Theatre Building Research Articles

Work-Related Experiences and Challenges of Perioperative Nurses in Southwestern Nigeria

Background: Perioperative nursing is highly demanding due to the long hours of complex procedures, limited support, inadequate facilities, and staffing issues. These factors contribute to fatigue, frustration, and burnout. However, there is a paucity of data on challenges and experiences of perioperative nurses in Southwestern Nigeria.Purpose: This study explored work-related experiences and challenges of perioperative nurses in selected hospitals in in a south western state, Nigeria.Methods: This study adopted a qualitative phenomenological design. Twenty perioperative nurses that have spent minimum of six months in the operating theatres of the three public hospitals selected hospitals were purposively selected for the study. Data collection was done with through semi-structured interview using key informant interview guide. The qualitative data collected were transcribed verbatim, coded and analysed using content and thematic analysis.Results: The study identified two major themes: the experiences of perioperative nursing practitioners and the challenges faced in perioperative nursing practice. The findings highlighted perioperative nurses’ personal experiences, their motivational factors, and their professional aspirations. Additionally, the study uncovered several challenges, including inadequate infrastructure and equipment, obsolete theatre buildings, faulty and insufficient surgical instruments, a severe shortage of perioperative nurses, and underfunding of perioperative nursing services.Conclusion:The study concluded that perioperative nurses’ experiences were both educative and fulfilling, yet also challenging and frustrating due to the numerous obstacles they face in their professional roles. Therefore, there is a need for stakeholders to address these challenges to enable perioperative nurses to function optimally and improve outcomes for surgical patients.

History of the development of theater architecture: (5th century BC – beginning of the 20th century)

The article analyzes the stages of formation and development of theater architecture (from antiquity to 1900) in accordance with the evolution of culture, historical, social and economic development of human society. A description of the technologies of the theater building of different eras, its design and construction norms are presented. The authors made an attempt to explain the evolution of architectural styles of theater buildings from ancient times to modern times. It helps to understand the influence of cultural, technological and social factors on architectural decisions. The impact of the development of architectural styles in the construction of theaters of different eras on cultural heritage is also considered. The authors emphasize the need for a comprehensive coverage of the importance of considering the architectural features of theater buildings as part of the cultural heritage of various peoples and eras. For this purpose, the authors reviewed architectural masterpieces that have become symbols of their cities or countries. The authors separately considered the issue of technical progress in the construction of theaters at different times. This part of the article is devoted to explaining the technological innovations that influenced theater architecture, such as improved acoustics, lighting, and construction methods. Also, the authors of the article reviewed modern trends in the use of materials and energy-efficient solutions. The article analyzes the relationship between the development of theater architecture and social aspects, such as changes in audience tastes, the role of theater in society, and the reflection of political and cultural trends in buildings. The authors of the article attempted to determine the influence of theater architecture on modern architecture and society. In particular, an overview of the influence of the heritage of outstanding architects of theater buildings and their contribution to the development of architecture in general is made. The article shows that the expansion of the typological structure of the architecture of various theaters created the prerequisites for a variety of compositional schemes and a fundamentally different presentation of architectural tasks. Different city-building conditions, typological foundations and individual characteristics of the theater led to the appearance of new buildings that contrast in their structure, style and means of artistic expression. Historical experience shows that theater architecture is as inexhaustible as theater art, as inexhaustible and complex multi-meaning concept of theater.

Place-making and place-taking: memories from Tirana

ABSTRACT Multidisciplinary studies try to explain the complexity and the effects of political processes, such as how decision-making, and socio-political transition are connected with urbanism, and activism. Tirana has faced numerous changes over the years, from urbanism, to political landscapes, to economics, to social aspects, and to public spaces within the city (for example, squares and buildings), all of which are key points towards achieving sustainable transformation. This paper tries to explain and understand the political processes and informal placemaking (public space, buildings, activism) following three main perspectives: a) ontologies on political processes approach, the environment, and urban planning; b) activism and protest events; and c) the legal framework on urban planning and activism. Based on previous studies, experiences from the past and these three perspectives, this paper emphasizes the connection between political processes and informal placemaking by answering the questions: “What is the role of urban transformation in activism in Tirana? What are the implications of political processes on activism and urban transformation? The key studies in this paper focus on public spaces around culture heritage buildings in Tirana, such as the National Theatre building and the “Qemal Stafa” National Stadium.

