Theatre System Research Articles

МЕТАФОРИКА КИЇВСЬКОГО ЕКСПЕРИМЕНТАЛЬНОГО ТЕАТРУ «ЗОЛОТІ ВОРОТА» ЯК ВІДЛУННЯ ЄВРОПЕЙСЬКОГО ТЕАТРАЛЬНОГО ПОСТМОДЕРНІЗМУ

Мета дослідження полягає у з’ясуванні особливостей метафоричної режисури Київського експериментального театру «Золоті ворота» періоду 1984–2014 рр. Наукова новизна. Вперше аналізується феномен унікальної метафоричної лексики Київського експериментального театру «Золоті ворота» Методи дослідження. Історичний метод знадобився авторам для дослідження історії зародження метафорики «Золотих воріт», біографічний метод дозволив виявити коріння образної мови В. Пацунова, мистецтвознавчий метод сприяв аналізу художніх ознак метафорики «Золотих воріт». Висновки. Головною особливістю режисури Київського експериментального театру «Золоті ворота» періоду 1984–2014 рр. є поєднання системи «метафоричного» театру з системою театру «психологічного». Цей синтез грунтується на трьох «китах»: 1. Авторський метод генерування енергетичного поля вистави всіма її складовими: мистецтвом актора, режисера, сценографа та іншими співтворцями видовища. 2. Органічність метафоричної лексики режисера. 3. «Молекулярний» метод режисури. Усі ці ознаки обумовили практичну реалізацію В. Пацуновим концепції «Театру потрясіння» на сцені Київського театру «Золоті ворота». Дослідження унікальної сценічної лексики «Золотих воріт» періоду 1984–2014 рр. має велике значення для теорії та практики театрального мистецтва, для збагачення лексичного інструментарію сцени, для виховання нової генерації вітчизняної режисури.

A Solar Powered Smart Travelling Bag With An Embedded Video/Audio Player

Travellers have experienced one of these three prominent occurrences, waiting time, luggage theft and excess luggage charge. Waiting time can be converted into “relaxation time” while luggage theft and excess luggage charge can be avoided. This paper proposes a smart bag that allows travellers to watch movies and listen to music on the go. This was made possible by a theatre system specially designed for the bag. A 3D trilateration technology and a GPS tracker installed in the smart bag checkmated the problem of luggage theft while an inbuilt luggage weight sensor made it possible to give travellers’ a foreknowledge of the weight of their luggage to avoid the ever present possibility of being charged for excess luggage weight. The smart bag system is powered by a solar panel that allows mobile devices to be charged via dedicated ports on the smart bag.

Institutional and artistic changes in Estonian performing arts with a case study of Vaba Lava / Open Space

The article gives an insight into the theatre system of Estonia, the development of the system in the turmoil of history and the current situation in the 21st century.
 The first part of the article looks back at the period of 30 years: what happened with the Estonian theatre system when it moved from the Soviet occupation period into the Republic of Estonia. We show the developments in the funding system of theatres during the big changes in the socio-economic environment. We give an insight into how theatres are funded nowadays: how the funding of public and private theatres is connected with the quantitative (the number of premieres, performances and visits to the theatre) and qualitative (nominations, awards and artistic tendencies) results.
 The second part of the article is a case study. We introduce a new type of performing arts organization in the Nordic and Baltic countries – Vaba Lava (Open Space) in Tallinn, which is funded as a PPP (public private partnership) in cooperation between the private and the public sector. Vaba Lava offers an open platform to all private theatres and companies offering them both a stage for performing as well as support services. The core of the Vaba Lava programme is its International Curated Programme. Performances of the programme are selected by a team of curators, who announce an International Open Call. The projects are selected from the applications submitted to the competition. We show how this kind of theatre is adapting to the funding system and what kind of performance strategies and working practices have been developed. We analyse what are the main artistic ideas of the international programme that also gives voice to underprivileged people talking about socially relevant themes.
 The general research questions of the article are: how Estonian theatre has developed during the last decades and how it is adapting to the prevailing financial system? What kind of performance strategies and working practices have been developed and how do the economic conditions affect the artistic outcome?

