Performance Venues Research Articles

무용 공연의 서비스 품질 요인이 직접 관람객의 만족, 신뢰, 충성도에 미치는 영향

Based on this, the effect on customer satisfaction relationship, performance venue (performance company) trust, and repurchase intention (loyalty) is empirically analyzed. en This study analyzed 272 people who directly watched a dance performance in Seoul from September to October 2019. The following conclusions were obtained by empirically analyzing the relationship between the audience

‘Adjacent to the Live: paratextual augmentation of performance during the pandemic’

The plethora of paratextual materials such as digital programs, recorded interviews with artists and creative teams, behind-the-scenes videos, and curated playlists have been pressed into service to extend the reach of the core business of performance companies. Behind the scenes and ancillary activities have come to the fore, potentially altering the way Genette considered paratexts to work as thresholds to the core. Until the last year or so, paratextual elements such as the aforementioned existed primarily in the service of marketing and promotion. They were not themselves seen as separate or independently monetised ventures. They were tasters of the real thing or treats for loyal followers. Comparatively little attention in this field has been paid to live performances, although these too have similar panoplies of paratexts used to promote the core texts: advertisements, advance publicity and reviews for instance. Our concern here is with the way paratexts were used during the extended COVID lockdowns when live performance venues were closed, particularly instances where the usual relationship between core text and paratext, whereby the latter are shorter pieces supporting or promoting the former, is upset. There was a considerable range of sophistication in the paratexts operating as core texts during the pandemic. Most sophisticated ones, like those from the NT or Pinchgut’s The Loves of Dafne and Apollo did not call on audience members to produce the experience of liveness, even if the NT’s branding persisted. We have concentrated here on Dream because it was such a sophisticated piece with liveness at its very heart.

RAMPAK BARONG PADA PERTUNJUKAN JARANAN PAGUYUBAN TURONGGO SETYO JATI DI KABUPATEN BLITAR

Rampak Barong dance, which is in a jaranan performance of Paguyuban Turonggo Setyo Jati in Blitar is a dance that belongs to a folk dance, which is a dance that lives and develops in the local communities with the simplicity of movement, floor patterns, make-up and even costume, because all of that are the characteristics of folk dance. This study aims to reveal the form of the performance and the function of that dance. Rampak Barong dance is very popular among the local community because there are many attractive movements including forward somersaults, interesting foot movements including srimpetan and junjungan. It become more interesting not only because of all kind of movements, but also there is one of main movement called nyaplok. The theoretical basis used to answer the problem of form is Soedarsono's theory in his book entitled “Introduction to Dance Elements and Dance Problems”, and supported by Soedarsono's opinion in his book entitled “Indonesian Performing Arts in Globalization” to describe the functions. The methodology used for this research are nterview, observation, and literature study. This research used descriptive analysis method used to describe the Rampak Barong dance. The results of this researh showed that the form of the dance performance Rampak Barong Paguyuban Turonggo Setyo Jati consists of several dance offerings with several elements of the dance offerings, such as dancers, movement, make-up, music, and performance venues. The function of the Rampak Barong dance as a means of ritual, as personal entertainment and as an aesthetic presentation, namely through ticketing performances or fundraisingKeywords: Form, Function, Rampak Barong, Turonggo Setyo Jati

Dances in the park: The pre-history of the Maynardville Open Air Theatre

There is a popular belief that Cape Town’s Maynardville Theatre was founded in 1955, and first used in 1956, as the brainchild of the two professional actresses Cecilia Sonnenberg and René Ahrenson. While this is true of the Shakespeare-in-the-Park productions over the years, the use of Maynardville as a performance venue dates back to 1950 and the efforts of Margaret Molteno, the Athlone Committee for Nursery School Education and the University of Cape Town Ballet Company. This article traces the evolution of the popular theatre venue from the first production of a triple bill (comprising Les Sylphides, St Valentine’s Night and Les Diversions) in a makeshift theatre in the Maynardville Park grounds in 1950, to the introduction of Shakespeare in 1956, and ultimately the outdoor theatre of today with its annual Shakespeare and ballet productions. The Shakespearean history is already well-documented, so this article focuses more specifically on the somewhat forgotten role played by ballet productions in that history. The article includes a short history of the original property and the creation of the public park, as well as a full list of the ballets and plays performed at Maynardville since 1950.

