Field Of Theatre Research Articles

Deconstructing comic persona: theatricality and absorption in Bo Burnham’s Make Happy (2016) and Hannah Gadsby’s Nanette (2018)

Comic persona is a central term in both comedy scholarship and comedic practice, which is used to analyse the performance of self in stand-up comedy and the relationship between a comedian’s onstage and offstage self. In recent years, however, some comedians have played with and troubled the idea of a consistent comic persona. This article takes two such comedy shows, Bo Burnham’s Make Happy (2016) and Hannah Gadsby’s Nanette (2018), as case studies to argue that the notion of comic persona restricts discussions about stand-up comedy to metaphysical notions of self-expression, authenticity, and truth, and hampers our understanding of the comedy audience. Drawing on theories of spectatorship from the field of theatre and performance studies, the article proposes theatricality and absorption as helpful concepts to analyse the strategies employed by stand-up comedians to play with the perspectives of their audiences. While absorption refers to a strategy of playing into, and implicitly confirming, the cultural perspectives of an audience, theatricality denotes the critical strategy of deconstructing and making explicit these perspectives, and points to the spectatorial awareness that reality itself is socially scripted and staged in ways that resemble the theatre. While Burnham’s deconstruction of comic persona works to confuse audiences about the distinction between real and staged, and to present a critique of the late capitalist pressure to perform, Gadsby’s emancipatory politics holds on to the idea of stand-up as a mode of truth-telling so as to make room for their story about homophobia and sexual assault.

Диагностика понимания драматического произведения младшими подростками: обоснование критериев

<p>The article discusses the problem of evaluating literary text understanding by teenagers aged 11–12. Theoretical analysis showed that the evaluation and development of dramatic text understanding is the most underestimated problem in pedagogical, philological, and psychological research. The diagnostic assessment «Understanding of Dramatic Texts» consists of two parts. The first part allows you to estimate the level of following reading skills: paratext interpretation; the ability to understand the emotional tone of the work; the ability to «recreate» the image of a literary hero; the ability to disclose the author’s claim. In this part of the study, the material used as the survey basis is presented by Alexander Vampilov’s dramatic work «Date» (1961). The second part of the discussed method is based on the creative transformation task. Aesop’s fable «The Liar» was used as epic text to be made into dramatic texts by the learners. The children’s works analysis allowed us to evaluate the formed within the study framework reading attitudes which are necessary for dramatic text decoding and understanding. We assessed the results in terms of form and content. The diagnostic assessment was conducted in three trial stages. First, we ran and recorded conversations with a reference group, which included 16 specialists in the field of philology and theater. This step allowed us to determine evaluation criteria. Grade 5–6 students took part in the second stage of testing. This stage made it possible to shorten and adapt the questionnaire for working with schoolchildren. In the third stage, the methodology was adapted for written implementation</p>

Putting It Together

This article demonstrates how collaborative teaching in the field of musical theatre has served as a platform for uncovering the research methodology of artography. This methodology explores the intricate entanglement of the roles of artist, researcher, and teacher. The reorganization of a new curriculum and collaborative teaching among a group of teachers at the bachelor program in musical theatre at Kristiania University College forms the basis of our reflections. We, the two authors, were involved in this process. We connect these experiences to theories of artography and collaborative teaching. We argue that our multidisciplinary artographic awareness relied on certain conditions of growth within the teacher group. These growth conditions include: 1) a culture of sharing pedagogy among colleagues, 2) working beyond an individual’s level of comfort through co-teaching and 3) reevaluating teaching habits. Cover photo: Johanne Karen Hagen

Lessons from Re-Writing the Declaration, a virtual, participatory play

ABSTRACT The article details some of the process of creating and performing the participatory, virtual play, Re-Writing the Declaration, which invited the audience to re-imagine our nation’s founding through a Black, queer, feminist lens. The article highlights the unique challenges and opportunities of creating theatre in a virtual space, particularly the use of Zoom’s chat function as a tool for audience participation and community building. The author reflects on the ensemble’s shared identity as educators and how this shaped the play’s creation and performance. The article concludes by suggesting potential applications for the play in the field of Theatre for Young Audiences and emphasizing the importance of centering marginalized voices in the creation of theatre.

