Theatre Director Research Articles

Predicting the Role of Motivation, Sensation-Seeking, and Constraints in Shaping Visitors’ Intention and Stage of reading to Visit a Folk Theatre

Purpose: The study investigates the impact of motivation, sensation-seeking, constraint, and attitude on visit intention and stage of readiness associated with a folk theatre, specifically the Bharata People Theatre. Design/Methodology/Approach: The collected data includes 260 participants in Jakarta using a convenient sampling method. We analysed the collected data through exploratory factor analysis, confirmatory factor analysis, and structural equation modelling. The study tested various hypotheses related to the influence of motivation, sensation-seeking, constraint, and attitude on visit intention and stage of readiness. Findings: The results showed significant relationships between motivation and attitude, motivation and visit intention, sensation-seeking and visit intention and attitude and visit intention. However, the study did not find a significant relationship between constraint and visit intention, motivation and readiness, sensation-seeking and readiness or attitude and readiness. Research, Practical & Social implications: This study contributes to the current knowledge of marketing folk theatres, specifically the Bharata People Puppet Theatre. The study emphasises the significance of motivation, sensation-seeking, and attitude in influencing visitors’ intentions to attend cultural performances. However, the non-significant relationships between constraint and readiness and between attitude and readiness suggest the need for a better understanding of the factors affecting visitors’ readiness to engage in cultural performances. Originality/Value: The study provides valuable insights for theatre managers and marketers to design effective strategies to attract and engage audiences.

In the ‘Display Case’: (Capitalist) Realism and Simon Stone's ‘Zoological’ Ibsen

How are theatre practitioners (re)defining the realist project, a form of theatre intrinsic to the ideological domestication of capitalism? This paper takes up this question through an examination of Simon Stone's production of The Wild Duck ‘after Ibsen’, staged at Belvoir Theatre in Sydney in 2011, and the late Mark Fisher's (2009) theorization of a market-dominated present as capitalist realism. In doing so, it refers to three different cultural contexts by making parallels to the German theatre director Thomas Ostermeier's work and pointing to developments in Britain. It argues that performances dependent upon the subject's capacity to know and represent the world are predicated on a subjective response and therefore risk locating systemic issues in the closed fictional cosmos of situational dramatic art as part of its exploration of the paralysis intrinsic to the capitalist realist politics of (theatre) spectatorship.

Children's Musical as a Popular Genre of Ukrainian Stage Art in 1960s-1990s: Formation and Development

The purpose of the article is to identify the peculiarities of formation and the main trends in the development of children's musical as a popular genre of Ukrainian stage art in the 1960s-1990s. Research methodology. The historical and cultural method was used to summarise the factual material related to the time of creation and the logic of development of the children's musical in the Ukrainian stage art of the 1960s-1990s. The methods of art historical and genre-stylistic analysis were applied to help identify specific artistic and aesthetic, genre and stylistic features in the productions of children's musical on the stages of Ukrainian theatres. Scientific novelty. The history of the formation and development of the Ukrainian children's musical in the stage art of the 1960s-1990s is studied; its musical, artistic, staging and performance features are revealed. The chronological sequence of writing the most significant in the context of the development of the genre of the first national children's musicals is presented. The contribution of Ukrainian composers (Zh. Kolodub and L. Kolodub, O. Bilash, I. Poklad, S. Bedusenko) and directors (P. Kolisnyk, M. Lukavetskyi) in the formation of the national musical for children's audiences is revealed. Children's musicals by Ukrainian composers included in the "golden fund" of national stage art are analysed ("Fox Mykyta" (libretto by R. Kudlyk) and "Tom Sawyer" (libretto by M. Petrenko based on Mark Twain's novel) by B.-Yu. Yanivskyi). Conclusions. The process of integrating the musical genre into the Ukrainian stage art of the last third of the 20th century took place in accordance with the peculiarities of the socio-cultural space of that time, socio-political events and artistic trends. The creative rethinking of content and structural features of the Western genre invariant in the 1960s-1990s became the basis for the formation of the national Ukrainian children's musical as a factor in the internationalisation of the world music and stage culture. At the same time, the formation of the Ukrainian children's musical is connected with the process of nationalisation of the genre, as evidenced by the reliance of the libretto on stories from folklore and traditional Ukrainian culture, the introduction of traditional principles and techniques inherent in the stage art of Ukraine. The peculiarities of the formation and further development of children's musicals in Ukraine were conditioned by the creative searches of domestic composers (B.-Yu. Yanovskyi, I. Poklad, S. Bedusenko, Zh. and L. Kolodub, E. Lapeika, O. Kolomiitseva, A. Bondarenko) and theatre directors. The productions of children's musicals from the 1960s-1990s allow us to talk about the rethinking of the Western archetype of the genre and the beginning of the formation of a national Ukrainian musical.
 Key words: children's musical, Ukrainian stage art, children's musical theatre, genre, production and performance features.

