Field Of Theatre Research Articles

Образ alma mater в мемуарном романе Е. Гришковца «Театр отчаяния. Отчаянный театр»

The paper examines the image of Kemerovo State University in the novel by E. Grishkovets “Theater of despair. Desperate theater.” A comparative analysis reveals the specifics of KemSU relevant to the novel and its qualitative difference from other universities in Kemerovo. We can see how the student hero gets used to the University, becomes a part of it, and joins the University world. In the novel, this communion is shown as a capture, involvement, not always reflected by the hero. There are several semiotic places associated with the hero’s philological education and the creative life of students in the space of KemSU. Kemerovo State University embodies the most significant values of freedom, creativity, love, and enthusiasm in the artistic axiology of the novel. It is the place of special laws, emotional relationships, and connections, in a word, of the University spirit. The connection between the University and the theater in KemSU appears as natural and organic (“the University loved its theater”), in contrast to other universities, where the theater is an alien, fundamentally super-fluous element. In addition, the image of the theater in the novel opposes the space of an industrial city. The paper thus traces the exceptional role of the University in the emergence of love for the theater and the hero’s choice of the theater field. By its role in the novel, KemSU is literally realized as Alma mater, “nursing mother,” contributing to the creative development of the hero primarily related to the philological theme in the novel.

Objetos, cuerpos y memoria en el teatro argentino contemporáneo

En la década de 1990, el campo teatral argentino se encuentra determinado por la aparición de una heterogeneidad de formas agrupadas por la crítica bajo el título “Nuevo teatro argentino”. Estas formas evidencian la tensión entre una concepción idealista de la escena que había dominado el teatro independiente hasta la década de 1980 y una perspectiva materialista que se había ido desarrollando subrepticiamente en tensión con los modos en que la primera planteaba las relaciones de la escena con la historia, de los sujetos con los objetos, de las palabras con las cosas y, como correlato, en tensión con el modo en el que el teatro se pensaba a sí mismo como dispositivo de memoria.En ese contexto surge y se fortalece el Periférico de Objetos. Analizaré aquí la producción de este grupo entendiendo que entre las innovaciones que propone se encuentra la exploración, a partir del procedimiento de la manipulación, de objetos y cuerpos como dispositivos de memoria involuntaria. Con el objetivo de señalar que la productividad de la relación manipulación/memoria no se limita al teatro de objetos sino que se expande también a la producción dramatúrgica, analizo dos obras dramáticas que Daniel Veronese escribe en esa misma década, en paralelo a su actividad como integrante de este grupo. In the 1990s, Argentine theater field is determined by the emergence of a heterogeneity of forms grouped by critics under the title “New Argentine Theater.” These forms put in evidence the tension between an idealistic conception of the scene that had dominated independent theater until the 1980s and a materialist perspective that had developed surreptitiously in clear tension with the ways in which idealism conceive the relations between scene and history, subjects and objects, words and things but also in tension with the ways in which theater had thought itself as a memory device.In this context, El Periférico de Objetos arises and become stronger. I will analyze the production of this group, understanding that among the innovations it proposes from the manipulation procedure, is the exploration of objects and bodies as involuntary memory devices. With the aim of demonstrating that the productivity of the relationship between manipulation and memory is not limited to object theatre but also expands to dramaturgical production, I analyze two dramatic works that Daniel Veronese wrote in that same decade, in parallel to his activity as member of this group.

Nora-Bir Bebek Evi’ne Feminist Bir Yorum

The sociology of translation provides a methodology which enables the researcher to focus on the agents who produce a translation product and their position-taking in the field by considering the interrelationships between the “field”, “habitus” and “capitals”. The approach adopted in the sociology of translation has been substantially shaped by the sociological concepts developed by Pierre Bourdieu. Habitus, which is one of the most important concepts in this respect, provides an important tool to researchers in terms of studying the agents and their roles in the field. This study examines the influence of the translational agents on the circulation of women-centred plays with a feminist perspective. Since theatre is a performing art which brings linguistic and non-linguistic elements together, drama translation also requires many points such as performability, speakability and playability to be taken into account which go beyond the textual and linguistic concerns. Considering this, it is possible to say that a drama translator with a “habitus” structured in the field of theatre will inevitably have an effect on the translation product. Hence, departing from this supposition, the study concentrates on Jale Karabekir’s “professional habitus” through the example of Nora-A Doll’s House by Henrik Ibsen. Nora-A Doll’s House, which universally questions gender roles, has been translated by different translation agents in Turkey before; however it has been constructed with a feminist dramaturgy for the first time by the founder and general art director of Tiyatro Boyalı Kuş Karabekir. Karabekir has also made the play available to a larger number of women audiences thanks to the performance carried out in different cities in Turkey.