The role of translation in Turkish feminist theatre: the case of Theatre Painted Bird as an agent of feminist translation

ABSTRACT This article seeks to explore the position of Jale Karabekir as an agent of feminist translation in the field of Turkish theatre. Based on a sociological field analysis as developed by Pierre Bourdieu, this study aims to delineate the heterodoxic practices of Karabekir’s Theatre Painted Bird, which transforms the Turkish theatre’s male-dominated doxa through interlingual, intralingual, and intersemiotic translations, along with indigenous texts. Investigating the tension between the alternative theatres and the field of power in Türkiye, the study focuses on the extratextual discourse of Karabekir to highlight how her theatre collective ventures to maintain the relative autonomy of the theatre field by promoting a collaborative feminist struggle. Ultimately, the study elucidates that Karabekir’s importation of Augusto Boal’s Theatre of the Oppressed as a method of subversion helps her recover unforgotten female voices and enables her to mobilize resistance and produce commentaries to foster feminist solidarity in Türkiye.

Huellas creativas de la obra <i>Los otros hombres en Eva</i>

This article shares the methodological guidelines carried out by the actors/researchers of the IPROCAE research group (Investigation of Creative Processes in performing Arts) belonging to the Facultad de Arte of the UNCPBA, and its main objetive is to study their own performing practice simultaneously with their realization in the work Los otros hombres en Eva. The análisis of the creative process is developed base don the study of the genesis, on the figure of Eva Duarte de Peron and the different artistic approaches related to her mummification; examining the relationship between Theater and politics, in the form of militant theater of the 70s in Argentina; and reflexionating about the role of chance, or the existing random processes in the production of the contemporary Theater field, where it is used as a creative procedure and scenic construction tool.

Debates legislativos en la Argentina posdictadura sobre una (posible) ley de teatro

This work addresses the attempt of the Argentine legislative power to sanction a National Theater Law, in the first years of democratic recovery. Although this was not achieved, the debate that took place laid a solid foundation, which was successfully resumed the following decade. The exchanges that occurred in the National Congress are analyzed, when in 1984 it was intended to create a sectoral organization for the promotion of unofficial theater. At the same time, the theatrical practice is approached from the paradigm of Osvaldo Pellettieri (1997), understood as a system from which he characterized the national theater field and its temporal evolution, based on its internal constitution, and at the same time, according to what motivates its changes by virtue of contact with the local social series and with other cultures. Finally, to understand the relationship between the period of democratic opening and the conceptions of theatrical activity evidenced in the debates, Daniel Mazzei's (2011) approach to the “democratic transition” in Argentina, and the concept of “structures”. of feeling” that Raymond Williams (1980) develops as a cultural hypothesis through which he analyzes how the structures of experience and their links with a generation are constituted in a certain period are taken into consideration.

Composing Music for Choreographic Projects: Cases and Trends

All over the world the studies on the collaboration between music composers and dance creators are highly sought after. This is driven by the rapid evolution of musical and choreographic art fields in today’s creative industries. Organizing and promoting such cultural practices is crucial to complement the creative aspect. That’s why the present study examines the tendencies of compositional creativity in Kazakhstan in terms of its integration into choreographic projects. It can also be considered as a projection on cultural management. The article aims to the analytical review of the recent years’ implemented cases, that demonstrate the ways and formats of interaction between music and dance. The article considers the following questions: the interaction of music and choreography in a historical context; the creation of music and compilation of music for ballet; the design of music for dance and dance video, as well as the ways to support compositional creativity.This study of temporal and spatial art forms is built at the interface of several sciences. For the conceptual analysis the authors of the article required a wide range of historical and socio-cultural sources in the specified areas of art. The work was divided into several stages and used analytical, comparative and historical methods projected onto the Kazakh musical theater and other institutions related to the dance art. Also, an interviewing method was applied for the survey of practicing composers and directors, music editors and performers.The design of music and choreography has a wide range of relationships and demands that are necessary for the execution of audiovisual projects.This article with its understanding of cases in the field of ballet theater, dance troupes or video clips may be interesting both theoretically and practically not only for the scholars, but also for composers and choreographers who are only at the beginning of their creative paths. In addition, the article raises the problem of promoting and supporting compositional creativity. A thorough understanding of the music creation process for dance can foster more effective collaborations among creators, as well as the development of cultural management and clusters of creative industries.