Qualitative and quantitative model checking of distributed probabilistic timed actors

This article proposes an approach to modelling and analysis of distributed probabilistic timed actors. The approach rests on a lightweight infrastructure of actors -Theatre- whose design aims to favoring the development of predictable time-dependent applications. Adopted actors are thread-less and their evolution is transparently regulated by a customizable control layer which has a reflective link with the application. A Theatre system consists of a collection of interacting computing nodes (theatres) each one hosting a sub system of local actors. The control layers of the various theatre components coordinate each other so as to enforce a common global time notion (real or simulated time). The abstract Theatre modelling language can be reduced in a case to Uppaal, which opens to the analysis of the functional/non-functional aspects of a distributed system. A key factor of the reduction process concerns the possibility of making both a non-deterministic analysis of an actor model (checking that something, e.g., an event, can occur), and a quantitative evaluation of system behavior by statistical model checking of the same model (e.g., estimating the probability for an event to occur). The paper describes the Theatre architecture and introduces a real-time case study which is used as a running example throughout the paper. The operational semantics of Theatreis provided and the proposed reduction of Theatre actors on top of Uppaaldetailed through the chosen example. Some experimental results are reported about qualitative and quantitative analysis of the case study. Finally, conclusions are presented with an indication of further work.

Система театру «переживання» в контексті проблем театральної освіти

The purpose of the article is to rethink the concept of the theater system “experiences” in the context of the problems of educating the actor and in determining the essence of the creative process of “experiencing” at the present stage of the development of theatrical art. Methodology of the investigation consists of the conceptual methodological core of the study, they are a comparative, semiotic, etymological and analytical analysis of Stanislavsky’s teaching about the theater of “experience”. Scientific novelty of work consists in analyzing the contradictions inherent in Stanislavsky’s teaching about the theater of “experience”, in sharpening the attention to the problem of inconsistency with its modern requirements for scenic truth and in determining ways to resolve this contradiction. Conclusions. 1. The division of theatrical art into directions: the theater of “experience” and the theater of “representation” is an anachronism that does not correspond to either the nature of the actor’s creativity or the world of theatrical practice. 2. The dogmatism of theatrical education damages the process of educating the actor, hindering the overall development of theatrical art.

Features of the Acting Style of O. Raidanov and G. Kozachenko in the Films “Svatannya Na Honcharivtsi” and “Lymerivna”

The aim of this paper is to analyze the specific features of O. Raidanov’s acting role as a soldier Skoryk and G. Kozachenko in the role of the master Knur.Research Methodology. As part of the psychological approach, the author follows the true intentions of the characters, the contradictions of the external and internal states, nonverbal signals. The author applies the historical approach to define the role of L. Kurbas’s creative work and the creativity of the «Theatre of Coryphaeus» in shaping the Kharkiv actor’s school.Results. The author describes the artistic specificity of the actors of Kharkiv actor’s school of O. Raidanov and G. Kozachenko, as in the case of their character antipodes. The result of this work is the conclusion in the form of comparison of the acting manner of the play of artists with other acting systems, for example, the system of L. Kurbas. It is revealed that the differences are so common features of the performance manner of the play of Raidanov and Kozachenko with the aforementioned and recognized in the cultural space of Ukraine by the theatre systems. The acting play by Raidanov and Kozachenko has been considered from a myth-poetic point of view that made it possible to conclude that folklore can be a platform for the performing arts of artists. The author reveals some specific features as an individual actor’s technique that formed the style of Raidanov and Kozachenko. The work of actors with symbols, like axes, cradles, certain rituals, is analyzed.Novelty. The paper is the first attempt for the scientific interpretation of A. O. Raidanov’s and G. Kozachenko’s acting manner of playing. The author raises the issue of returning the actors’ names to the proper place in the history of Ukrainian culture among the prominent names that have shaped the history of Ukrainian theater and cinema.The practical significance. Conclusions are drawn concerning the presence of a clear stylistic manner in the play of actors O. Raidanov and G. Kozachenko. The material in this article can be used for a theoretical framework in the specialist training programme of actors and directors.