A Museum of Human Hunting: Thomas Bellinck’s Speculative Documentary

Abstract: This essay explores the performance series Simple as ABC (2016 - ongoing) by Belgian film and theatre director and activist Thomas Bellinck as an exemplary artistic reflection on border regimes and the technological apparatus of mobility management. Based on extensive research into the most acute forms of human-hunting today, the mechanisms of border control and migration, Bellinck claims the speculative documentary as a counter-genre to “documentary taxidermy.” The speculative documentary investigates the objectification and de-humanization of the Other as an undesirable data-subject by interrelating the ethics of the “sovereign” gaze and looking-from-above management with the looking-from-below perspective of criminalized bodies and borderland communities. By questioning the interweaving of documentary forms with hegemonic representations of the Other, I argue that statements of truth in documentary theatre need to become unsettled, so that the genre avoids becoming complicit in the solidification of essentialist identity politics and the regulative production of narrative protocols.

The Undeviating Deviant: Ryan Landry’s Life and Work as Cultural Transgression

Abstract: This paper investigates how Ryan Landry, artistic director of queer camp theatre company the Gold Dust Orphans, is an undeviating deviant in both Boston and Provincetown’s queer communities. Landry’s “deviance” simultaneously cultivates queer communitas while confronting audiences on their complicity with gentrification, racism, sexism, and ableism. Rather than settling into the role of “cultural institution” in Boston theatre, Landry performs both on- and offstage in the role of radical queer misanthrope who just will not go away. Following a critical discussion of queer deviance and Landry’s influences and origins, this study examines how Landry embodies and manipulates the role of queer deviant as a performer and cultural figure.

Стриймингът на сценични изкуства – необходимост или екстра: мне- ния на мениджъри на театрални организации

This study is an empirical part of a dissertation on the topic "The Streaming Model of Distribution in the Performing Arts", provoked by the increasing digitization of performing arts work and their presentation through streaming and live-streaming online. It analyzes this new distribution tool through the prism of the managers of selected theatre organizations in Bulgaria. Like any new and unexplored phenomenon, steaming raises concerns. It has been accused of contradicting live art and could destroy it. At the same time, streaming provides a real opportunity to reach larger number of audiences and extend the life of highly artistic performances that can no longer be performed on stage. For the purpose of this research, which is one of the first in Bulgaria, the author created an open-ended expert questionnaire aimed at managers of state, municipal and private theatre organizations. Their answers and opinions were analysed and conclusions were drawn as to whether this new distribution channel in the performing arts is cost effective, feasible and artistically safe. An answer is sought to the question whether this new business model is a necessity or whether it is more appropriate to define it as an additional service, an extra. The research is relevant and necessary. It is part of a larger analysis that compares the opinions of theatre managers on SI streaming with audience attitudes. Exploring both sides of the same process gives a more holistic picture of how closely the views of audiences match or are similar to the views of those who create and sell theatre productions.

ThTP8.1 Improving Adherence to NCEPOD Guidelines in a District General Hospital

Abstract Background NCEPOD classification defines urgency for appropriate surgical intervention. Use of this classification ensures patient safety, clinical governance, and promotes communication and teamwork. NCEPOD advises classification is allocated at time of the decision to operate; classification should be recorded both in the patient casenotes and on the theatre management system. Aim To assess use of NCEPOD classification in a district general hospital and improve adherence to national guidelines. Methods Retrospective data review of theatre management system (OPRA) for all emergency cases performed at a district general hospital between 01-14/09/2021. Data reviewed included procedure performed, NCEPOD classification and adherence to selected classification (time of booking ◊ time to theatre). Theatre booking form was amended to include NCEPOD classification and distributed throughout the department. Further data collection 14-28/01/2022 to assess for improvement, and 02-13/05/2022 to assess for sustained change. Results Cycle 1 Cycle 2 Cycle 3 Conclusion Introduction of new theatre booking form has improved adherence to NCEPOD guidelines. There is scope to improve this further. Ongoing efforts include more departmental education and introduction of a WHO surgical sign-out.

