in an open space or wherever performer choose for it to happen. Theatre provides the stage. These days, people build theatre as it suits them. That is what can be termed the modern theatre. It is more beautiful, with required lights to provide the desired effects. Yet, it does not take away the fact that it all happens for drama to take place. The study aims to point out that drama and theatre are interwoven. Any attempt to separate them makes them appear incomplete as such, loses its relevance. It is discovered that without theatre there will be no drama and vice-versa. Keywords : Juxtaposed, theatre, drama, stage, performance DOI : 10.7176/JLLL/61-09 Publication date :October 31 st 2019

Norman S. Poser. The Birth of Modern Theatre: Rivalry, Riots, and Romance in the Age of Garrick. Abingdon: Routledge, 2019. Pp. 184. $150.00 (cloth).

Norman S. Poser. The Birth of Modern Theatre: Rivalry, Riots, and Romance in the Age of Garrick. Abingdon: Routledge, 2019. Pp. 184. $150.00 (cloth).

Intellectual and Aesthetic Relationship between the Public and the Modern Theater (the play Oh Lord!) as a model

اخذت مسألة الجمهور في اتجاهات ونظريات المخرج المسرحي في المسرح العالمي وخاصة بعد ظهور الواقعية وتبلور مصطلح الاخراج وتحديد دور المخرج عام 1850 م على يد الدوق ماكس منغن اخذت مسارات مغايرة للجمهور اليوناني والروماني وحتى الاليزابيثي لأنه هنا خضع للمعادلة المسرحية من جانبها الانتاجي والتقديمي كون العرض المسرحي انتاجا فنيا تقنيا، والجمهور مشاركة وفرجة واستهلاكا، وهنا خضعت مشاركة الجمهور الى اتجاهات ثلاث هي التنوير بمعنى اثارة الحس، والتحريض بمعنى التفكير والنقد، والطقسية بمعنى اثارة الفزع والقلق، فالجمهور في العصر الحديث لم يعد بديلا او ممثلا عن الامة كما هو عند الاغريق ولم يعد عاما واسعا ممثلا لمختلف الفئات المجتمعية كما هو عند العصر الاليزابيثي، لذلك فالجمهور تنوع وتعدد تبعا لطبقة المعالجة الاخراجية والمنطلقات الفكرية والجمالية للمخرجين، لذلك تجاوزت التيارات الحديثة المفهوم السهل التقليدي للمسرح. فدخل الجمهور في اللعبة المسرحية بل اوجدت العروض المسرحية محددات تقنية وفنية ساهمت في استقطاب الجمهور المسرحي كعنصر مشارك في العرض امثال عروض المسرح الحي ومسرح الشمس ومسرح القبو والمقهى والمسرح المفتوح وتأسيسا على ما تقدم تبرز مشكلة البحث في السؤال الاتي: بما إن مشاركة الجمهور في العملية الاخراجية ليست جديدة فلها جذور تمتد الى عصر الاغريق اذن، ما هي المديات الفكرية والجمالية التي اتخذتها هذه العلاقة من خلال الاشكال الجديدة للادراك والتعبير عند أبرز المخرجين العالمين الذين عارضوا الاتجاه الواقعي في المسرح ونظروا للعلاقة بين الممثل والملتقي بنظرة مغايرة ومن خلال عرض مسرحية (يا رب) كتطبيق أجرائي

A Study on the Immanent Meaning of Spatiality in the Small Theaters of Daehaekro by the ZMET