Analisis Nine Steps of Strategic Public Relations Teater Pandora Melalui #MempermainkanRuang

#MempermainkanRuang is a Pandora Theater campaign initiated by the Jakarta Theater Community. The aim of this action is to increase public awareness about the limitations of theater buildings in Jakarta. Apart from that, to change the stigma of theater, which was previously considered boring and stiff. #PlayingWithSpace does not only mean space as a physical facility, but also acceptance, accessibility and opportunity, especially for young people. The presence of public relations in the world of creative industries is starting to be taken into account, so the aim of this research is to show the communication strategy of the #MakingSpace campaign from a public relations perspective. Apart from that, to see the obstacles that occur in implementing the campaign communication strategy. This research uses a qualitative descriptive method using Smith's Nine Steps of Strategic Public Relations communication strategy theory. The research results show that currently Pandora Theater uses social media Instagram and word of mouth communication techniques as the main communication strategies in outreach. Factors inhibiting implementation are benchmarking, the number of operational teams (human resources), communication strategy activation which only occurs every time there is a certain program and there are no simultaneous written reports.

The 1871 Lease of the Theatre Royal Haymarket

John Baldwin Buckstone took over the management at the Theatre Royal Haymarket in 1853, assuming control from Benjamin Webster who had been manager since 1837. They had both served in the company of David Edward Morris, the proprietor who had overseen the building of the new Haymarket Theatre in 1821. When Morris died, his estate passed into a trust on behalf of his widow, Maria Sarah. A lease dating from 1871 (now in the Library at the Garrick Club) describes the agreement between Buckstone and Maria Sarah. Not only does the lease detail the arrangement between the two parties, it also includes an extensive 214-page room-by-room inventory of the Haymarket Theatre, revealing hundreds of items accumulated throughout half a century of constant use. This article outlines the peculiarities of the lease and pays special attention to the music and dance holdings which feature prominently in the inventory. The lease is remarkable not only for the diversity, breadth, and specificity of its contents, but also because it serves as a rare document of theatre business and tells us more about the day-to-day life of one of London's most important theatres in the mid-nineteenth century.

Architectural and planning structure of modern theater buildings

The article presents the results of an analysis of the architectural and planning structure of modern theater buildings, as well as the latest technologies and innovative solutions in the field of their design. The architectural and design techniques used in the process of creating theatrical objects and their internal spaces are considered.

Hunting for pearls in the shallow water: designing and building spatial immateriality in the aquatic theatre La Perle

This essay discusses the working process behind Franco Dragone’s aquatic theatre La Perle (2017) in Dubai. The aim of the case study is to provide unique insight into the development and implementation of an innovative architecture typology of a theatre building conceived as a ‘living thing’, a spatial system able to adapt and change according to the demands of dramaturgy. Remembering imaginative, but never built, proposals for theatre buildings from the beginning of the twentieth century, and their objectives regarding more flexibility of a performance space, the study explains what it takes to actually realise a ‘fluid’ spatial system. At the same time, it is an attempt to broaden the understanding of scenography by discussing it in relation to its materiality, technical requirements, and the virtual content employed in the La Perle show. Using the lens of posthumanism, the analysis includes discussion on the culture/nature divide in the realm of contemporary spectacle, concentrating on Karen Barad’s notion of non-human matter and its role within an aquatic theatre, adaptable and ever-changing. It explains an approach to treating space as a scenographic body, and the contribution of architectural design proceedings to the conception and production of new kinds of theatres.