A „sűrített nő” : A színésznők társadalmi helyzetének vizsgálata a vidéki kőszínházakban

A tanulmány célja bemutatni, hogy a vidéki kőszínházak speciális munkaszervezete milyen különbségeket hozhat létre a prózai színésznők és színészek között az életpályák, a szereplehetőségek és a karrierek területén. A színésznő a női munkaszervezeti karrier terén „úttörőnek” számít, hiszen a színészkollégákhoz hasonlóan ő is autonóm szakmai pályát építhetett fel, ennek szemléletes példái a primadonnák. A színésznői karrier építését azonban, számos történelmi örökségként fennmaradó drámairodalmi és szervezeti hátrány is akadályozhatja, a vidékiség ezeknek is ad egy plusz színezetet. A színésznő ezeknek a női hátrányoknak a vidéki kőszínházi mikroviszonyok között egy sűrített változatát képviseli. A kutatás során 21 színésznővel és 13 színésszel készült félig strukturált interjú. Eredményeim azt mutatják, hogy a színésznő a színházi életben „sűrítetten” jeleníti meg a nők társadalmi hátrányait és az ehhez fűződő sztereotípiákat, illetve előítéleteket. A színházi mező elemzése alkalmas terep arra, hogy bemutassa ezt az ambivalens, komplex „nő(i)séget”. Ezt nevezem a „sűrített nő” előnyei és hátrányai összegéből származó emancipált egyenlegnek.

La dirección escénica femenina

En el campo del teatro de títeres en Argentina, la presencia femenina era y es muy importante. Todo este enorme trabajo de las mujeres en el arte de los títeres no estuvo exento, como nada lo está, de la mirada patriarcal sobre las y los iniciadores de nuestro lenguaje. Este artículo reflexiona sobre la legitimación, reconocimiento y diversidad estética de la obra hecha por mujeres y se pregunta si existe una dirección que podamos llamar femenina en el campo del teatro de títeres y objetos.

Victor Kisin’s Pedagogical Concept as a Component of Media Education in Ukraine

The purpose of this research is to analyze Viktor Borysovych Kisin’s influence on the formation of a new pedagogical concept in media education in Ukraine. Describe the main aspects of the director's teaching activities. To analyze and systematize V.Kisin’s materials about creative innovation, which became the basis for training professionals in the field of audiovisual art. The methodology of the research is applied by the following methods: theoretical – the analysis of V.B. Kisin’s theoretical research, the biographical study of the main stages of the director’s teaching activity, the generalization of the influence of V.B. Kisin’s film pedagogical concepts for the development of the Ukrainian media school. The scientific novelty lies in the fact that various aspects of Viktor Kisin’s teaching activity have been comprehensively studied. The specifics of the director’s innovative research are outlined and his theoretical research is analyzed. Conclusions. According to the purpose of the research, various aspects of Viktor Borysovych Kisin’s pedagogical activity and theoretical research in the field of Ukrainian theatre, cinema and television were analyzed. During the analysis of the research topic and the scientific and memoir publications of Ukrainian scientists, teachers and artists were analyzed, a large number of newspaper and magazine material related to V. Kisin’s pedagogical and creative activity, as well as his colleagues and students were reviewed, and Kisin’s “foreign” period of media pedagogical activity at the Higher School of Television Arts in Hilverson (Netherlands) was also deepened.

Shaw and Legacy: Introduction

Shaw and Legacy: Introduction

Accents and Original Pronunciation as Tools for Teaching and Performing Shakespeare in South Africa

In multicultural and multilingual South Africa, recent initiatives to decolonise curricula have suggested dispensing with the works of Shakespeare and other ‘Western’ texts to make space for African and postcolonial texts. The elevated and archaic language of classical texts often proves difficult for students to access comprehensively and discourages their interest or engagement. This article gives an account of the author’s interventions in the field of Theatre and Performance, and specifically vocal pedagogy, to tackle the language conundrum and therefore to broaden entry into and to invigorate Shakespeare’s plays. The study of Original Pronunciation (OP) is proposed as a means of ‘levelling the playing field’. In the project described, characters from the Shakespearean canon are chosen as possibly representative of individual students’ cultural backgrounds; then key speeches are translated into students’ first/home languages, spoken in the accents of those languages, shared and discussed before an engagement with the sounds of OP. The project culminates in a production and an analysis of how the language shifts described can increase access to, and understanding of, text. The article concludes that the exploration of accents and OP in studying Shakespeare’s works proves an invaluable tool.