본 연구는 최근 현대 연극 공간의 인문학적인 연구에 발맞추어 새로운 접근법으로 한국 연극의 중심지인 대학로 소극장에 대한 연극 종사자 및 관객들의 내재적인 의식을 분석했다. 마케팅 분석 기법 중의 하나인 은유추출기법(ZMET)을 활용하여 대학로 소극장에 대한 공유개념을 추출해서 소극장 공간의 동시대의 문화적 의미를 다시 확인해 볼 수 있었다. 분석 결과, 대학로 소극장의 공유개념은 ‘소극장의 현장성’이라는 핵심구성개념을 중심으로 ‘감동과 흥분’이라는 정서적 가치를 우선시하며, 관람객의 측면에서는 ‘공감과 교류’를, 연극종사자들을 측면에서는 ‘꿈과 낭만’을 보여주고 있다. ‘소극장의 현장성’은 공연을 통해 관람객들에게 ‘다양한 경험과 대리만족’이라는 구성개념에 강한 영향을 주고 있고 ‘공감과 교류’는 관객들에게 ‘여유로운 삶과 예술적 향유‘라는 구성개념에 보다 근접한 관련성을 보여주고 있다. 그리고 대학로 소극장 현실적인 열악한 조건의 부정적인 구성개념이 바닥에 짙게 깔려 있었다. 대학로 소극장 구성개념들이 전반적으로 긍정적인 것은 현대 인문학적 공간이론가인 르페브르가 말한 재현공간의 공간적인 실천에서 다른 예술장르와 함께 소극장 연극의 필요성 및 가능성을 다시 확인해주고 있다.This study analyzed the immanent consciousness of theater performers, staffs, and audiences involved in the small theaters of Daehaekro, which is considered to be the center of Korean theater, by employing a new approach while reflecting the humanistic studies of modern theater space. Utilizing a marketing analysis technique known as ZMET, we extracted the Consensus from the small theaters of Daehakro to confirm the cultural meaning of the contemporary small theater space. The results of the analysis reveal that the Consensus of the small theaters of Daehaekro focuses on the core idea of the lively atmosphere of the small theater to prioritize the value of emotion and excitement, thus portraying the value of empathy and communication from the audiences’perspective and“dream and romance”from the workers perspective. The lively atmosphere of the small theater strongly influences the concept of various experiences and vicarious satisfaction for the audience through real performances, and the concept of empathy and communication affects them to move further away from the idea of relaxed life and artistic enjoyment. Furthermore, negative constructs that reveal the harsh reality of the poor conditions found in the small theaters of Daehakro still exist throughout many areas of theater culture. The constructs of Daehaekro theaters can be seen as generally positive in the manner in which the spatial practices of representational space, as mentioned by Lefebvre, confirm the necessity and possibility of small theater performances along with other art genres.

Sounds on Stage: Musical and Vocal Languages and Experiences

Abstract The twenty-four papers delivered at the graduate conference entitled “Sounds on Stage: Musical and Vocal Languages and Experiences” (L’Aquila, 14-16 November 2018) investigated the relationship between music and theatrical performances from a comparative perspective. The presentations dealt with the role of music in several theatrical genres from different cultures and times: ancient Greek drama, musical theater (especially opera), modern and contemporary theater and ancient ritual Sanskrit drama.

Como falam os personagens de Nelson Rodrigues

Do ponto de vista da linguagem, o teatro de Nelson Rodrigues se realiza como a culminância de um processo histórico de apropriação da linguagem brasileira pela literatura. Em vários momentos, houve tentativas de abrasileiramento da linguagem por nossos escritores, tendo as elaborações críticas de José de Alencar e Mário de Andrade marcado essa discussão nos contextos do Romantismo e do Modernismo. Este artigo objetiva mostrar, através de um levantamento extensivo e uma amostragem significativa, como o dramaturgo brasileiro, no contexto da modernização do teatro no Brasil e seus desdobramentos, promoveu uma revolução na linguagem falada nos palcos, realizando ainda aquela que talvez seja a mais completa recriação plástica da prosódia brasileira em nossa literatura, como o levantamento e a amostragem mostrarão.

The Concept of NEO Theater Performances: Appreciation for Acting

This research investigates NEO Theatre (NT) by using historical approach. Ithas several significances; i.e. firstly, NT is one of modern theater groups thatinfluences modern theater development in Bandung; secondly, though it is stillrelatively new, the creativity of NT cannot be separated from the history ofFathul A. Husein’s creativity development as its director. By applying methodof history through several stages from heuristics, critics, interpretation, tohistoriography; NT’s creativity pattern can be constructed; it is in accordancewith the aim of this research, to achieve the historical illustration of NT’screativity pattern in realizing the prototype of theater performance entitledTritik Segaris Putih. Fathul A. Husein, as the NT leader, was one of the foundersof theater Actors Unlimited (AUL) established in mid 1990s. Having it ended,Fathul A. Husein, who acted more as a director, founded NT on 18 April 2012.Based on the works Fathul directed since his time in AUL, the creative processof NT shows similar creativity with the Studiklub Theater Bandung (STB). Animportant fact to support this statement is that as a modern theater observerand critic, Fathul had ever joined in some productions of STB during the timeof Suyatna Anirun (RIP) before he decided to join in the founding of AUL. Thus,it can be said that the model of STB theater creativity pattern is also reflectedon the creativity pattern of NT in each of its theater production.Keywords: theater history; theater production; NEO Theater