Expansions of the theatre at the times of quantum: Temptation by radicalism

Relevance. This article explores the emerging field of �quantum theatre� and critically examines attempts to apply quantum concepts to theatrical theory and practice. Purpose. This article aims to evaluate the current state of quantum theatre research and propose new theoretical frameworks. Methodology. The author conducts a critical analysis of existing literature on quantum theatre, including works by Carol Fisher, Naomi Iizuka, Anne Bogart, and others. The methodology involves examining these works through the lens of quantum physics principles, while cautioning against simplistic analogies. Results. The analysis reveals that many current approaches to quantum theatre rely on superficial analogies to quantum phenomena without sufficient rigor. The author argues there is not yet a true �quantum theatre�, but rather early explorations of quantum-inspired ideas. The author proposes new theoretical frameworks drawing on Rupert Sheldrake�s morphogenetic fields and V.V. Nalimov�s �fields of consciousness� to understand theatrical phenomena. Conclusions. This article concludes that more rigorous interdisciplinary approaches drawing on quantum physics, biology, and consciousness studies offer promising directions for future research. The author suggests that theatre and artistic culture in general as open non-linear systems operating based on self-organization, self-regulation and self-development, with high degrees of freedom, can provide a unique understanding of quantum phenomena at the macro level, potentially contributing to the fundamental principles of cognitive theory. Keywords: morphogenetic fields; quantum biology; non-linear theatre; space-time in performance; post-non-classical art science

On the inspiration of Lin-Manur-Miranda musical Hamilton

Lin-manuel-Miranda's musical "Hamilton" as the fastest in the history of Broadway music costs and began to profitable musical with its pioneer music style and the core values of drama structure in the world stage, the success of the Broadway musical is not only in the history, also for the development of world musical provides unprecedented possibilities.the success of Lin-Manuel Miranda's musical "Hamilton" has had a profound impact on the world of theater, particularly in the realm of musicals. Its pioneering music style and the core values of drama structure have opened up new possibilities for the development of musicals worldwide. The widespread appeal and profitability of "Hamilton" have inspired artists to experiment with different genres and storytelling techniques, pushing the boundaries of what is considered traditional musical theater. Furthermore, the global interest in historical and biographical musicals that "Hamilton" has generated has enriched the cultural landscape of musical theater, offering audiences a diverse range of stories and perspectives. Overall, "Hamilton" has left an indelible mark on the world stage, paving the way for future innovations in the field of musical theater.

Sanatını Filistin’in Özgürlüğüne Teksif Eden Edebiyatçı: Gassân Kenefânî

Novels and stories, which are types of prose in literature, deal with the social, individual and psychological events experienced by individuals and society from different aspects. Thus, a topic or event is conveyed in a more exciting, emotional, dramatic and literary way by making the heroes talk and is presented to the appreciation of the readers. As it is known, the most dramatic social event of the 20th century was the massacre of Palestinians, their exile from their homeland and their becoming refugees. To this day, the oppression and persecution of a small number of people who have not left their homeland has continued, and the killing of a few Palestinians every week has become an ordinary event. The few Palestinians living in difficult conditions in their homeland have been brutally murdered in front of the world since October 7, 2023. One of the Arab writers of the 20th century who saw and experienced these troubles before and devoted his art to the Palestinian cause is Ghassan Kenefani. He wrote works in the field of novels, stories and theater and expressed in a literary way the troubles, pain, despair he experienced during the occupation of his homeland and the exile of his people, the sadness of living away from the homeland, and the ways of returning there again. He is one of the rare literary figures who concentrated his art in this field. Again, he encouraged his people with his works and ideas and tried to motivate them to defend the homeland and return to his country. The author chose most of the subjects he discussed in his works from real life. In the study, first of all, attention will be drawn to the life, works and literary aspects of Gassân Kenefânî. At this point, some topics and events that Kenefânî deals with will be touched upon, and the general characteristics of some of the characters in his novels, the subject of time and place, and narrative techniques will be included. Then, his language and literary style will be examined, especially based on some of the novels and stories he wrote. While doing this, some of the similes, descriptions and symbols he used in his novels and stories, as well as some sentences with literary characteristics, will be presented to the attention of the scientific and literary world. In the last part of the study, some criticisms directed at Kenefânî and his novels will also be included. Key Words: Arabic Language and Rhetoric, Ghassan Kenefani, Palestinian Literature, Novel, Style, Homeland

Commodity Trailing Contemporary Performance: Sh!t Theatre’s DollyWould and Selina Thompson’s salt

This article puts into dialogue the field of theatre and the European and North American geographic tradition of ‘commodity trailing’, including its Marxist underpinning. In recent years, a number of performances have emerged that engage with the process and provenance of commodities. Such performances often present their makers on the trail of commodity origins, consumer experiences, and historic routes of trade. This article introduces a framework in which performances that dramaturgically engage with commodities and their trails can be identified and analysed. It commences with an overview of the geographic principles of commodity trailing, and how this approach might be deployed in theatre scholarship. It applies the framework of commodity trailing to two case studies: Sh!t Theatre’s DollyWould (2017) and Selina Thompson Production’s salt. (2017). In analysing these performances against the principles of commodity trailing, this article supports an enhanced understanding of how dramaturgies attend to commodities and, in so doing, contribute to emergent discourses on performance and political economy.