The Short History of Syrian Street Music in Istanbul

Over the last ten years, fluctuations regarding political, legal, social, and economic parameters have transformed the migratory experience of Syrian migrants in Turkey. This transformation has not only affected musicians’ day-to-day lives, but also their musical practices, venues of performance, repertoires, and even the meanings associated with all of these. However, the limited literature on the Syrian musicians’ experience in Turkey does not adequately reflect this transformation. In the context of a social and economic history of migration between 2015 and 2020, this article will focus on a specific musical practice of Syrian musicians in Istanbul, namely street musicianship. More specifically, based on a basic argument that this practice fulfills multiple economic, social, and political functions in a context marked by a lack of systematic support and institutional means under migratory circumstances, the article will examine various aspects of it. A detailed examination of this specific practice can provide a basis for a productive discussion leading to a better understanding of the Syrian migratory experience in Turkey. Moreover, every single aspect the article deals with has the potential to provide an understanding of the intricate social relations and issues that involve not only migrant musicians but also many other actors. First, I will discuss Syrian street music in Istanbul as an emergent practice occurring in migratory conditions. Without ignoring the heterogeneity of migrant and Syrian identities, I attempt to portray Syrian street music and its performers according to various parameters such as their age, gender, musical background, etc. Second, I look at how Syrian musicians use street music to interact with other public space actors, including local and migrant communities, as well as tourists. I will also provide examples that illustrate how these musicians tactically manage these encounters by choosing from their repertoire to suit their respective audiences. Finally, I argue why street musicianship, rather than representing a merely transitional, temporary job for migrants during the early years of their migration, is, in fact, the first step of a career in a newly forming market by migrant musicians.

Short History of Syrian Street Music in Istanbul

Over the last ten years, fluctuations regarding political, legal, social, and economic parameters have transformed the migratory experience of Syrian migrants in Turkey. This transformation has not only affected musicians’ day-to-day lives, but also their musical practices, venues of performance, repertoires, and even the meanings associated with all of these. However, the limited literature on the Syrian musicians’ experience in Turkey does not adequately reflect this transformation.
 In the context of a social and economic history of migration between 2015 and 2020, this article will focus on a specific musical practice of Syrian musicians in Istanbul, namely street musicianship. More specifically, based on a basic argument that this practice fulfills multiple economic, social, and political functions in a context marked by a lack of systematic support and institutional means under migratory circumstances, the article will examine various aspects of it.
 A detailed examination of this specific practice can provide a basis for a productive discussion leading to a better understanding of the Syrian migratory experience in Turkey. Moreover, every single aspect the article deals with has the potential to provide an understanding of the intricate social relations and issues that involve not only migrant musicians but also many other actors.
 First, I will discuss Syrian street music in Istanbul as an emergent practice occurring in migratory conditions. Without ignoring the heterogeneity of migrant and Syrian identities, I attempt to portray Syrian street music and its performers according to various parameters such as their age, gender, musical background, etc. Second, I look at how Syrian musicians use street music to interact with other public space actors, including local and migrant communities, as well as tourists. I will also provide examples that illustrate how these musicians tactically manage these encounters by choosing from their repertoire to suit their respective audiences. Finally, I argue why street musicianship, rather than representing a merely transitional, temporary job for migrants during the early years of their migration, is, in fact, the first step of a career in a newly forming market by migrant musicians.

Pasticcio, Arrangement, or Adaptation? Georg Philipp Telemann's Pasticcio Judith Based on Fortunato Chelleri's dramma per musica Innocenza difesa

Abstract In musicological research on the eighteenth-century operatic pasticcio it has often been discussed how pasticci can be distinguished from dramme per musica. The article examines the evolution of Fortunato Chelleri's opera Innocenza difesa in the course of its adaption for several performance venues (Florence 1720, Venice 1722, Kassel 1725, Wolfenbüttel/Brunswich 1731), as well as pasticcio projects based on Chelleri's score (Hamburg 1732). By analysing the surviving libretti, scores, and sheet music related to Chelleri's opera, it can be shown that Chelleri as well as the arranger of the Hamburg pasticcio-production, Georg Philipp Telemann, paid attention to the overarching dramaturgical principles as well as to new forms of music publishing in large metropolises such as London. Telemann not only chose some arias by George Frederic Handel from among the most celebrated numbers in the opera Lotharius (composed by Handel, printed by John Walsh in London, 1730), but he also fostered Chelleri's focus on Judith as a main character. Within these musical-dramaturgical perspectives, based on very loose networks of connections between librettists, composers, singers, and probably stage designers, requests for specific arias from individual singers could also be accommodated.