PENYUTRADARAAN NASKAH SULTAN THAHA SAIFUDDIN KARYA EM. YOGISWARA BERBASIS TEATER TRADISI DUL MULUK

Adapting a legendary folklore into the role play is absolutely very contradiction with public watcher nowdays. Society dominantly has chosen to watch movies or another television programs that makes theatre’s becoming retarded. It caused of globalization effect and technology development which more sophisticated day by day. Afterwards, a creative idea as a play director was turning up that has a responsibility for making a play to readapt norms and moral values which had been left behind. Dul Muluk, as one of traditional role plays that had been a basic play director processing in a theatre with the title Sultan Thaha Saifuddin from EM. Yogiswara. Sultan Thaha Saifuddin is a heroic person from Negeri Jambi and the last king from Kesultanan Tanah Pilih Kampung Gedang Jambi. His heroic, firm and wise makes Jambi society support him consistently and solidly to avoid the Netherland. In adapting this legendary folklore, the writer was collecting the data as references from earlier works about Dul Muluk theatre and its development, also the supporting stories about the legend of Kesultanan Melayu Jambi. The data was found and involved for making a modern theatre that can be accepted by the society nowdays. Keywords: People Struggling, Sultan Thaha, Dul Muluk, Play Director, Theatre

DRAMATURGY AND CHANGES IN THE THEATER

The theater today knows many forms and uses different means and approaches to communicate with the contemporary viewer. The theatrical spectacle has so broadened its borders and boundaries that it gives us the opportunity to observe the scene of the combination and interaction of all kinds of arts presented in a new and different way, working in sync, the ultimate goal of which is the provocation, involvement and participation of the viewer / audience . In today's dynamic world, the theater is provoked to react more quickly to what is happening in society, not only with the themes it chooses, but also with the form and the language through which it presents them. The theatrical scene "incorporates" the inventions of the respective era as a means of developing their own language, scene and spectacle. Contemporary theater is in the process of achieving extreme freedom in terms of its choices - subject, text, expression, way of organizing the creative process, way of participation of the audience, director and actors, spaces, technologies, reality, etc. In total creative freedom, directed at innovation and experiment, there is one of the great challenges facing modern theater. The results are a variety of stage forms and expressions. This observation concerns drama. Modern theater is open to the treasury of literature, philosophy, arts-poetry, prose, drama, all visual arts. He freely draws from documentary and fictional. Uses all the possible acting techniques, established through the practices of theatrical systems of the directors' theater, dance, acrobatics and others. This freedom is a tremendous wealth and a challenge to entwine the borrowed into its own aesthetic world and meaningful context. Contemporary theater has won the right to tell, traveling through time and space. The theater is more and more sharing, personal confession, memories. The performance is more and more rare, it is just a stage reading of the play, the drama. It is built on the text, and the text is a very broad term, it is also non-dramatic text. Long ago it is not only the play of one or another author. The dramaturgical language and the functions of the monologue, the dialogue and the trailer are transformed into the free expression of the text. The themes that are being played out are seen in the everyday, in the differences, in the violence. These performances affect the senses, provoke the emotional world and thinking. We are seeing a process of constant rethinking and pulling away from it .The director's function goes through an individual creative reading of a text or theme and over-interpretations to collaborative work, a theater of high technology, a theater without actors, etc. Interdisciplinarity, the introduction of more digital elements, the blending of arts and genres will continue to be a way of building innovative forms. The importance of the collaborative process is associated with the freedom of self-expression. The choice of modern texts, the interpretation of the classical ones, does not mean the abandonment of the past, on the contrary, but the modernization and transformation of this past. Theater is the conduit of communication. This dialogue takes us beyond our comfort zone and at the same time offers us the opportunity to meet with ourselves personally and without roles.

