Theatre Arts Research Articles

Aesthetics of Non-Conformism in Design Of Stage Space by Daniel Lider (1965–1975)

The purpose of the article is to identify the specifics of the manifestation of non-conformism tendencies in the work of Danylo Lider, People's Artist of Ukraine, chief artist of the Ivan Franko National Academic Drama Theatre in Kyiv in 1965–1975. Research methodology. The article uses a typological method (to identify the peculiarities of non-conformism in accordance with the specifics of stage design); a functional and typological method, which helped to identify the specifics of non-conformism in D. Lider's plastic solutions; a method of art historical, figurative and stylistic, formal and stylistic analysis of the design of the stage space of performances developed by D. Lider in 1965-1975. Scientific novelty. Non-conformism as a method of artistic thinking in the context of the specifics of the design of theatrical art of Ukraine in the 1960s-1990s is studied. The specificity of the manifestation of non-conformist tendencies in the work of one of the leading Ukrainian theatre artists D. Lider is revealed. Based on the analysis of architectonic elements and features of the visual image of the stage space of the plays "Diary Page" by O. Korniichuk (directed by V. Lyzogub, 1965), "Yaroslav the Wise" by I. Kocherha (directed by B. Meshkis, 1970), "The Time of Yellow Leaves" by O. Kolomiiets (1973), "Hello, Pripiat!" by O. Levada (directed by S. Smiian, 1974) revealed the characteristic features of Danylo Lider's non-conformism. Conclusions. The non-conformism of national theatre artists, in particular D. Lider, has a number of specific features that distinguish it from non-conformism in literature and the visual arts. The artist expresses a huge ideological, spiritual and artistic protest by means of multidimentional metaphorisation. Using myths and the tendency of his own consciousness to deep philosophical mystification of reality, he creates amazing, fantastic worlds within a given stage space. A peculiar reaction to the limitations of positivist aesthetics and naturalistic tendencies of socialist realism in D. Lider's work was the play of metaphors and associations. Non-conformism in the design of D. Lider's stage art is manifested in a complex synthesis of the master's philosophical, ideologicall and aesthetic concepts with the actual searches for new artistic forms. Its characteristic features are: a tendency to an highly complex, symbolic portrayal of one's own ideas and impressions, to a sophisticated coding of artistic means; immersion in the spiritual world and unusual forms of expression of new psychological material obtained as a result of comprehending the literary source of the stage production; creation of a figurative and plastic structure of the performance that goes far beyond the dramatic material; destruction of the canons of traditional artistic design in the style of socialist realism in search of a new reality; emphasis on the nuances of the deep shades of human feelings. Key words: non-conformism, stage space design, D. Lider, architectonics, metaphorisation, symbolic representation.

Baroque Modernity: An Aesthetics of Theater

Book Review| June 12 2023 Baroque Modernity: An Aesthetics of Theater Baroque Modernity: An Aesthetics of Theater. By Joseph Cermatori. Baltimore: Johns Hopkins University Press, 2021. xxii + 298 pp. Jennifer Buckley Jennifer Buckley Jennifer Buckley is associate professor of English and theatre arts at the University of Iowa. She is author of Beyond Text: Theater and Performance in Print after 1900 (2019), which won the 2020 Outstanding Book Award from the Association for Theatre in Higher Education. Her current book project is provisionally titled Act without Words: Speechless Performance on Modern Stages. Search for other works by this author on: This Site Google Modern Language Quarterly 10574846. https://doi.org/10.1215/00267929-10574846 Cite Icon Cite Share Icon Share Facebook Twitter LinkedIn Email Permissions Search Site Citation Jennifer Buckley; Baroque Modernity: An Aesthetics of Theater. Modern Language Quarterly 2023; 10574846. doi: https://doi.org/10.1215/00267929-10574846 Download citation file: Zotero Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search Books & JournalsAll JournalsModern Language Quarterly Search Advanced Search The text of this article is only available as a PDF. Copyright © 2023 by University of Washington2023 Article PDF first page preview Close Modal You do not currently have access to this content.

Cultural Institution and Institutional Culture from the Transcultural Perspective: What Is the Culture behind the Stage, and What Is the Culture inside a Cage?