Staging translation and nation

This article explores the relevance and position of Irish drama within the repertoire of the Centro Dramatico Galego, a theatre company supported by the Galician autonomous government. Productions are considered in light of the consolidation of national and cultural identity implicitly pursued by the Centro Dramatico Galego, and linked to the ideological value attached to Irish cultural products in the Galician context since the early twentieth century. Through an analysis of textual and paratextual materials, informed by first-hand interviews with key agents, I will compare the different incorporation and framing strategies of J.M. Synge’s and Oscar Wilde’s plays to reveal the extent of the target-culture bias that characterizes their mediation processes. Those productions will illustrate the divergent norms that operate in publication and stage activity, and exemplify the powerful influence of the Centro Dramatico Galego in the Galician theatre system.

Testing embedded systems using test cases generated through combinatorial techniques

Thorough testing of embedded systems is required especially when the systems are related to monitoring and controlling the mission critical and safety critical systems. The embedded systems must be tested comprehensively which include testing hardware, software and both together. Embedded systems are highly intelligent devices that are infiltrating our daily lives such as the mobile in your pocket, and wireless infrastructure behind it, routers, home theatre system, the air traffic control station etc. Software now makes up 90% of the value of these devices. In this paper, authors present different methods to test an embedded system using test cases generated through combinatorial techniques. The experimental results for testing a TMCNRS (Temperature Monitoring and Controlling Nuclear Reactor System) using test cases generated from combinatorial methods are also shown.

The Valuation of Popular Theatre Performances: The Forgotten Success Story of Ljungby horn

Albert Ranft started as an actor in touring theatre companies in the 1880’s, but soon became responsible for one of the most important groups. Twenty-five years later, he ran a big company with about 2500 employees, owned theatres in Stockholm and Gothen­burg as well as a couple of touring companies.His repertoire was based on popular entertainment plays, revues, operettas, historical plays, contemporary dramas etc. Simultaneously, his companies could offer ‘highbrow’ and ‘lowbrow’ productions. Even the actors could, during just one week, work in differ­ent genres. The way of programing was for Ranft an art form by itself, and sometimes he even acted in and directed the plays.In November 1893, at Stora Teatern in Gothenburg, he premiered a fairy tale play, and the staging was filled with spectacular effects. The play was, from the beginning, a stun­ning success with the production running for several hundred nights. Moreover, the pro­duction of Ljungby Horn became the ground stone for Ranft’s theatrical enterprise.The article describes how this success was established through mediatization and its base on rural oral history. The performance is analyzed and discussed as a popular theatre production (McConachie, Price, Röttger, Schecter). The author proposes that a more inclusive definition of popular theatre should be used; one which also takes into account the productions that had commercial success. Popular theatre needs to be in­cluded in theatre history writing to enable a better understanding of how the theatre system has developed.

ТЕХНОЛОГИИ ТЕАТРОТЕРАПИИ В СОВРЕМЕННОЙ СОЦИАЛЬНОЙ РЕАБИЛИТАЦИИ

The technologies of theatre therapy in modern social rehabilitation are presented, the components of the pair of theatre system are revealed: game therapy; hospital clownery; psychodrama; psychomelodrama; satidrama; figurative psychodrama; pesso-therapy; psychogymnastics; “theatre of the oppressed”; forum theatre; “political theatre”; invisible theatre; theatre of memories; playback theatre; theatre of homeless artists or other unprotected categories; theatre of sports. It is noted that theatre therapy is extremely important for the social rehabilitation of children. We discuss some of the most outstanding achievements of the experimental technology theatre therapy in different countries: USA (project “Invisible People”); Greece; Russia (Project “Invizibl people” or “People Invisible”; All-Russian Festival of Special Theatres “ProTeatr”; project “Ariadne's Thread”; project “Touch-Ables”; “Theatre of Open-Hearted”; “ARTель inspiration”; “NeFoрмат”; “Speak Freely” (L.V. Soloveva)). It is indicated that by means of theatre therapy there is an improvement of skills of conscious action in the conditions of dramatic work, processes of self-knowledge in the context of development of emotional-strong-willed and intellectual-cognitive spheres of the personality are stimulated. The implementation of art therapy technologies in the modern practice of social rehabilitation is extremely relevant and in demand. That is why so important theoretical and methodological justification of formation and promising directions of development of these technologies, as well as creating the appropriate database information and methodological support that takes into account the latest advances in medical and psycho-pedagogical branches of scientific knowledge. Also important specialized programs for retraining and advanced training of social workers, taking into account innovative developments in the field of social rehabilitation, including technologies of theatre therapy.