Experiencing Sounds in Ancient Spaces: An Overview

This paper aims to analyse recent studies which have raised new hypotheses concerning archaeomusicology, archaeoacoustics, and aural architecture as an emerging trend in humanities research, with a particular focus on the intersection of musical performances, theatrical spaces, and sound experience in the past. These studies have highlighted how theatrical buildings not only defined a place for performances, but also established the setting for multisensorial events in which music, dance, and other sonic events played an important role. This overview also takes into consideration how digital technologies can help shape our understanding of the architecture-sound nexus.

Features of Visual Identification of Modern Ukrainian Theatres by Means of Graphic Design

The purpose of the article is to reveal the features of visual identification of Ukrainian theatres by means of graphic design. Research methodology. The method of typology and techniques of figurative and stylistic analysis are applied, as well as the method of semiotic and visual-cultural analysis of brand symbols of Ukrainian theatres. A combination of the descriptive method and techniques of formal analysis are used to identify the means of artistic expressiveness used by the designer. The method of semantic and structural-semantic analysis help to clarify the cultural meanings of images created for the representation of Ukrainian theatre. The graphic-analytical method is used to visualise research results. Scientific novelty. Peculiarities of visual identification of modern Ukrainian theatres by means of graphic design were studied. The main attributes of visual identification of Ukrainian theatres – emblems and logos – were considered, their comparative analysis was carried out. The concepts of "emblem" and "logo" in the context of graphic design have been clarified; based on the structural and semiotic analysis of emblems of Ukrainian theatres, the spectrum of their visual images was characterised. Conclusions. The visual identification of modern Ukrainian theatres is a system of symbolic and graphic images, the logic of which is built to distinguish theatres by their purpose according to their types (musical, music-dramatic, dramatic, puppet, and others), as well as to differentiate each specific theatre within the defined typology. The emblem as a symbolic image of a certain idea encoded in a graphic form is the main visual image of the theatre, endowed with symbolic meaning, which conveys the main values of this cultural institution with the help of the graphic elements depicted on it. It is used for visual identification of the theatre in real and virtual space. The study of the emblems of modern Ukrainian theatres has revealed the following. Characteristic elements for the symbolism of Ukrainian theatres expressed in the emblems are elements of architectural origin (theatre buildings), graphic images of famous Ukrainian representatives of theatre, literature and art (Lesia Ukrainka, I. Franko, T. Shevchenko, M. Vodianyi, M. Sadovskyi, and others) and Harlequin masks as a symbol of the acting profession. Socio-historical and cultural factors are fundamental elements of concept formation. Emblems symbolically reflect theatrical, primarily acting activity. The conceptual solution of the corporate style also reflects the idea of the existence of the theatre and the values it offers in the space of modern culture: humanity, heredity, traditionality, and interculturality. Decoding symbolic images requires a high level of education and intelligence. Brand symbols can be built on a nuanced solution, in which all style elements enhance the effect of simplicity, complexity or an intermediate option. Keywords: graphic design, Ukrainian theatres, visual identification, emblem, logo.

Cause of Death: Lähiö

As geographically and socially marginalized neighbourhoods, Finnish lähiös are associated with urban segregation and a set of stereotypes about their residents. Claiming to portray everyday life in the lähiö, in 2018, Turku City Theatre premiered a musical theatre production Varissuo, which was set in the city’s largest and most multicultural housing unit. This article investigates how Varissuo was constructed and depicted both on stage and beyond the stage by analyzing several characters and their storylines, as well as material details present in the theatre building’s lobby area. Drawing from Richard Dyer’s notion of stereotypes as a product of assumed consensuses about specific social groups, the article first focuses on plotting how both novelistic and stereotypical characters contributed to an understanding of the lähiö as a locus of ill-being and personal struggle. Critically approaching Jill Dolan’s conceptual utopian performatives, the article then discusses the elements of utopia and dystopia in Varissuo, suggesting that the representation of the lähiö on stage and in the theatre building erased political potential of the utopian performatives and subverted them into a counterproductive force. I argue that the utilization of lähiö stereotypes and Varissuo’s detachment from its real-life origins potentially contributes to further stigmatization and polarization between social groups

Theatre for Zheleznogorsk in the architect G. P. Stepanov’s creative activity

23 February 2024 marks the 100th anniversary of the birth of Georgy Petrovich Stepanov (1924-2007), a Soviet and Russian architect, Doctor of Art History, Professor, Honoured Art Worker of the RSFSR, Honorary Member of the Russian Academy of Architecture and Construction Sciences. A major project implemented by G. P. Stepanov was a theatre for Zheleznogorsk in the Krasnoyarsk region. On the basis of the revealed archival data and published materials, the stages of the search for the architectural appearance of the theatre building for the Siberian city are restored. The structure built in neoclassical style influenced the further creative path of the Leningrad architect and the directions of his scientific interests and pedagogical work.