THE IMAGE OF ANTONIO SALIERI ACCORDING TO THE MEMORIES OF HIS CONTEMPORARY AND EPISTOLARY PUBLICISTIC LITERATURE

The image of Antonio Salieri is recreated based on the memories of his contemporaries and epistolary and journalistic literature. The author, relying on memoir literature, archival documents and journalistic sources, substantiates his own position regarding A. Salieri’s contribution to the world artistic treasury and artistic higher education, the expediency of researching his heritage at the current stage. A wide range of primary sources little-known in scientific circulation are used, which allow us to reveal the image of Antonio Salieri – a musician, composer, teacher, theater director, rector of the central art institution of higher education in Europe in the 19th century – the Vienna Conservatory. The concept of A. Salieri’s involvement in the early death of is refuted Mozart. The aim consists in recreating the image of Antonio Salieri based on the memories of his contemporaries and epistolary and journalistic literature. The tasks of the research are the analy of primary sources on this issue and the identification of modern approaches to Antonio Salieri’s contribution to the world artistic treasury. Research methods. The methodology of the author’s research is based on the content-comparative method, which allows you to determine the reliability of one or another source, the ratio of traditionally established and non-traditional vision of the image of a prominent representative of his era – Antonio Salieri. Reconstruction was also used – to reproduce the events of the era at the turn of the 18 – 19th centuries within the scope of the research. Research results: The development of the pedagogical heritage of A. Salieri in the activities of his students and followers is shown; the creative portrait of Y.N. Hummel, who, thanks to the Maestro, mastered vocal art, Italian musical terminology, music theory and solfeggio, choral singing and conducting, orchestration, pedagogical skills, combined “Salierian” classicism and his own romanticism. The achievements of Fortunata Valzel-Franchetti as a singer, artist and teacher are analyzed, and it is shown how the vocal-pedagogical school of A. Salieri came to Ukraine through her. Conclusion.The analysis of primary sources –correspondence, diaries of Antonio Salieri and his students, made it possible to find out the significance of the Maestro’s creative heritage for subsequent eras, to recreate his image based on the memories of his contemporaries and epistolary and journalistic literature. 27 archival cases were presented for consideration, which gave an opportunity to understand how domestic scientists, artists and publicists treated Antonio Salieri throughout the 20th century, so often they turned to his creative heritage. After careful analysis of these materials, it can be said that their assessment was very high.

Passion or profession: the training of theatre directors in South Africa

This article explores director training in the context of contemporary South Africa. Through individual interviews with ten South African theatre directors, we explore their origins and inspirations towards becoming a director. The selected directors differ in their ways of working and their personal backgrounds, providing a diverse spectrum of profiles that highlight the different skills required by theatre directors. Together, these interviews reflect the reality of the theatre industry in South Africa, which is somewhat haphazard and fragmented. The interviews explore how most of the selected directors, working across the spectrum of formal, well-funded theatre and under-resourced, community-based theatre, have fallen into directing as a default position, rather than receiving specific directing training during their studies. In most cases, this has been born out of a necessity to create their own work as actors, or to produce their own scripts as writers. This practice reflects how South African theatre directors are often driven by their own passion rather than by the professional training provided for directors in other countries. Based on these experiences, and the needs within the theatre industry in South Africa, the article concludes with suggestions for curriculum reform for theatre directors in the context of the South.

‘Trust me, kid’: leadership style and how we train directors to talk to actors

This article considers some of the most relevant literature in business organisational studies and sports performance studies to see how we might apply work in these areas when training directors. While the protocols and practices are very different, business leaders and sports performance coaches are (like theatre directors) looking to manage creativity and teamwork, hoping to find inspired creative solutions to complex problems, and attempting to nurture the best possible performance from every team member. And while the success or failure of any performance will be judged against distinct criteria, the journey toward that success or failure will be determined largely by the ways in which a creative collaboration is led. Looking very specifically at the ways in which the communication between director and actor is determined by a specific leadership style, this article considers implied leadership styles that may be intuited in some contemporary books in theatre directing. Finally, a consideration of the theory of ‘motivational interviewing’ from a sports performance point of view suggests some possible ways forward.