This article presents the profile of the East Asian theatre artist Danny Yung, director of the acclaimed Zuni Icosachedron theatre in Hong Kong. In the first part, Maciej Szatkowski offers a synthesis of his artistic biography, from his early years as a theatre maker in Hong Kong in the 1980s to the creation of a transnational Chinese theatre, which provides a space for artistic encounters of established and emerging artists from the Sinosphere and beyond. The article focuses on highlighting the main areas of Yung’s work and contextualizing them in terms of the realities of Chinese cultural life. The author describes the central distinguishing features of Yung’s activity and its consecutive stages over the years, as well as the impact of his work on theatres in China and Taiwan. The appendix provides a transcript of Yung’s talk at the conference Contemporary Acting Techniques in Eurasian Theatre, Performance and Audiovisual Art: Intercultural and Intermedia Perspective (2021). The guiding idea of the lecture is the role of institutions in shaping theatre policy and connecting artists and ideas. Yung draws on examples from his own experience, describing the process of creating his most recent productions. He emphasizes the importance of collaboration and dialogue between artists, as well as the role of theatre institutions as major actors influencing the development of theatre art in contemporary Eurasia.

Ion Puiu - outstanding personality in decorative theatrical art from Republic of Moldova

One of the most representative personalities in the field of decorative theatrical art from Republic of Moldova was Ion Puiu. The artist has been working since the beginning of the 70s of the 20th century and until the first decades of the 21th century. The artist brought his contribution to the national culture as an actor, director, playwright and scenographer. Ever since his student years, I. Puiu has been passionate about scenographic art and, after graduating from the Art Institute, the young man works as an actor at the Academic Theater ”A. S. Puşkin” from Chişinău. In 1971, I. Puiu began his professional activity as a painter-scenographer at the Republican Theater for Children and Youth „Luceafărul”. From 1974 until 1996, he works as the chief scenographer at the ”Vasile Alecsandri” Theater in Bălţi. This period constituted a real stage in the scenographer’s creation, being already an experienced and professional artist in the field. Since 1981, he has worked as a chief scenographer at the ”Vasile Alecsandri” from Bălţi, combining in the most harmonious way the work of scenographer with that of director.

Exploring Intangible Cultural Heritage (ICH) Documentation of the Untold Stories of Mak Yong Performing Art: A conceptual framework

UNESCO has recognized Mak Yong’s Theatre as a Masterpiece of Oral and Intangible Cultural Heritage (ICH) of Humanity since September 2005. Currently, there is a lack of existing collection on ICH in Malaysia, especially of the performing art heritage at the national information agencies. There is a significant need to urgently safeguarding this ancient theatre to keep them alive. The objectives of this research are to explore the undocumented stories of Mak Yong performing art theatre in Malaysia and to develop a new technique of information packaging in documenting the untold stories of the Mak Yong theatre.

The Americanization of the Sublime: Washington Allston and Thomas Cole as Theorists of Art

The idea of the sublime, borrowed by the painter Washington Allston from Jousha Reynolds and – through S.T. Coleridge – possibly also from Kant, at the beginning of the nineteenth century in the United States still had mostly European connotations. Both as a theorist of art and a poet, Allston explicitly pledged his cultural allegiance to Great Britain. It was paradoxically Thomas Cole, a British-born immigrant, who was the first to associate a much less strictly defined concept of the sublime with the American landscape of the Catskills, thus initiating the discourse of the US cultural nationalism both in his diary and essays related to painting, and poetry.

LITHUANIAN THEATRES DURING THE COVID-19 PANDEMIC: AN EAGERNESS TO CREATE AND TO WATCH

The unprecedented circumstances created by the COVID-19 pandemic significantly changed the usual processes of work throughout the creative industries. In case of theatre, the companies could no longer perform in the usual facilities and rehearsals were restricted. Theatre artists reacted differently to the new conditions dictated by the COVID-19 pandemic. Facing restrictions of working in contact mode some sought ways to adapt and not only create but also present performances to audiences online, others chose to deny the forms of mediatized theatre, as if waiting for the times to change. The aim of this article is to review the dynamics of theatre attendance in Lithuania in the 2018–2020 period. Data from yearly reports of state funded theatres reveal how many viewers visited Lithuanian theatres physically and how many performances were watched online. The analysis of this data provides an insight into the changes in the number of viewers compared to the pre-COVID-19-pandemic years and answers the question of whether performances on Internet platforms attracted a significant number of online audiences. The results of the analysis are indicative of the sustainability of the demand for views of performances online.