“SOMETHING MAGICAL HAS OPENED UP TO USˮ: KOSTROMA IN THE FATE OF A.N. OSTROVSKY

The authors of the article not only reflected the impressions of A.N. Ostrovsky about Kostroma, but, unlike other researchers, analyzed how the appearance of the provincial city was formed. Starting from the diary entries of the playwright, having studied a variety of materials, the authors showed the features of the construction of the city according to the plan of 1781, its central square, streets, the town of “Wildsˮ, the Ipatievsky Monastery, etc., which the playwright saw on his first visit to the city in 1848. In the future, until the end of his life in 1886, A.N. Ostrovsky often visited Kostroma on business, as a provincial city and lived here for a month or more. The article reflects how the city developed, its population increased, new industrial zones were created, a new theater building was built and opened in 1863, which later received the name of the playwright. A.N. Ostrovsky not only witnessed these changes, but may have been a participant in some city events. As a result, the authors came to the conclusion that without the impressions of A.N. Ostrovsky about Kostroma, its surrounding nature, people, the playwright could not have created his immortal works that are relevant both in the XIX century and our time.

«Первый опыт гражданской панихиды»: траурное утро в МХТ 13 февраля 1910 г.

The article, which based on materials from pre-revolutionary periodicals, describes in detail and systematically analyzes the mourning meeting in honor of the memory of actress Vera Komissarzhevskaya. This meeting was organized and held on the morning of February 13, 1910 by the founders of the Moscow Art Theater - V.I. Nemirovich-Danchenko and K.S. Stanislavsky. This memorial event, which took place in the foyer of the Moscow Art Theater, was named by V.I. Nemirovich-Danchenko "the first experience of a civil memorial service," during his opening speech. The event received such a definition, since no clergyman took part in it, due to a ban from the Moscow church authorities to serve a church memorial service for Komissarzhevskaya in the theater building in Kamergersky Lane. The article hypothesizes that the term "civil memorial service" (“grazhdanskaia panikhida”) was used for the first time at that time.Funeral and memorial ceremonies without the participation of the clergy were sometimes held in Russia before that (during the revolutionary events of 1905). The meeting on February 13, 1910 at the Moscow Art Theater, being an important milestone in the evolution of the Russian civil funeral rite, stood apart in this row. The civil memorial ceremony for Komissarzhevskaya had no direct internal connection with the current political conflicts (within the framework of which the atheistic worldview was already openly opposed to the religious worldview). It rather reflected the discrepancy in the perception of the status of dramatic art and the personality of the dramatic actor-artist (as well as personal creativity in general) between the church consciousness typical of that time and the consciousness of the creative intelligentsia, within the limits of a single Christian paradigm. "The first experience of a civil memorial service" is considered in the article not as an attempt to redesign, but as an attempt to strengthen the existing memorial rite in the therapeutic aspect, adapting it to the mental characteristics of the artistic community.

Theatre heritage in pre-WWII Hong Kong: a postcolonial reading

ABSTRACT This paper aims to delineate the transformation of theatre design in Hong Kong, which was initially born out of Chinese settlements, through socio-cultural dimensions. It studies the factors that altered the design of theatre buildings from the early colonial years in the 1860s to around the second World War in the late 1930s. By adopting a postcolonial analytical framework as well as interpretive-historical and archival research methods to examine primary resources including government documents, historical photos and drawings, interviewing descendants of cinema operators and architects, as well as film archivists and architectural historians, this paper details how socio-cultural factors evolving building regulations and the local industry had impacted upon the transition of theatre architecture over half a century, witnessing indigenous efforts that resisted certain colonial narratives in the design process. The paper also scrutinises what potentials the architectures, demolished or still existing, can serve in the context of theatre heritage in postcolonial Hong Kong.