'n Ou skoolsaal of teater - die opvoerruimtes van die Cape Flats Players en die Eoan-groep

Die teaternavorser Temple Hauptfleisch spreek in 1983 kommer uit oor die agteruitgang van plaaslike amateurteater. Hy identifiseer verskeie faktore om dit te stimuleer, onder meer die beskikbaarheid van 'n saal of 'n teater, verkieslik laasgenoemde, "omdat vir vandag se geso-fistikeerde gehore die ou skoolsaal nie meer goed genoeg is nie". Hierdie artikel ondersoek na aanleiding van hierdie stelling die lotgevalle van die Cape Flats Players en die Eoan-groep, beide Kaapse amateurgeselskappe tydens die hoogbloei van apartheid. Die beskikbaarheid van teatergeriewe en veral die toepassing van apartheidswetgewing met verwysing na die Wet op die Aanwysing van Aparte Geriewe en die Groepsgebiedewet, word van nader beskou. Die ondersoek vind plaas aan die hand van Michel Foucault, David Harvey en Henri Lefebvre se insigte oor die aard van plek en ruimte. Hier is bevind dat die Cape Flats Players nie toegang tot teaters gehad het nie; dat die toegang van gehore beperk was; dat hulle nie-tradisionele ruimtes moes gebruik; dat hulle geen beheer oor die aard en demografie van hulle gehore gehad het nie en dat hulle nuwe netwerke van verbandhoudende individue en groepe gevestig het. Ten opsigte van die Eoan-groep is bevind dat die apartheidswetgewing tot gevolg gehad het dat hul kulturele netwerk vernietig is. Ná die oprigting van hul eie teater, het hul onmiddellike gemeenskap die fasiliteit geboikot, hoofsaaklik vanweë die apartheidsregering se geldelike steun aan die groep. Die kontrasterende ervaring van die Cape Flats Players wat in 1991 in die voorheen "slegs blankes" Nico Malan-teater opgetree het, word bespreek. Alhoewel daar kritiek teen hul optrede was, het dit ook die einde van die boikot van die teaterkompleks ingelui. In die algemeen is bevind dat opvoerruimtes verbande oproep met ander ruimtes, geskiedenisse en simbole. Die keuse tussen "'n ou skoolsaal" en "'n teater" mag eenvoudig klink, maar verdoesel verwikkelde vrae oor ruimtes, toegang en uitsluiting.

Guest Editor's Introduction: The Ballets Russes in North America

Guest Editor's Introduction: The Ballets Russes in North America

A Demographic Study of Professional Belters: Who They Are and What They Do

The overall goal of the survey was to ascertain from belters common characteristics of belting and belters as determined by their own experience. The survey sought information from those who responded to an online questionnaire stating they were professional singers who had been paid to sing as belters and were comfortable using the sound quality called belting. The survey asked various questions regarding the definition of the word belting, how the singers learned to belt, whether or not they could explain the auditory and kinesthetic experience of belting and their history with vocal health. This was a partial follow-up to a study done by one of the authors in 2007 on the same topic and with the same general population which was never submitted for publication. The data from that study, which was longer and more complex, will be referenced where the present survey has similar data, partly to see if answers may have changed in the time since data was collected more than a decade ago. The survey was an online questionnaire on Google. A call to respond to the survey was put forth by the authors through their network of colleagues, associates and students with the request that respondents also share the survey with others they knew. The questionnaire consisted of 30 questions and garnered a total of 238 responses from professional singers who consider themselves to be belters. Data was collected between February 1, 2019 and July 31, 2019 Topics included Demographics, Vocal Training Background, Definitions, and Vocal Health. The data collected presents demographics on vocal training, professional experience, gender, age, performance venues, definitions of key words, and vocal health issues. The majority of respondents are female, from the USA, have had training, and sing other styles of music in a belt quality. Specific statistics on each question are given. The earlier study, from 2007, referenced several similar questions from a smaller group of respondents. Corresponding information will be presented where applicable at the end of the article for purposes of comparison.

Sloppy Bonnie: A Roadkill Musical for the Modern Chick

Sloppy Bonnie: A Roadkill Musical for the Modern Chick

Effects of multiple early diffuse reflections on spatial percepts.