Droga do domu

GOING HOME: UKRAINIAN THEATRICAL ACTIVITIES IN THE PUBLIC SPACE AFTER 1991 ON THE EXAMPLE OF THE CONTEMPORARY ART PROFECT GOGOLFEST Along with gaining independence, in Ukraine festival tendencies were revived, including theatrical art: the exchange of experiences has been intensified, tendencies to present social- and historical topics forbidden during the USSR times along with the search for new means of bringing theatrical art closer to the audience became more visible and prominent. In the early 1990s, festival movement became key to Ukrainian theatre’s revival, enabling its adaptation to the new socio-political, economic and cultural reality. The aim of the article is to present the GogolFest festival in the context of various directions of the festival movement after 1991. The idea and initiative to create this multidisciplinary project came from the director, producer and artistic manager of the ‘Dach’ Center for Contemporary Art. As a result, activities of GogolFest and its evolution have a broader culture-forming scope: through the integration of various fields of art and creators, they aim at modernizing Ukraine in the space of art. This, in turn, is the basic condition of forming or increasing the awareness and conducting social discussion on current and historical topics brought by the reality of contemporary Ukraine.

Stanislavski versus the Peasant Woman

In ‘Stanislavski versus the Peasant Woman: Acting habits beyond the neutral’, Ilinca Todoruț analyses Western theatre’s fraught relationships with acting habits by reading between the lines of Konstantin Stanislavski’s short account of a daring casting experiment gone awry. In a slippery two-page text, Stanislavski narrates how he attempted to cast an unnamed peasant woman in the 1902 production of Leo Tolstoy’s The Power of Darkness. Prying open what went wrong at the Moscow Art Theater, despite the best of intentions, helps guide a critique of contemporary performance training methods geared towards eliminating habit.

АРХИТЕКТУРНЫЕ И ХУДОЖЕСТВЕННЫЕ ПРИЕМЫ ФОРМИРОВАНИЯ ИННОВАЦИОННОГО ТЕАТРАЛЬНОГО ПРОСТРАНСТВА С ПРИМЕНЕНИЕМ ЦИФРОВЫХ ТЕХНОЛОГИЙ

In this study, the authors pay attention to digitalization in theatrical art, and also raise the question of what changes theater spaces undergo under the influence of high technologies. The features of the influence of cultural globalization on modern theater are considered. Historical and modern examples of experience in designing theatrical spaces of new digital aesthetics prove the relevance and active development of this topic at present. The study of world and domestic experience in organizing theater spaces made it possible to identify the main trends in the development of the theater of a new order. The study defines the types of technologies that are used to transform the theater space, such as: VR technology, AR technology, projection 3D video, etc. The study defines the main techniques for the formation of new visual images of the theater's media architecture, considers interior and exterior aspects, determines the correspondence of types of digital technologies and theater spaces. The revealed techniques and principles of shaping are tested at the experimental project of the cultural center with a multi-purpose hall in Samara.

Bodylab

Bodylab is a virtual reality system for creating full-body virtual reality avatars. It provides anatomically realistic mannequins as canvases, which can be painted and textured, sculpted and deformed, adorned with objects and animated with particle effects. The artist can work from a first or third person perspective, and variety of interaction modalities are made available. To assess the system, we invite costume designers and theatrical artists to provide expert reviews. We also describe the use of Bodylab in a live dance performance. We believe Bodylab to be the first virtual reality tool for in virtuo painting and sculpting of full-body avatars.

EXCERPTS ON THE HISTORY OF THE PEKING OPERA MODERNISATION IN THE 20TH CENTURY

The founding of the People’s Republic of China in the 20th century, the advent of changes in Chinese society lead to the emergence of new artistic requirements for Chinese dramatic art, and especially for the Peking Opera. Style changes have been brewing in the theater since the late Qing era, but they were fi nally thought out and fi xed in it by the personal talent of its representatives, such as Mei Lanfang, Cheng Yanqiu, Zhou Xinfang, Qi Zhushang and others. Their work had a signifi cant impact on the style of the Peking Opera and contributed to new fl owering of Chinese theatrical art. The article discusses the ways of its renewal; the most radical one subsequently led to the emergence of the so-called “exemplary performances”.