팽창주의 성향의 피터 홀의 RSC 운영 방식

As the founding Artistic Director of the RSC(1960~1968), the first and a large-scale public institution in the modern UK theatre, Peter Hall(1930~2017) recorded a new chapter in the history of modern theatre through his panoramic artistic and administrative policies. Replacing the age-old tradition of the ''Actor-Manager System'' in the British theatre company management, his emergence signalled the arrival of professional artistic directorship as the ''director- administrator''. Hall founded the RSC with a year-round season from a limited season under the festival structure of its preceding institution, Stratford Shakespeare Memorial Theatre. The foundation of the RSC conditioned the establishment of a permanent company whose predominant members were actors. That was also the realization, for the first time in Britain, of the semi-permanent company with a three-year contract which allowed a creative environment suggesting a basic financial security. With a purpose to establish its inherent acting style to be nurtured by continuous training and work, this concept of company, had originally been derived from the inspiration of those renowned ensemble theatre companies in the European continent. However, unlike them in which the leader''s individual aesthetics had become the principles, Hall''s overall artistic guideline with a particular emphasis on the verse-speaking, aimed at a high quality production. Resisting the past insistence on Shakespearean productions only policy in Stratford since its birth in 1879, Hall opened a London base at the Aldwich Theatre, so as to allow for a dual geographical existence. It was conceived to connect the seasons of the local and the capital cities through company productions. Contrary to the former''s so-called ''Bardolatory'' tendency, the Aldwich''s repertory in which new and modern plays, as amalgamated with other classical works, heralded the RSC''s artistic identity. While intending to achieve a Shakespearean relevance, Hall sought to co-existence and mutually complementary values between the new and modern works with the former, Shakespearean plays. Hall''s vision as such was, indeed, a revolutionary one which called for a paradigm shift in running public theatre institution. His consistent effort made to realize that vision led, finally, to construct the company acting style and the resulting high quality productions. Nevertheless, as the ironic epithet the ''RSC empire'' building recalls, Hall''s over expansionism and frequently an impulsive ambition had to collide with a characteristic financial deficiency in non-profit organizations. Despite his many aggressive strategies to win the necessary amount of government subsidy, the RSC faced with critical financial troubles as its competitive NT took the precedence over it. Hall’s management style of the RSC which is characterized as the expansionist inclination, resulted in a success only in a limited sense. He was able to realize his ideal to create the company acting style by means of founding and operating a semi-permanent company within the RSC structure, and through which he contributed to the development of the modern British theatre. Nevertheless, Hall’s overall leadership that was characteristically expansionist tendency lacked in a consistent policy, principle, philosophy, and methodology.

Introduction: Nahḍah Narratives

Abstract In the last decade, the field of Nahḍah Studies has been gathering momentum. Scholars from different subject-areas have highlighted several aspects of the 19th–early 20th century cultural fervor in the Arab and south Mediterranean area. Accordingly, the whole set of Nahḍah narratives has been readdressed. By “Nahḍah narratives” we mean both the set of theoretical readings, definitions and views developed by the nahḍawī groundswell, itself and the metacritical narratives developed by international scholarship on the Arab Nahḍah. In dialogue with the recent scholarship, the papers collected here represent a contribution in questioning the “Arab awakening”: their theoretical approaches, crossing comparative literature, literary analysis, history of ideas — achieve a broader understanding of the movement, dwelling especially on intersections with other disciplines and widening the research on the Nahḍah from the point of view of cultural production. The focus on modern Arab journalism, theatre, translation, political essays, prose and poetry writing which characterizes this special issue of Oriente Moderno attempts at going beyond the critical perspectives of a Nahḍah molded on Euro-centric modernity, on a diffusionist model of text circulation and on a “retrospective” idea of a modernity-to-be.

The Dynamics of Inheritance on the Shakespearean Stage. By Michelle M. Dowd. Cambridge: Cambridge University Press, 2015. Illus. Pp. xiii + 290.

The Dynamics of Inheritance on the Shakespearean Stage investigates the ways in which early modern drama stages and constructs alternatives to the presumably rigid system of primogeniture. Dowd’s central claim is that “early modern theater played a unique and vital role in shaping how patrilineage was understood” (5–6), in no small part because “rightful succession is fundamentally a narrative construct” in the first place (1). The book’s broad scope demonstrates how inheritance was reimagined at all socioeconomic levels, offering an important intervention into the study of lineage, which has primarily focused on royalty and the nobility. Dowd is especially insightful in exploring how the very elements of primogeniture that ought to have enabled its stability were the elements that allowed for interpretation, flexibility, and idiosyncrasy. The word “dynamics” in the title refers both to the functionality of inheritance and its variability, change, and movement. Dowd argues that, while “inheritance, to...