THE REPRESENTATION OF THE JUDICIAL CONFLICT BETWEEN THE LAW AND POWER IN TAWFIQ AL-HAKIM'S THE SULTAN DILEMMA

Tawifq Al-Hakim is one of the most prominent Egyptian luminary and a visionary writer who has left his creative mark in modern Arab literature particularly in the field of theater as he plays the most prominent role as the sole founder of this field in which his influence is continued to this day. In his prolific literary works, he deals with many themes that reflect the political and social reality of Egypt and show a special interest in developing patriotism supporting the principles of justice, equality, freedom, and consolidating democracy. One of Al-Hakim's literary innovations (which strengthens his literary standing) is embodied in his inspiration for the themes of his many plays from the heritage of Egypt in its different eras. Thus, his play Al Sultan Al-Hair (The Sultan's Dilemma) is inspired by the popular history of the fifteenth century during the Mamluk Sultans era. The protagonist of the play, the Sultan, is put in a very critical situation that requires him to solve the biggest crises that encounter his reign by choosing one of the two suggestions to overcome it. The problem lies in the burden entailed by his choice and that he must bear on his own. He has to choose between applying the law which means being sold in a public auction (the Chief Cadi's suggestion) or relying on power and terrorizing the people (the Vizier's suggestion). The paper sheds light on the conflict between the law and power, the justifications provided by each party, the rationale for the Sultan's preference for one of them, and the consequences of his performance.

A whole century in the vibrating net of arts

The edition of Bratoeva-Darakchieva, Ingeborg; Genova, Irina; Levi, Claire; Spassova-Dikova, Joanna; Stoilova-Doncheva, Teodora; Tasheva, Stela; Traykova, Elka. Bulgarian 20th Century in Arts and Culture. Institute of Art Studies, 2019, ISBN: 978-954-8594-77-6, 632 рр. 333 ill. http://artstudies.bg/books/BG_XX_EN_2019_IIIzk.pdf in Bulgarian and in English in two separate books comes as a result of a collaborative interdisciplinary project supported by the National Science Fund, Bulgaria, which aims to present a general view on the history of arts in Bulgaria during the 20th century. There are specific but also general, parallel intellectual and artistic processes observed in the field of literature, theatre, music, cinema, visual arts and architecture. The accent is put on phenomena related to the modernization of Bulgarian culture and its place in the context of the flexible, dynamic cultural dimensions of modern Europe. The texts are structured in three parts: Under the Sign of Modern Europe (1878–1944), Metamorphoses of Modernity (1945–1989), Challenges in a Time of Transition (1989–2000). Splitting the period into topical parts creates convenience of sharpening the accents related to various “aspects of change” in the development of a particular art and its specific reflections from the point of view of personal and community identity analysed in synchronous or diachronous terms. The marking of such cross nodes (temporal, socio-cultural, institutional, genric, etc.) by following mosaic-chronological principle is conventional and provocative to the traditional idea concerning developmental trends in Bulgarian culture of the past century. The publication is richly illustrated and has an extensive bibliography. It is intended for a wide range of readers. It is evaluated as excellent edition by the National Science Fund, Bulgaria.

Carolyn Williams, ed., The Cambridge Companion to English MelodramaChristine Gledhill and Linda Williams, eds., Melodrama Unbound: Across History, Media, and National Cultures

The Cambridge Companion to English Melodrama and Melodrama Unbound are excellent exemplars of a recent turn in melodrama studies toward transmedial, transnational, and trans-historical approaches. The two edited volumes are essential reading for melodrama scholars working in the fields of theatre, film, television, gender studies, and musicology.

The formation of the literary canon of the French drama of the XVI century

This article examines the gradual formation of the literary canon of the French Renaissance theater, which subsequently largely predetermined the emergence and further evolution of classical drama. The subject of the study is the principles of dramatic art, which are formulated by poets and theorists of the XVI century in the framework of poetic texts and treatises. The purpose of the work is to identify possible stages of the formation of the theatrical canon in Renaissance France, to compare its principles with medieval theater, to determine to which stage the emergence of ideas about classical theater based on ancient models belongs, to identify the factors that influenced its development. В В The novelty of the research lies in an attempt to comprehensively analyze poetic texts and treatises, which make it possible to recreate the processes that took place in the XVI century in the field of French theater, as well as to compare them both with the medieval tradition and with gradually emerging classicism. The relevance of the work lies in the fact that in literary studies there is a need to understand how the classical principles of French drama are formed on the material of poetical works of the Renaissance. As a result, it is obvious that in the process of forming the canon of the French Renaissance theater, three stages can be distinguished. The first of them is connected with the publication of the manifesto of Joachin Du Bellay, which fixes a "gap" in the field of drama in French literature and calls for filling it. For the implementation of the second stage, the figure of Etienne Jodel, the author of the tragedy "Captive Cleopatra", who embodied an attempt to revive the ancient tragedy, and the comedy "Eugene", becomes decisive. So in France of the XVI century. there was a national theatrical tradition, which can be considered a literary canon. The third stage of its formation was the recognition of Jodel's achievements at the level of poetry theory. In 1555 Jacques Peletier in "Poetic Art" cited both works as examples of tragedy and comedy, which contributed to the consolidation of the canon.

