Field Of Theatre Research Articles

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.

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.

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.

RUSSIANS IN FRANCE, AMERICANS IN RUSSIA. NEW BOOKS OF THE SCHOLARLY SERIES ROSSICA. RUSSIA AND THE WEST. LITERARY CONTACTS & CONNECTIONS ALEXANDRE STROEV. DESTINS LITTÉRAIRES DES ÉCRIVAINS RUSSES EN FRANCE. MOSCOW, LITFAKT PUBL., 2023. 320 P.GALINA LAPINA. AMERICANS IN MOSCOW, 1930-1940. МOSCOW, LITFAKT, 2022. 206 P.

New monographs of the scholarly series ROSSICA. Russia and the West. Literary Connections and Contacts of the Litfact publishing house examine Russian-French and Soviet-American literary and cultural connections of the first half of the 20th century. Book by Alexandre Stroev is dedicated to the Russian writers (I. Bunin, Dm. Merezhkovsky, A. Bely, E. Zamyatin, M. Voloshin) in France, their literary and public reputation and the reception of their works. Galina Lapina considers American-Soviet contacts and joint projects (theatrical, cinematic, educational) of the 1930s and early 1940s. The heroes of her book are American writers, journalists, diplomats, artists, and students. Both monographs are based on archival documents, letters, memoirs, fictional texts, materials from the Soviet/Russian and foreign (French or American) press. The study of an impressive source array made it possible to reveal unexplored episodes in the life of Russian writers in France and unknown part of their legacy, to reconstruct the history of Soviet-American joint ventures in the fields of culture, education, literature, theater and cinema.

The route to immersion: a conceptual framework for cross-disciplinary immersive theatre and experiences

The trend of immersive theatre, which began in the first decade of the twenty-first century, and has quickly established itself in contemporary mainstream theatre, is a subset of the larger phenomenon of emerging immersive experiences, which has expanded into a variety of fields, including healthcare, marketing, and education. This paper aims to provide a revised conceptual framework from the context of design through technologies with an addition of bodily immersion, or a sensation of bodily transference, creating illusory ownership over a virtual body, and activating praesence, a lived experience of the physical body responding within an imaginative, sensual environment, produced with the help of immersive technology. This concept, taken from the field of theatre and performance, is combined with four other components (systems, spatial, social/empathic, and narrative/sequential) to produce an immersive experience that realises the fullest potential of immersion. The proposed framework serves as a valuable guideline for creating immersive experiences across multiple disciplines, benefiting both creators and participants by enhancing comprehension and setting expectations. Additionally, it can be utilised by academics and students as a criteria for evaluation and analysis.

Witnessing distress: Cultural workers’ processing of pandemic experiences on social media platforms

This article examines the ways in which Finnish cultural workers experienced and responded to their colleagues’ and peers’ distress on social media platforms during the prolonged COVID-19 pandemic. The theory of media witnessing as mundane world-witnessing is employed to analyse cultural workers’ modalities of experience as audience-like followers on social media. The data comprise 26 focused interviews conducted via Zoom and over phone in 2021 with cultural workers representing the fields of theatre, television and film industry, literature, music and circus. We argue that various modes of affective and politicised witnessing offered cultural workers the mechanisms to articulate and reflect on their own and others’ experiences of inequality and vulnerability as well as develop a sense of responsibility. In the context of the pandemic, mundane world-witnessing involved engagement and identification with distress, peer support and activism, as witnessed and evaluated by cultural workers on social media. Furthermore, this article theorises a new mode of witnessing prevalent on social media platforms – speculative witnessing – which carries a reflective and hesitant approach to social media ‘bubbles’, obscure algorithmic agency and imagination of absent audiences. In other words, speculative witnessing captures a dimension of metacommunicative scepticism in media witnessing that reflects a specific condition of knowing in the context of social media platforms.