In Search of Catharsis. Theatre in Serbia in the 1990s

Abstract This paper discusses various points about the response of the Serbian theatre to the social crisis of the 1990s. The focus here is on publicly-funded theatres and their role in pacifying or mobilizing theatre audiences either to participate in or revolt against the political projects which accompanied the dissolution of Yugoslavia. The Serbian theatre system in the 1990s entered a clear process of transformation of its models of management, production, financing, public relations and, naturally, the language and forms of expression inherited from the socialist 1980s. The chief interest of this study is the transformation of the theatre system since the end of World War II, theatrical interpretations of the historical and literary past in Serbia, the role of theatre in the identity ‘makeovers’ that followed the demise of Yugoslavia, and stage interpretations of contemporary crises. Consideration is also given to the present state of the theatre in Serbia.

Maria Levitska. Dramaturgy of Scenographic Imagery in the Stage Space of the Music Theater

The scenographic activity of the main artist of the National Opera of Ukraine, Maria Levitskaya, a representative of the school of D. Leader, and the author of a new spatial scenographic concept of musical material, was studied. The main stages of the creative formation of an outstanding representative of theatrical and decorative art are analyzed. The creative-psychological aspects of the phenomenon of the author’s direction of Maria Levitskaya are considered, the subtexts of its spatial-plastic solutions are reconstructed. It is proved that the appearance of such a director’s component in the scenography makes the modern musical performance not only spectacular, but also deeply psychologically meaningful. The material is presented in comparison with the theatrical systems of other representatives of this art form.

Large neighborhood search with constraint programming for a vehicle routing problem with synchronization constraints

This paper considers an extension of the vehicle routing problem with time windows, where the arrival of two vehicles at different customer locations must be synchronized. That is, one vehicle has to deliver some product to a customer, like a home theater system, while the crew on another vehicle must install it. This type of problem is often encountered in practice and is very challenging due to the interdependency among the vehicle routes, but has received little attention in the literature. A constraint programming-based adaptive large neighborhood search is proposed to solve this problem. The search abilities of the large neighborhood search and the constraint propagation abilities of constraint programming are combined to determine the feasibility of any proposed modification to the current solution. Numerical results are reported on instances derived from benchmark instances for the vehicle routing problem with time windows with up to 200 customers.

Multi-purpose performance spaces as vehicles to enhance the acoustical communities of cities and towns

Soundscape theory can offer insights into methods that can transform the design of multi-purpose performance venues so that they can come closer to fulfilling their potential as a vibrant facility at the artistic and cultural core of a community every day of the year all day long. This is a design theory guided by technical innovation and philosophical insight that can bring together diverse groups of users and performers; experimental building, acoustical and theatrical systems; and sophisticated, integrative design methods. Case studies of several architectural design studio projects that ask questions about the nature of performance in the city will be used to describe an approach to integrated architectural and acoustical design based in soundscape theory that brings forth new approaches to using sound to shape space rather than designing spaces and inserting acoustical envelopes within the spaces based on transformative mapping of interior and exterior space created by sound and the ways that it is enhanced when it interacts with buildings.

仮櫓の制 : 幕府による芝居町政策の一例(第383回例会報告(2008年10月18日))

仮櫓の制 : 幕府による芝居町政策の一例(第383回例会報告(2008年10月18日))

Can laparoscopy be part of a paediatric surgery outreach service?