Theatre art: Conceptual and categorical problems

Theatre art is a fundamental component of modern culture and requires a detailed analysis of the problems of a set of interrelated concepts, which will reflect the key substantive and functional aspects concerning theatre art. The research relevance is determined by the description of the problems of the conceptual and categorical apparatus of theatrical art for the first time is subjected to a complex structural and semantic analysis, which is necessary to determine the study of ways of forming new terms, which will make it possible to present the system of modern theatrical terminology in a holistic form. The study aims to analyse and describe the contemporary problems of the conceptual and categorical apparatus of theatrical art. General scientific methods of art history were used: method of analysis, comparative analysis, synthesis, analogy, and classification. The article investigates the whole stage space as one of the components in the context of the conceptual categorical apparatus of modern art history. Contemporary theatre art is undergoing an active evolution, with artists striving for innovation, using interactive elements, multimedia technology and art installations to create a deep and rich experience for the audience. An important aspect is to involve the viewer in the experience, where the traditional boundaries between actors and audience are blurred and the viewer becomes an active participant. Theatres also emphasise diversity, aiming to reflect different cultures and identities on stage. However, there are problems with the conceptual and categorical apparatus, requiring the development of new terms to accurately describe contemporary phenomena in theatre. Sarcasm and irony prevail, artists seek new directions, and all this happens in the context of the diversity of theatre traditions, creating challenges in the exchange of experiences between cultures. The materials discussed in this article can be applied by both theorists and practitioners of contemporary art history in their writings and as material for teaching in the educational process when training specialists in the field of contemporary art

Theatre arts in UK city of culture evaluation practices: the case for headphone verbatim

PurposeThis article's purpose is to examine the case for the use of the theatre arts in the evaluation of UK City of Culture (UKCC) programmes, specifically headphone verbatim.Design/methodology/approachThrough an analysis of secondary evidence, supported by some primary research, this article analyses past and present evaluation practices surrounding UKCC programmes and the case for headphone verbatim to be included as a method of gathering and distributing research data. The article also observes the challenges in how data may be disseminated through verbatim theatre performance practices, given the limited examples of its use in this context.FindingsThe author argues that the theatre arts can provide a different way of knowing and understanding the impacts of UKCC projects on the host city. Specifically, that headphone verbatim can bring an experiential perspective that is rarely if ever captured by existing UKCC evaluation methods and policymaking in general.Originality/valueThis article details an innovative method of evaluating social impacts associated with UKCC projects.

The symbolism of the mask in the theatrical art of the West and East

The article examines the ancient and unique culture of the mask, analyzes the features of its perception, understanding and interpretation in different theatrical traditions of the West and East (ancient Greek tragedy, comedy dell'arte, Chinese no-si theater, Peking opera, etc.). Particular attention is paid to how the mask is interpreted and used, based on tradition, to create and enhance stage effects and deepen meaningful symbolism in modern performances. The relevance of this work lies in the typology and classification of common and distinctive characteristics of similar, but at the same time unique artifacts of various theatrical cultures of the East and West on the example of the use of masks in productions in the past and present. Addressing this topic can help to establish intercultural ties, facilitate intercultural communication and reduce the degree of civilizational contradictions in a multipolar world. The scientific novelty of the study lies in the results of processing the original selection of case studies, scientific publications and literary sources. The purpose of the study is to search for the features of the perception and understanding of masks in various theatrical systems. To achieve this attitude, the history of masks in different countries, their semantics are analyzed, in particular, the ancient Chinese thermal culture and the ancient Greek theater, as well as the Italian comedy dell'arte are compared. In conclusion, we note that in different theatrical systems, the mask has unique symbols and uses. Thus, it reveals the complex and contradictory human nature, reveals the unknown and people's fear of reality, embodies and expresses emotions, provides the rhythm and sharpness of the development of the drama, deepens the meaning of ongoing events.

Aristotle's "Catharsis" as an Inspiration for Modern Drama Therapy

This work is an attempt to decipher the therapeutic essence of the Hellenic theater through the prism of "catharsis", starting with the Athenian orgy, when theatrical performances turned into a tool for collective healing. The article deals with the theoretical views of Aristotle, in whose aesthetics catharsis has become the main concept that testifies to the healing abilities of the Greek theater to purify and harmonize the personality. The author shows how these ideas can be used in modern theatrical art, helping to identify and eliminate the mental problems of today's audience. Dramatic "catharsis", named and analyzed in the theoretical system of Aristotle, in turn, became a theoretical generalization of the healing abilities of the Greek theater. The scientific novelty of this work lies in the fact that the study of the essence and form of healing in the Greek theater can be used as a theoretical basis for the development of modern drama therapy. The work uses an interdisciplinary approach, a cultural-historical method and the principle of comparative analysis in the 70-80s. In the twentieth century, drama therapy began to be explored as a separate discipline that awakened creativity and imagination, contributed to the reunification of people with their inner world, removed the burden of difficult experiences, changed behavior and life circumstances, thus revealing the healing abilities of theatrical "catharsis". The rise of modern theater therapy reflects a new direction in the development of psychotherapy and theater, as well as a return to the ancient traditions of healing and artistic creativity and the development of fresh ideas and new creative ideas based on them.