Director training and education: models from Brazil and the UK

This paper presents a conversation that took place via Zoom on 6 September 2022, between Adriana Schneider Alcure and Bruce Adams, curated by Pedro de Senna. In it, Alcure and Adams discuss their experiences, respectively, at the Universidade Federal do Rio de Janeiro (UFRJ) and Middlesex University, London (MDX). Both universities offer BA courses in theatre directing, but follow very different models. Both universities also offer MAs in Theatre Arts (MDX) and ‘Artes da Cena’ (UFRJ), with similar interdisciplinary ethea. Mediated by de Senna’s experience of both cultural contexts, Adams and Alcure talk about commonalities and differences, addressing two key pedagogical questions: in what ways can directing be taught, if at all? And: what is the role of theatre (and theatre directors) in society? The conversation is not directly transcribed, but edited and organised by de Senna, drawing on the themes explored, and addresses contemporary theatre director training from an intercultural perspective. The exchange touches on questions of academic and artistic labour, student cohorts, curriculum design, interdisciplinarity; and the relationship between ‘training’ and ‘education’, when it comes to the performing arts in general, and theatre directing in particular: are these terms even adequate? It is clear that these questions are imbricated with those relating to the purpose of, and access to, the arts and education more broadly, in societies that, while very different, have more in common than might at first be acknowledged.

The Arts as a Vocation

Abstract This article is a revised version of the 2022 Michael Volkerling Memorial Lecture. It offers insights for the GLAM sector into the history of Australian national cultural policy (NCP), now in a new phase with the delivery of Revive in January 2023. It draws on the author's experience as a theatre director, a researcher into evaluation methods, and a policy activist to reflect on the challenges facing cultural policies at the current time. If arts organizations confront tough questions about diversity and inclusion, what happened to the economic ones of market efficiency and value-add that seemed all-consuming just a few years ago? The article utilizes Max Weber's conception of “a vocation” to reconsider the aims and purpose of an NCP. As the world contends with problems of entrenched inequality, catastrophic climate change, and democratic deficit, how can cultural policies, as distinct from other kinds, address these? Should they even try?

Revitalizing Philippine Theater: A Framework for Theater as Creative Entrepreneurship

Purpose – Despite the rich culture of the Philippines, the country has not been able to create products, services, and experiences that sustainably cater to domestic and international markets. Instead of harnessing its creative force to drive economic growth, it remains a creative labor supplier. The country is envisioned to become “a major creative hub in the Asia-Pacific, with strong and thriving creative industries” (British Council, 2017). Performing arts, including theater, is a key creative industries sector. However, theater is beset with precarity and instability (Santiago, 2021). This study sought to analyze the challenges and opportunities for revitalizing theater as an industry. Design/Methodology/Approach – In this investigation, a critical review was employed. This methodology not only describes the phenomena, but also formulates a re-conceptualization based on an integrative review of old and current models. A comparative analysis of creative economy models was made between Philippine theater and theaters internationally. Findings – Philippine theater is not fully utilizing its economic potential because current models involve high production costs, need for highly specialized creative labor, and lack of enabling policies. Among the four creative economy models (Potts and Cunningham, 2010), Philippine theater may benefit from Model 3, the Innovation Model, which may evolve into Model 4. Mapping representative theater companies and genres across the models provides insights into directions for theater innovations. A conceptual framework for innovating Philippine theater through Creative Entrepreneurship is forwarded. Research Implications – The framework yields valuable insights for theater managers, educators, heritage and cultural advocates, tourism creatives, and entrepreneurs.

Operation Theatre Nurses’ Job Satisfaction in a Teaching Hospital in Mangalore - A Case Study

Purpose: Operation theatre management has always been a challenging aspect for any hospital administrator because it includes staff from various categories, a large amount of infrastructure, maintenance work, risk management, infection control priorities, and, most importantly, patient safety. Nurses play a crucial part in the healthcare team. Nursing work is demanding. Nurses work to prevent illness, promote health, and extend people's lives and the lives of the community. Nurses are involved in patient care, doctor care, and administrative care. Nurses' job satisfaction is crucial for healthcare institutions because it influences both the nursing care quality and patients' satisfaction. Design/methodology/approach: The research approach adopted is a descriptive study approach. Findings/Result: The individual's satisfaction levels can be influenced and shaped by various factors. Due to rising labor costs and the enormous shortage of nurses, satisfaction in the nursing job sector is a very important but also a crucial challenge for healthcare organizations. The key importance is the motivation of this discipline (Nurses) so that their involvement in the hospitals they work and practice their profession will be as satisfactory as possible. The aspects that affect a nurse's satisfaction with their work in operation theatres were identified to be appreciable salary with increment, duty time management, experienced staff as peers, reduced workload & stress, more leave privileges, teamwork, the advanced technology at work, in-service education & training, and more respect at their place of work, from the study as perceived by the operation theatre nurses’ themselves. Originality/value: Employee job satisfaction is the level at which an individual is content with a range of variety in their work, like the overall nature of their work. However, a person's needs and personality traits also have a role in their level of job satisfaction. Paper Type: Case study

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.