While the use of diffuse surfaces is becoming increasingly common in the acoustical design of performance venues and normal rooms, there is a paucity of data on the auditory perceptual effects that characterize those finishes compared to specular ones. For instance, it is not entirely clear whether and how the aural impression is affected when first reflections are swapped from specular to diffuse. In a recent work, after revising the background knowledge on physical and perceptual effects of scattering, Visentin et al. [(2020) J. Acoust. Soc. Am. 148(1), 122-140] started a systematic analysis of how diffuse reflections influence the auditory impression by considering the simplest possible case, that is, a direct sound and one lateral reflection. The present work is a step forward in the analysis, and pairs of lateral reflections without or with a ceiling reflection are considered. By means of detailed listening tests, it is shown how diffuse reflections modulate the perception of some spatial attributes. This knowledge adds to the criteria to be employed when including diffusing surfaces in the design of first reflections in rooms.

Drawing Fields: Prototyping public space with semi-autonomous robots

This paper is a concise report of Drawing Fields, a temporary performance venue on the campus of Ragdale, a nonprofit artists’ community just north of Chicago. Drawing Fields utilizes GPS-controlled field marking robots to draw site-specific, building-scale drawings on the Ragdale campus. Each drawing in the series explores a different theme with Drawing Fields 1 probing robotic kinetics, Drawing Fields 2 delineating socially-distanced zones for a scattered audience, and Drawing Fields 3 saturating the campus with colorful patterns. The report discusses the project implementation and includes a brief discussion of the project’s cultural, ecological and technological resonances.

Your (Internet) Connection Is Unstable

Your (Internet) Connection Is Unstable

What Happened?: An Examination of PLAYDATE, a Cellphone-Oriented, Neighborhood-Wide, Beyond-the-Stage Play in and About Downtown Brooklyn

PLAYDATE was a cellphone-oriented, neighborhood-wide, beyond-the-stage play. Through GoPro cameras, the performance documented a cast of roving players as they performed sequenced tasks that engaged local businesses, public facilities, and various contingencies in Downtown Brooklyn, New York. The main cast and the audience were physically separated and only viewable via social media and GPS. Posts were digitally projected in the auditorium of ISSUE Project Room, a non-profit performance venue in Downtown Brooklyn. Viewers, however, could interact with the piece through their own social media accounts. By submitting comments, questions, and likes through their cell phones, viewers became part of the work and created individual perspectives with no single vantage point. In this transcribed conversation led by PLAYDATE director, Ying Liu, two players[1] (Kuan-Yi Chen and Kenneth Pietrobono) and audience members (John Matturri and Seth Cohen) share their experience of the play to figure out “What Happened” in PLAYDATE. The director uses the term “player” to refer to the performers in PLAYDATE as it encompasses the idea of a “performer”–someone who takes direction or instruction from a director, as well as the concept of a “sportsman”–someone who responds and makes quick calls to different situations while adhering to the set direction.

Review: Adventures of a Jazz Age Lawyer: Nathan Burkan and the Making of American Popular Culture, by Gary A. Rosen

Review: <i>Adventures of a Jazz Age Lawyer: Nathan Burkan and the Making of American Popular Culture</i>, by Gary A. Rosen

Introduction

Introduction

The art of composing: between autonomy and heteronomy

The art of composing: between autonomy and heteronomy

Elementary General Music Performances and Teachers’ Perceptions of Stress

The purpose of investigation was to examine the perceptions of elementary music teachers concerning the preparation of elementary music performances and the impact on their perceived stress. Participants were practicing elementary general music teachers ( N = 3) representing three different elementary schools from a metropolitan area in the Midwest. All participants were interviewed twice over a period of two months via Zoom. Data were analyzed through an open coding process (Gibbs, 2007), which yielded three themes: time management, control, and isolation. Facets of time management included strategic planning, organizational techniques, and instructional time; control concerned scheduling, repertoire selection, equipment, and performance venues; and isolation pertained to relationships with colleagues and administrators and an overwhelming amount of responsibility. These findings indicate the importance of acknowledging various stressors affecting music educators and how those might positively and negatively affect teachers and students.

Sex, Death and Minuets: Anna Magdalena Bach and Her Musical Notebooks, by David Yearsley

<i>Sex, Death and Minuets: Anna Magdalena Bach and Her Musical Notebooks</i>, by David Yearsley