Mastery of modern technologies in higher education institutions as a basis for the work of a future media specialist

In the era of modernisation, mastering modern technologies and innovative working methods is an important aspect of any business. Modern technologies are no less relevant in the work of future directors, because, having mastered them, a specialist can adapt to modern professional trends and improve the quality of their projects. The purpose of this study was to cover the aspects of the use of modern technologies in the training of future directors and to prove that mastering them is necessary for successful professional activity. To fulfil this purpose, the methods of analysis and synthesis, comparison, generalisation, induction and deduction were used. The study revealed the need to use innovative technologies in the work of modern specialists, namely in the activities of future directors. The paper described the specific features of preparing future directors for professional activity in higher education institutions. The study analysed aspects of directing activity in the era of modernisation. The authors described modern technologies and the possibilities of their application in filmmaking. The importance of modern technologies for future specialists in terms of distance education and blended education was covered. The authors described the prospects for the development of film and theatre art if future directors use modern technologies. Positive and negative aspects of the use of modern technologies in filmmaking were covered. Recommendations for improving the process of mastering modern technologies in higher education institutions were provided. It was concluded that future directors need to master modern technologies to develop Ukrainian theatre and cinema. The results of this study can be used by the management of art higher education institutions to develop curricula, by teachers to improve the educational process, and by students when studying and preparing for professional activities.

Od wychowania teatralnego do pedagogiki teatru (w kontekście teorii wychowania estetycznego Ireny Wojnar)

The main purpose of this paper is to determine and distinguish, in a sparing and, by necessity, brief manner, the ideas and statements of theatre education, and present facts and experiences (conceived as a change) providing grounds for building up the concept of theatre pedagogy. The paper is divided into three parts, presenting the synthetic assumptions of Professor Irena Wojnar’s Theory of Aesthetic Education by its field-determined specification, i.e. the concept of theatre education and proposal of a difficult synthesis of pedagogy and theatre, its sources and foundations, as well as cultural and pedagogical premises for its legitimacy. The issues addressed are grounded in the pedagogy of culture, yet at the same time stem from Professor Irena Wojnar’s Theory of Aesthetic Education, offering a clearly outlined general concept of education that focuses on the problem of value and its connections with human enrichment processes. Theatre education is construed here as the refinement of the imagination with regard to values carried by the art of theatre, through the educational situations it creates, and treating it as a specific form of self-education, self-creation or simply making it real. The analysis of multiple relationships and dependencies between values carried by theatre and human education (considering the context of contemporary culture) identifies the main points of interest for theatre pedagogy, at the same time setting the direction for research work. Although it would be hard to treat it as a separate sub-discipline at this stage of its development (perhaps only as an intellectual short-cut), it may undoubtedly serve as a certain interpretation guideline, an observation point, if not as much as a perspective for discussing theatre-related issues. In any case, while addressing the issue of the human being and theatre, in its educational context, and enhancing one’s personal potential, it covers an area of reflection not covered by other fields of theatre studies and research, as well as phenomena affecting and related to theatre.

Literatura jako wehikuł tajemnicy. O pisarstwie Jerzego Grotowskiego

Jerzy Grotowski (1933–1999), considered to be one of the greatest theatre artists of the 20th century, frequently expressed his ambivalent relation to words, repeating that any true knowledge has to be obtained by practice. However, all his life he had been creating and publishing text. The volume collecting them all in print has 1131 pages. Researchers interpreting his art (e.g. Krzysztof Rutkowski, Zbigniew Osiński) and his close collaborators like Ludwik Flaszen many times underlined the importance of Grotowski’s writings, stressing a special function the literature played in the artist’s research. Following their recognitions, partly polemizing with them, one can formulate some basic assumptions concerning the character and functions of Grotowski’s writing and its relation to the main aspects of contemporary literature. This was the man of theatre appears to be also an aware creator of a literature paradoxically close related and working for a mystery beyond the words.

Using live theatre to foster faculty inclusion

Using live theatre to foster faculty inclusion Florida International University’s Bystander Leadership™ programme has collaborated with professional live theatre artists to increase awareness of gender and race bias among faculty through evidence-based practices. Bystander Leadership™ uses live theatre to teach participants the five steps of bystander intervention and leadership. The first two steps are to notice and interpret when workplace interactions reflect gender or race bias. The US National Science Foundation ADVANCE program funds the AWED Theatre programme.