Nieznany epizod z życia lwowskiego profesora prawa rzymskiego Marcelego Chlamtacza, czyli słów kilka o wyborach i kandydatach na stanowisko sekretarza Uniwersytetu Lwowskiego w roku akademickim 1894/95

<p>At the end of 1894, the University of Lwów announced a public competition for the position of the secretary of the university. A few months later the university received seven applications from young lawyers. As it turned out later the winner was Marceli Chlamtacz – a Roman law scholar, for whom it was one of the steps of his academic career. In the first part of the paper, I discussed, among others, circumstances of the elections and professional achievements of candidates until the time of elections. In the second one, were presented results of the elections and illustrated careers of competing lawyers that they had after 1895. Apart from M. Chlamtacz other persons famous in the later years applied for the position: Aleksander Doliński – professor of commercial law at Lwów’s Jan Kazimierz University, co-author of the Polish Commercial Code; Tadeusz Bujak – judge of courts in Kraków, Vienna and Warsaw; Jan Wierzbowski – attorney and judge in Stanisławów, philanthropist and donor of the Lwów’s Scientific Society; Jan Waygart – held a degree of doctor of law, specialist in military justice, Under-Secretary of State in the Ministry of Military Affairs; Jan Błeszyński – doctor of law at the Jagiellonian University in Kraków, expert in the field of theater, literature and translations. The last one who applied for the above-mentioned position was widely unknown alumni of law Kazimierz Tychowski, a Ukrainian.</p>

Secrets of the Alla Moda Theater’ Success: the Historical and political subtext of the first musical drama by J. A. Hasse

Relevance of the study. The field of musical performance, as probably the most sensitive to the relevance of ancient art, over the last century it communicates more and more closely with the antiquity of music. “Musical archeology” personalized in art critics and performers-historians actively studies the world’s musical heritage, revives on the modern stage authentic sounds in all the richness of their expression, variety of styles and forms. It is also important and justified to study the integral components of succeeding in the creation and execution of certain works, the recognition of creative personalities. It is hardly possible to find a better example in this direction than the musical theater of mature Baroque and gallant Rococo. But even in the then opera “industry” success (in the sense of mastering impeccable professional and artistic qualities, achieving a high level of demand, professional reputation, status, material well-being) was determined by a set of characteristics, among which integration into the historical context, social and political relations did not play the last role. Therefore, today it is necessary to apply a comprehensive approach to study the experience of highly professional, talented, active, and passionate artists of the late 17 — first third of the 18 century, to apply the tools hermeneutic analyze for reading their creative heritage. Main objective(s) — to reveal the historical context in which work by J. A. Hasse was created, to comprehensively consider the musical and poetic texts of the serenata “Mark’Antonio and Cleopatra” for the successful implementation of its performing reconstruction and stage production in the approach of modern Historical informed performance.Methodology based on an interdisciplinary approach at the intersection of musicology, theater studies, and historical science, using the cultural-historical method, the method of hermeneutic analysis of the text and the method of historical reconstruction, which allows us to consider the process of creating a musical-dramatic work in the unity of the subject, functional and historical aspects, expanded by in-depth analysis historical and political context.Results/findings and Conclusions. An important component of successful creativity in the field of musical theater and, more broadly, the success of works of art — the response of the audience, the ability of a piece of art to evoke empathy, a sense of belonging, and personal involvement — has been investigated. Bearing in mind the exemplary historical experience of the development and spread of Italian opera, the art of the first third of the 18 cent. was chosen as the area of study of these issues. As an example, considered one of the first works of I. A. Hasse — the serenate “Mark Antonio and Cleopatra”, written and presented by him in Naples, in 1725.The musical form of the serenata is analyzed, the stylistic and genre features of its elements, which determine the musical language of the young Saxon composer, are characterized. The libretto text is considered using the tools of hermeneutic content analysis.The historical and political aspect of the life of the Kingdom of Naples in the late 17th — early 18 centuries is researched. Based on archival materials, information about the customer of the work by Carlo Carmignano and the librettist Francesco Ricciardo have been clarified. An attempt was made to the historical reconstruction of the circumstances of the composition, the details of the stage design of the performance, assumptions were made about the personalities of the audience present. The hidden content layer of a musical and dramatic work, born of its connection with the history of everyday life, cultural and political context, is discovered. The effectiveness of using the semantic potential of plots from the life of historical personalities is emphasized, their main property is revealed — the ability to allegorical personifications, symbolic artistic “gestures”, disguised similarities