Completeness: How the Lack of a Mouse in a Box Revisits the Spectacle of the Kunstkammer

Set aside your expectations that this will be your typical museum visit – instead, prepare for a disruptive and engaging experience (Figure 1). ‘Spitzmaus Mummy in a Coffin and Other Treasures’ at the Kunsthistorisches Museum (KHM) in Vienna and curated by Wes Anderson and Juman Malouf together with Jasper Sharp and Mario Mainetti is an exhibition that leaves visitors either perplexed or enchanted.

СПЕЦИФІКА ІНТЕГРУВАННЯ ЕЛЕМЕНТІВ ФІЗИЧНОГО ТЕАТРУ В СУЧАСНІ ІНСЦЕНІЗАЦІЇ ТВОРІВ КЛАСИЧНОЇ ДРАМАТУРГІЇ

Мета статті – визначити специфіку застосування форм і методів фізичного театру в сучасних інсценізаціях творів класичної драматургії. Методологія дослідження. Наукові положення статті аргументовані на рівні сукупності таких наукових методів: емпірико-теоретичного – для опрацювання мистецької фактологічної бази дослідження, компаративного – для порівняльного аналізу детермінант сучасної сценографії із класичними зразками театральних постановок, систематизації та узагальнення – для визначення закономірностей, що визначають специфіку взаємодії традицій і новаторства в розвитку сучасного театру. Наукова новизна полягає у виявленні специфіки інтеграції та функціонування в сучасних театральних постановках форм і методів фізичного театру в контексті превалюючих тенденцій розвитку театрального мистецтва ХХІ ст. Висновки. Елементи фізичного театру в сучасних інсценізаціях класичних пʼєс значно розширюють межі драматичного театру, сфокусованого на діях. Відповідно, якщо твори класичної драматургії виражають символи, акцентують увагу на діях та відриваються від реалізму, методи фізичного театру є одними з важливих засобів інноваційної інсценізації відомих театральних пʼєс в умовах сценічного простору ХХІ ст.

Analysing Strategic Communications through early modern theatre

Analysing Strategic Communications through early modern theatre

INTERACTION BETWEEN TECHNOLOGY AND THEATRICAL ARCHITECTURE

The modern theater architecture presented architectural solutions and technical alternatives that changed the concept of theatrical scenes to achieve a closer and closer relationship with the viewer in order to improve the presentation and reception conditions based on the use of technological means and related settings to enable the possibility of introducing all elements of theatrical presentation to discover new horizons In the field of architecture and influences. Building technology in theatrical architecture (and exploitation of advanced mechanical capabilities, electronic techniques and applications) has enabled the ability to achieve the attractions and enriched them with the technical possibilities, which helps to build huge landscapes that have the ability to move and make major changes in the form of platforms or even The seating of the viewer’s so as to enable the vertical or horizontal movement or rotation and the use of machinery and engines to enable the technological systems of continuous movement, and the integration of performances to the circus with theatrical technology developed to reflect the contemporary lifestyle, including (Theater architecture - advanced possibilities of theatrical scenes, effects and lighting - the audience of theatrical performance) in order to create an unexpected shock to the public to connect the idea of theatrical performance through the use of the possibilities were not used from Before.

Măştile Blagiene: O Perspectivă Asupra Mitului Dramatic – Contururi De Formă Şi Fond

Abstract The following article concentrates on the analysis between the elements that appear in Lucian Blaga’s theatre. In foreground, it is put the relationship between the playwright and the idea of „dramatic myth”. On the other hand, it is described the way in which the tragic dimension affects the characters of each play, their struggle with suffering and the way they look to religion. Also, it is talked about the difference between the terms „drama”and „theatre”and also, „tragedy”and „tragic”. There are brought different opinions of literary critics, such as Eugen Todoran or Constantin Cubleşan, alongside with other references from writers and filosofers – Mircea Eliade, I. Kant etc. At the end of the study, it is talked about the parallel between the ancient theatre of greeks and the modern theatre of nowadays – especially on the fact that Lucian Blaga’s theatre acts better in the contemporary epoch than in the traditional one.