Creative arts and resilient communities

This editorial serves to outline key themes emerging through the articles presented in this volume. As we all navigate conflicts and challenges of various proportions, the question of resilience-building is of particular interest to socially engaged creative practitioners. Working in diverse geographical and virtual locations across the fields of theatre, textile craft, curatorial practices and cultural leadership, authors here explore these themes through their work with communities: art as a practice of cultural leadership points us towards social cohesion; engagement with art strengthens attachment to place uprooted by ecological disaster; imaginative and creative practices, whether material or performative, force us to consider marginalized forms of knowledge and expertise.

MAPPING DAN PENDATAAN SENIMAN, KOMUNITAS BUDAYA DAN PELAKU SENI KREATIF DI KOTA BANJARMASIN

The background to this research/service is to look at the reality of the arts atmosphere in the city of Banjarmasin where data on artists has not yet been carried out using data collection that can be accessed by the wider community. This becomes the background for the researcher/devotee to become the basis for carrying out this activity. The aim of this service is to provide a quantitative overview of initial web-based data and a brief description of the profile and existence of artists, cultural communities and creative arts practitioners in Banjarmasin City today. The results of this research are data on artists, cultural communities and creative arts practitioners who are categorized into five fields of art, namely music, dance, theater, fine arts and literature. These five fields provide initial data on the profile and existence of artists, cultural communities and creative arts practitioners in the city of Banjarmasin.

Театр и революция. Роль Театрального отдела Наркомпроса в становлении государственной политики в области искусства

In the early years of Soviet power, the formation of state policy took place in all spheres of public life, including in artistic culture. The activities of state bodies in the field of theater were of particular importance during this period. The famous "Theatrical October" by V. E. Meyerhold became not only the fundamental slogan, but also the setting for the activities of the governing structures. The control over the formation and development of a new theater that meets the requirements of the state of the dictatorship of the proletariat was carried out by the Theater Department of the People's Commissariat of Education (TEO NCP). During the period 1918-1921, four people visited the post of head. Among them were two women: O. D. Kameneva and V. R. Menzhinskaya. In addition to the head of THEO, other party and government figures influenced theatrical policy. It is especially necessary to note the personal contribution of E. K. Malinovskaya, who was the director of the Bolshoi Theater at that time. The article is devoted to the activities of these three women. In general, all three of them contributed to the implementation of the ideas of the great reformer V. E. Meyerhold, who turned 150 years old in 2024.

The Feminist Scenics: theorizations about science and practice of the feminist theater scene and the space and importance of feminist epistemologies in the theatrical field

RESUMO A Cênica Feminista: teorizações sobre a ciência e a prática da cena teatral feministas e a importância de uma pedagogia feminista no campo teatral1 – Este artigo teoriza sobre uma cênica feminista, resultante da aplicação ao teatro das epistemologias feministas, sintetizando a crítica que fazem às demarcações canônicas atreladas ao ato de conhecer, que contribuem para a desvalidação da experiência das mulheres. Associa-se seu modo de funcionamento à consciência das hierarquias de gênero, às quais reage por meio da formulação de estratégias poéticas e políticas de enfrentamento aos modelos sociais discriminatórios e sexistas e aos seus sustentáculos simbólicos. Conclui-se que essa cênica feminista encontra centralidade na pedagogia, onde emergem formas de saber emancipatórias e territórios de resistência e criação, que ressignificam o ser.

Between the Stage and the Art Gallery: “Artistic Actions” at the Lublin Theatre Spring in 1973 and 1974

In this article, I have undertaken an analysis of the visual arts section “curated” by Zbigniew Warpechowski at the student festival Lublin Theatre Spring in 1973 and 1974, where many artists, later known as precursors of performance art, performed. Experimental happenings within the field of student theatre, referred to as “artistic actions”, are mentioned by many sources as an event marking the start of performance art history in Lublin. The aim of this article is to reconstruct individual actions, collect scattered archival materials (brochures, descriptions of actions, memories, photographs, excerpts from press reviews), and analyse the reception of these actions among the audience and theatre critics based on press reviews. These events are placed in the context of the simultaneous emergence of avant-garde theatre represented by Jerzy Grotowski, Tadeusz Kantor, and Józef Szajna, as well as student theatre. This contextualisation illustrates how this new art form, later defined as performance art, negotiated its position and sought its place between the theatrical stage and the art gallery in the mid-1970s. The article also demonstrates how these new theatre models converged with the reflection on action art. Moreover, the research highlights the local and transmedial specificity of the development of this artistic direction.