Editorial: Arts in Action: Urgencies in Art and Art Education

How do artists, art educators and researchers relate their practices to the urgencies of the world? How can art make a difference in a contemporary world dominated by com plex and intense political, economic, and environmental challenges and conflicts? Are there right and wrong ways of address ing urgencies through art, research, and education? Should the arts in education be justified because of its usefulness for something else? This special issue provides insight into some responses to these ques tions. The contributions, ranging from short texts to longer texts, as well as artistic submissions, represent a rich ness and diversity that cover the fields of visual art, music, and theatre. They all relate to the questions in various ways by addressing how and why art matters, while exploring possible connections between art and societal challenges. This special issue originates from contributions from the international symposium titled 'Arts in Action—Urgencies in Art and Art Education' that was held in Kristiansand, Norway, from 8 to 10 June 2022.

A ‘Requiem’ for the short-lived democracy in Iran in the 1950s: Jamalzadeh’s rewriting of Ibsen’s An Enemy of the People

ABSTRACT This paper challenges the conventional histories concerning early translations of dramas in Iran through a sociohistorical reading of Jamalzadeh’s Persianized representation of Ibsen’s An Enemy of the People in 1961. Focusing on Bourdieu’s theory of practice toned with Pym’s translation historiography, the authors explore the ‘whys’ of Jamalzadeh’s motives when he opted to translate Ibsen’s drama. The article, therefore, examines Jamalzadeh’s rewriting against the backdrop of the field of theatre in 1950s Iran to unveil the sociopolitical dynamics that conditioned and shaped his translation. Also, embedding in Bourdieu’s concept of habitus the Derridean notion of the ideal translator, the authors explore Jamalzadeh’s (bi)cultural habitus(es) as a translator in self-exile. It is proposed that (a) utilizing his Iranian cultural memories, Jamalzadeh depicted parallels between incidents in the drama and the political events of the decade leading to the 1953 coup and the fall of Mosaddegh; (b) exploiting his European cultural/intellectual memories, he deploys Ibsen’s text to taunt Iranian political elites’ short-sightedness and/or hypocrisy and lament the herd behaviour of the masses consequent on the former group’s debilitating conflicts.

“Hold on to That Feeling”: Disciplinary Formations and Asian B-Sides

Abstract: This essay is a personal and self-reflective account of how disciplinary and sub-disciplinary formations operate within the field of theatre and performance studies materially, politically, and economically. Reflecting on the five years since the publication of the author’s Theatre Journal article, “Feeling in Counterpoint” (2018), the article addresses how disciplinary formations work to enact harm on racialized and minoritized scholars in the field. Writing from the perspective of the field in the United Kingdom, the essay reflects on two significant moments in the author’s experience. First, the collective writing and publication of the open letter “White Colleague Listen!” in 2020, when UK theatre, dance, and performance studies scholars of the Global Majority articulated their experiences and desires for change in the field. Second, the author’s work of community building with the New Earth Performer’s Academy, a program for emerging East and Southeast Asian actors and performers. Between these two events, the essay argues that in order to transform itself, the field must come to terms with desire—in other words, scholars must be explicit about the desire that compels them toward their subject matter and their research.

Телесное в современных социальных театральных практиках: проекты 2020-х годов

The active turn of modern theatre towards democratization and social forms of existence took place in a foreign context in the early 1990s and was associated with the desire to change the usual ways of producing art, as well as with the cultural policy of neoliberal states aimed at supporting artists whose efforts make social problems visible. In Russia, similar processes began in the 2010s, when the documentary trend provoked the interest of theatre in the oppressed, and together with that, inclusion and the idea of diversity — cultural, social, and bodily — began to develop. At the same time, contemporary dance makes a turn from strong author’s choreography to practices that are more minimalistic and focused on a specific body in its vulnerability. In the field of theater as a whole, a performative turn is taking place — its influence affects the work with the categories of presence, everyday life, procedurality and multidisciplinarity. All this is accompanied by a trend towards the social in contemporary art. We understand the social as an umbrella term, which implies different types of work with citizens, the community, and representatives of excluded groups in the forms of theatre or produced with the help of theatre tools. The social is also a quality immanent to theatre and signifying the desire of artists to overcome the alienation project that dominates the world and poses a threat to the future. Though the practices described in the article encompass different things, they all converge in their interest in an engaging, that is social, way of communication. From this point of view, these works are performatives in the classical sense, when the gesture is real, the spoken word is equal to the action, and the participants’ co-creative work either directly affects their lives or changes the viewer’s lens.