Tra «incivilimento» e «riordino»: le ambizioni di un grande teatro d’opera per Roma capitale (1789-1960)


 
 
 During the nineteenth century the theatre building - and in particular the opera house - imposed itself as tangible proof of the civic progress of Western societies. As Mazzini theorised the “civilization of the multitudes” through the arts, the theatre became the place where this yearning could be pursued. The momentum of Italian theatre construction was impressive during the nineteenth century, both in the major centres and in the small provincial towns. Rome, from this point of view, represents a significant exception. Until the end of the 19th century, the city, although equipped with important venues of the old regime, did not have an opera house conceived in contemporary terms. To fill the gap, for about a century and a half, designers from different backgrounds will work to equip the capital with an opera house worthy of its aspirations. Drawing on rare or little-known sources, produced among others by architects Pietro Sangiorgi, Antonio Lovatti, and Marcello Piacentini, the contribution reflects on the positioning of a large opera house in the urban layout of the capital. From the papal Rome and the liberal age, to the fascist period, the longed opera house tries to give new, contemporary meanings to a building that will come to stand out for its fascinating outdatedness.
 
 

Teatr Kamińskiego w Warszawie – panorama pierwszych lat (1911–1914)

Kamiński Theater in Warsaw: The First Years (1911–1914) The article focuses on the artistic activity of the Kamiński Theater in Warsaw (1/3 Oboźna Street) prior to World War I. First, it reviews publications related to the topic which present varying facts and dates. Then the author confronts these scholarly works with Yiddish dailies. Based on the Warsaw Yiddish daily Der Moment, she determines that Yiddish performances of the troupe run by Avrom-Yitskhok Kamiński started as early as June 1911, not 1913 or 1909 as previously thought. The Kamiński Theater building was used not only by Jewish but also by Polish, Russian, and Ukrainian theater troupes.

Re-entering the Absurd in the Twenty First Century: A Study in Richard Nelson's Pandemic Trilogy The Apple Family

Since the Middle Ages, drama has started as a simple wagon in the market-place with unprofessional actors who acted occasionally to serve religion\the Church. By later centuries, dramatic actions steadily developed; and their growing popularity encouraged the construction of theatre buildings to host the increasing numbers of the audiences. Hence the simple facts about drama have therefore been settled: no audience or drama student can ever imagine these facts would ever change, until Covid-19 has unexpectedly undermined the drama simple facts as well as radically changed that. Concerning theatre, the current situations, however, have forced drama to evolve without actors appearing physically onstage. As a communal act, the theatre can hardly stop: human communication is one haven of man to escape one's loneliness, but such need is not expected to be part of man's surroundings. Hence, when drama resumes work, it does so cautiously. Richard Nelson's postmodern play, The Apple Family: A Pandemic Trilogy, is a play that is acted through Zoom screens, utilizing the cyberspace instead ofم the theatre. The curtains are replaced by a "sign out" or the dimming of the screen of the character. Characters chat through those screens, no more "aside" or audience-actor interaction. Theatre has become cinema-like in that it lost the physical existence of both actors and audience. There is no action as the plays remind us of Becket, Ionesco and Pinter. The post-war depression and dehumanization that led to the emergence of the absurd is happening all over again with COVID-19.