Introduction to special issue: artist development: class, diversity and exclusion

ABSTRACT This is the introduction to the Special Issue, Artist Development: Class, Diversity and Exclusion. It offers an introduction to the Incubate Propagate research network that is the project that this special issue has developed from, and an overview of reports that evidence the decline of socio-economic diversity in the field of theatre and the Creative and Cultural Industries more widely. It also offers a rationale for the structure of the special issue and introduces each of the articles.

‘Talking sense’ about art: Evaluation of theatre as a social process

ABSTRACT This article is concerned with collective judgement-making in the theatre field. Using the empirical case of expert theatre panels, it explores the rules of communicating, testing, and validating judgements in social interactions. The research is based on interviews with 30 theatre critics who served on review panels at the National Contemporary Polish Drama Staging Competition. The results shed light on what kind of statements, behaviour, and actions are perceived as manifestations of rationality in group decision-making. The analysis of data allows to elucidate different tactics, strategies, and efforts – such as providing justifications or preserving emotional distance – undertaken by panel members to secure and cultivate what they believe is a proper evaluation.

Theatre and Gendered Activism: Grassroot Discourses on Environmental Movement in Pasuruan

This paper deploys an interdisciplinary methodology and extends what is conventionally apprehended as discourse to include performance. It integrates the fields of performance studies, theater, gender studies and discourse analysis to document, contextualize and analyze the intersection of theater performance and activism in environmental movement initiated by IWINS (Initiatives for Water and Sanitation Improvement Through Network Supports) through the water and sanitation community network in Pasuruan. This paper considers why and how theater becomes an integral part of grass root activism, agency and collective identity narratives and counter narratives in confronting the ecological crisis in Pasuruan. By examining their discourse in light of Victor Turner’s concept of social drama, this paper provides a theoretical argumentation and intertextual reading of performance-conscious activism as discourse.
 Keywords: performance, discourse, grassroot, activism

Musical and dramatic creativity by Olena Pchilka in the development of children musical theater in Ukraine

Musical and dramatic creativity by Olena Pchilka in the development of children musical theater in Ukraine

Modern movements: women’s contributions to the success of Rudolf Laban’s ideas and practice in England 1930–1941

This article reconsiders the significant contributions made by women who worked in England during the 1930s and developed modern dance and movement as performers and teachers. Laban’s arrival in 1938 built on a series of ideas, practices, events, and relationships that were to have far reaching consequences and which left a legacy where it is Laban’s name that is canonical. These dancers and teachers included Anny Boalth, Leslie Burrowes, Anny Fligg, Joan Goodrich, Diana Jordan, Lisa Ullmann, Louise Soelberg and others. It gives an overview of the ways in which these women interacted with Laban and his ideas and how they variously developed networks that enabled Laban’s practices to flourish. The histories of these women working in Britain during the 1930s are uncovered. As a genealogy, this chapter is a re-appropriation of those archival and published records out of which the canonical history of dance and theatre performances have been created in order to find something altogether different. Previously unpublished interviews and archival documents are drawn on to help uncover the hidden histories of the contributions that these women made to the field of theatre, dance, performance and movement training, bringing their pedagogy out of the shadows.

A Cognitive Approach to Shakespeare Plays in Immersive Theatre: With a Special Focus on Punchdrunk’s "Sleep No More" in New York (2011-) and Shanghai (2016-)

Although cognitive science is an interdisciplinary field, its central questions are ‘what is humanity?’ and ‘what is emotion?’ Since the field of theatre and performing arts is deeply concerned with humans and emotions, we expect that it will contribute to the understanding of these concepts. Immersive theatre is an experimental performance form that emphasizes site, space and design while immersing spectators in a play. The number of immersive theatre companies or productions has been growing worldwide. This paper discusses Punchdrunk’s Sleep No More, directed by Felix Barrett and performed in London (2003), New York (2011-) and Shanghai (2016-). While elucidating the cognitive impact of immersive Shakespeare performances on spectators, this paper aims to uncover new artistic and cultural value in Shakespeare plays performed in an experimental form in order to advance their contemporary relevance.