INTRODUCTION The aim of this study was to assess the outreach laparoscopic service delivered by four paediatric surgeons to a district general hospital (DGH). METHODS A retrospective review was carried out of all laparoscopic procedures performed in a single DGH between January 2004 and November 2014 by the four paediatric surgeons providing the outreach service. All operations were identified from the electronic theatre system and archived correspondence. Demographic and clinical details were obtained from contemporaneous records. RESULTS Over the 11-year study period, 1,339 operations were performed as part of the outreach paediatric surgery service, with 128 patients (9.6%) undergoing laparoscopy. The indications for laparoscopic surgery were impalpable unilateral or bilateral undescended testes (UDT) (n=79, 62%) or request for insertion of a feeding gastrostomy (n=49, 38%). All but six UDT cases (96%) were performed as day surgery and the median length of stay for gastrostomy patients was 3 days (interquartile range: 2-3 days). There were three UDT cases with surgical complications and one had complications related to the anaesthesia. One gastrostomy case required transfer to our tertiary centre for management of postoperative urinary retention and urethral injury. CONCLUSIONS Elective laparoscopic procedures in young children can be provided safely as components of an outreach paediatric surgery service in a DGH setting as part of an increasing volume of operations performed by specialist paediatric surgeons. This enables children to have a high quality service as close to their home as possible.

The dynamics of theologies: A transdisciplinary description

In this article, the author asks why the South African public, especially Afrikaans communities, is largely unaware of the knowledge generated in the field of science and religion. The author describes theologies as complex systems that interact with their environment. To illuminate the environment, the author turns to the theatre system and illustrates how the theatre system can illuminate the modelling choices of theologians.

Dramaturgas actuales y teatro escrito a pie de escena en España: El meu avi no va a Cuba, de Victoria Szpunberg

Since the arrival of democracy, changes on the theatre system have affected the way we understand theatrical authorship in Spain. In the case of women playwrights, it is possible to observe that the generations who were born after 1960 have a deeper scenic education and professionalisation than their predecessors and combine writing with their work as directors, actors and/or production managers. One of the peculiarities of the new model of theatrical authorship lies in the interaction between the dramatic writing process and the stage, which has been promoted by initiatives such as the TNC’s Projecte T6, the ETC of the Sala Cuarta Pared or «Escritos en la escena» of the CDN. As example of this model of stage-side writing, I analyse El meu avi no va a Cuba, by Victoria Szpunberg, in the context of a transcultural theatre of ethical and formal inquiry.

Shakespeare’s Infernal Rivers : Topological Space and Dramatic Descensus ad Inferos

Drawing on recent theories of geocriticism and spatial literary studies, mathematics, and cultural geography, this paper traces the courses of five rivers of the underworld in Greek mythology (the Styx and its affluent rivers, the Acheron, the Phlegethon, the Lethe, and the Cocytus) to demonstrate the blurred borderlines, functional relationships and connectivity of Shakespeare’s riverine imaginary spaces as revealed in theatrical action. Articulating notions of topology, this paper approaches space as relational and multi-layered. Early modern English theatre offers a particularly intricate intersection of spaces : the urban space of London, the space of the stage itself, evocations of various settings, more or less fictionalized and geographically and temporally removed symbolic spaces, as well as migrations of motifs from other cultures. The notion of topology conceives of theatrical space in terms of structural links. Consequently, I suggest the related idea of telemesic space, which allows different times, places and modes of representation, such as mythology, to blend on stage, which functions as a nodal point. Rivers of the underworld emerge as particularly resonant in this regard when evoked on stage. They are topological in that they both link and sever, and that they allow for a fluid transfer between early modern geographies and mythological dimensions. Shakespeare’s rivers of the underworld are located everywhere and nowhere— according to dramatic purpose — and their shifting uses reveal the topological homeomorphism of dynamic theatrical systems. Classical, medieval, and Renaissance tropes of descent to the underworld figured by infernal rivers are embodied into the actual descent to the theatre’s hell trapdoor and allegorize images of menace, terror, and dismemberment.

Teatro, carteles y cómic en la Galicia de los años setenta

In this essay we can find the relationship between theatre and graphic art through the study of posters and brochures published for theatrical performances in Galicia during the 1970s and 1980s. During this time, artists and intellectual supported the political and cultural changes that were emerging at the end of Franco’s regime. It was a time when society underwent a labour movement and saw the legalization of political parties along with the abolition of censorship. All this gave rise to a new structure of the Galician theatrical system and the birth of the Galician comic.