ТЕАТР С. СКАРБКА / М. ЗАНЬКОВЕЦЬКОЇ АРХІТЕКТУРНО - КУЛЬТУРНА КОЛИСКА ЛЬВОВА, РЕАЛІЇ, ЛЕГЕНДИ І ФАКТИ

The article highlights various aspects of the development of the architectural network of theater buildings and spaces in Lviv before the construction of the Count S. Skarbko Theater in 1842, as well as all the legendary and real events related to its design, construction, and operation against the background of theatrical and architectural artistic, cultural, and political events in the city and Europe from the early nineteenth to the early twenty-first century. For 180 years since the beginning of its creative activity, the S. Skarbko/M. Zankovetska Theater and its building have been the subject and object of research not only by scholars from Ukraine, Poland, and Austria-historians, art historians, architects, and playwrights-but also have become the source of many legends that are still of interest to its fans around the world in the twenty-first century. The purpose of the article is to highlight the phenomenon of the S. Skarbko / M. Zankovetska Theater in such a way as to confirm or refute some of the legends that have accumulated since its construction and until the beginning of the twenty-first century and to highlight the theater as an architectural and cultural phenomenon of the city of Lviv and Europe. According to the authors, theater is probably the most powerful manifestation of the level of culture in society. Today we are witnessing and participating in the revival and defense of the Ukrainian nation, its memory, faith, spirit and culture in the bloody war unleashed by Russia. And this is also impossible without theatrical activities, and in particular, such institutions as the S. Skarbko/M. Zankovetska Theater, which has been a true temple of true art for 180 years and is an important cultural center for all nationalities and religions in Lviv. It is a prominent cultural coordinate in Europe, just like its architectural forerunners, the La Scala and Dresden Opera houses. Such an architectural treasure requires proper care, which, of course, will never be possible to accomplish solely through the efforts of the theater's management and company.

Improving the thermal protection characteristics of building enclosing structures of the Samara Academic Drama Theater building

Preservation of the architectural appearance of buildings of historical and cultural heritage is a prerequisite for their energy modernization when performing major repairs or reconstruction. In this regard, it is not possible to use facade systems to reduce heat losses by external walls. The use of internal insulation, as construction practice has shown, quite often led to a violation of the humidity regime of enclosing structures and, as a result, to the formation of dark spots and mold fungi on the internal surfaces. To prevent moisture accumulation in enclosing structures, with internal insulation, only thermal insulation materials with a low coefficient of vapor permeability should be used. The article presents the results of a thermal imaging survey of the facades of the Samara Academic Drama Theater building, which indicate increased heat loss in the basement of the building and the exterior walls made of silicate bricks after reconstruction in 1967. In order to meet modern regulatory requirements for the thermal protection of buildings of historical and cultural heritage, it was proposed to additionally insulate the exterior walls from the inside above the zero mark with foam glass, as well as warm plaster in the basement and basement of the building. Solutions are proposed for the replacement of window structures, entrance doors, coverings and ceilings to increase the energy efficiency of the operated building. When performing the thermophysical calculation of the above-listed enclosing structures, the authors methodology for estimating the plane of possible condensation was applied, which allows for a higher probability of assessing moisture accumulation in them.

ROLES OF THEATRE MANAGER IN THE MANAGEMENT AND SUSTAINANCE OF PERFORMANCE BUILDINGS IN NIGERIA

The Performance buildings in Nigeria serve as popular outlets for entertainment, education and relaxation. They also serve as custodians of people’s heritage as well as reservoirs of culture and tradition. The study notes that the Public Performance Buildings in Nigeria are challenged by neglect, inadequate funding, lack of awareness and patronage when compared to Privately-owned theatre Buildings which are well funded, maintained, sustained aside attracting adequate publicity, quality performances in conducive environments. In view of this, the study examined the role of Theatre manager in the management and sustainability of theatre in Nigeria noting that his/her duty accentuates both the profit and survival of the theatre. As applicable to every research work, the need to adopt theoretical approaches to guide this study is imperative. To this end, Maintenance Optimization Model (MOM) and Multiple Stakeholder Theory propounded by Fons Trompenaars and Peter Woollians (2010) were considered applicable to the study. The study adopts both Key in format Interview (KII) and Focus Group Discussion (FGD) as instruments for data gathering and contextual analysis. The study discovered that the roles of theatre manager in government-owned theatres are not well-defined and lack operational model when compared to privately-owned theatre. The study therefore identifies the need for a robust and sustainable theatre model which can facilitate adequate maintenance and sustenance of performance buildings based on effective management and utilization of available resources.