Саариахо, Маалуф, Селларс: соавторство в оперном театре

The focus of the research is the creative collaboration between composer Kaija Saariaho and her regular partners, playwright Amin Maalouf and director Peter Sellars, vividly embodied in the field of musical theater. The subject of the study is three operas by Saariaho, created in different years; the compositions carry a certain artistic image, characterizing the joint work of the three masters. The three operas are united by such a specific factor as the combination of a special psychological depth in the development of the plot with some elements of unreality. In each of the operas, this factor is manifested in its own way. When analyzing various aspects of the works, the article focuses on the degree and nature of the contribution of the composer, librettist, and director in their embodiment. In the conclusion, conclusions are drawn regarding the properties that allowed the creative team to achieve such successful and harmonious collaboration. This article is the first to explore Saariaho’s operas from such a perspective.

Elena Malinovskaya: Theatrical and Musical Education in the Late 1910s–1930s

The article discusses the views and influence of the prominent figure of the Soviet theater, Elena Konstantinovna Malinovskaya (1875–1942), on educational institutions in the field of music and theater. The latter included the Theater School of Moscow and one of its successors, the Ballet College, various studios, and the Moscow Conservatory. For many years, Malinovskaya was at the centre of Moscow’s theatrical life, holding various responsible positions: following the October Revolution, she headed Moscow’s state theaters until 1924; for a significant part of this period, she was also the director of the Bolshoi Theater, as well as heading it again from 1930–1935. Thus, Malinovskaya’s legacy included a considerable impact on prominent institutions that taught theatrical and musical arts. The article is the first attempt to study her activities based on archival materials recently introduced into scholarly circulation. It is shown that Malinovskaya’s influence on educational institutions in the field of the performing arts was quite various: if the Ballet Academy fell under her direct control, she could only influence the conservatory indirectly using her extensive network of connections.

Gledališki eksperiment na Slovenskem (1966–1986) in njegovi odmevi v mladinski dramatiki – Andrej Rozman Roza

In Slovenian (youth) literature, three authors who have worked in the field of drama and/or theatre stand out – namely, Svetlana Makarovič, academically trained actress (Sapramiška), Milan Jesih (Four Plays for Children, adaptations of Andersen’s fairy tales The Emperor’s New Clothes and The Ugly Duckling) and Andrej Rozman Roza. The paper will focus on the latter, who was strongly influenced by the theatre experiment in Slovenia, especially during the formative period of his studies of the Slovenian language (1974–1978). Andrej Rozman Roza (1956) started performing and/or publishing plays in the period 1981– 1990 (Inspector Schwake, 1986; collection of texts Ana Monró Theatre, 1991, etc.). He is known in literary history as a youth poet and is included in Slovenian language curricula (1998, 2011, 2018). However, the definition of a systemic author is more appropriate for him (I. Even Zohar, M. Dović) since of the six functions in the literary system (author, institution, market, repertoire, book, reader) he holds at least three roles (author, “institution”, book [living book], etc.). This paper focuses on adaptations of classics of Slovenian (Cankar, Levstik, Linhart, Prešeren, etc.) or world literature that – regardless of literary genre or type – have become crossover literature in the process of literary reception, especially in picture-book editions (e.g., A Midsummer Night’s Dream which has the international fairy tale type number ATU 899A [Pyramus and Thisbe]). According to B. Kümmerling-Meibauer’s definition of crossover classics or authorship, Rozman is a crossover author. In addition, according to L. Hutcheon’s theory, adaptations are an important part of Rozman’s work and contribute to the updating of classics and modern classics. The paper presents the collection Brvi čez morje (The Footbridge Across the Sea), which contains thirteen plays, three of which are folktale texts – Janko and Metka (Hansel and Gretel) [ATU 327], Obuti maček (Puss in Boots) [ATU 545B], Vžigalnik (The Tinderbox) [ATU 562] – and one which is a fairy tale, Kekec [ATU 1137]). Intertextually, they refer to folktale types.