The Promise of Cultural Diplomacy

This article offers a reflection on the potentials of cultural diplomacy and cooperation, situating itself in the long-term relationship between South Africa and Sweden as well as the specific context of the professional practice of Sweden’s first counsellor for cultural affairs in South Africa, Hedda Krausz Sjögren. Providing a first-hand account of cultural diplomacy, it adopts a self-reflexive positionand, largely, a first-person perspective. Co-authored by Krausz Sjögren and one of her collaborators during this period, a theatre director and researcher, Kristina Hagström-Ståhl, it also attempts to reflect the shared experience of collaborative work in this sphere. As such, the text is written from within a combination of diplomatic, cultural, and professional practices, as well as from within a diverse set of skills informing the practices that shaped the body of work to which the article refers. We use a combination of personaland collective pronouns throughout this article to place emphasis on our reflections; the use of personal pronouns denotes Krausz Sjögren’s reflections. We aim to share a sense of the possible impact of work dedicated to democracy, freedom of expression, andgender inclusion.

Elizabeth Boyd's Disappearing Act: Performing Literary Legacy on the Georgian Stage

How do we trace the historical processes that grant some writers visibility and, hence, legacy, while shoving others into the historical closet? This essay offers the case study of Elizabeth Boyd (1727-1745), a novelist, poet, and playwright who has received some attention from scholars interested in women’s contributions to the legacy of William Shakespeare in the second quarter of the eighteenth century. In particular, her unperformed play, Don Sancho: Or, the Students Whim, a Ballad Opera of Two Acts, with Minerva’s Triumph, a Masque (1739) dramatizes a woman writer’s reflections on the politics of legacy at this formative moment in the history of authorship and the British theater. While the play was not performed, key scenes were later plagiarized in popular afterpieces by theater managers and playwrights Henry Giffard and David Garrick. Boyd, along with her inclusive vision of theatrical legacy as the domain of men and women of different classes, disappears in the male playwrights’ fantasies of exclusively masculine, British literary greatness. The story of Boyd’s erasure speaks to the gendered and classed exclusions and elisions in the social and economic processes by which legacy is formed, in this case, in the gendered power relations of eighteenth-century theater and its management.

Les dramaturgies de l’existence, ou le tragique quotidien au théâtre : Karolina Czerska, Tadeusz Kantor i Maurice Maeterlinck. Dramaturgie istnienia [Tadeusz Kantor et Maurice Maeterlinck. Dramaturgies de l’existence

The dramaturgies of existence, or the tragedy in everyday life in theatre: Karolina Czerska, Tadeusz Kantor i Maurice Maeterlinck. Dramaturgie istnienia [Tadeusz Kantor and Maurice Maeterlinck. Dramaturgies of existence] Karolina Czerska’s book offers a comparative study in which the theater of Maurice Maeterlinck is confronted with the theatrical work of Tadeusz Kantor. The author has set herself two major objectives: on the one hand, she wants to popularize Maeterlinck’s dramaturgy with the Polish public, and on the other, she evokes the works of the Belgian writer in the context of Kantor’s stage productions, which agrees to revisit and reconsider the work of the Polish theater director from a new perspective. By comparing the work of these two theater men, Czerska examines four themes where their artistic concepts seem similar: the conceptions of the “tragique quotidien” (tragedy in everyday life) and the “invisible”, the construction and status of the character as well as the function of the actor.

Theatre: A medium of development communication: Case Study of two Theatre groups in Jammu

Over the ages, Theatre has played a vital role in spreading development communication among the societies. This paper attempts to introspect the role of Theatre as a mode of Development Communication in Jammu. This paper portrays the historical contribution of the Jammu Theatre. The paper is based on case study of two prominent Theatre groups of Jammu namely Natrang and Natraj Natya Kunj. The paper focuses on the part of theatre messages and its dissemination among the people. Interview method was used to collect the information from two focus groups. Information was further used to frame the conclusion, with reference to the role of theater directors, and their strategies behind the communication to create awareness in society. The theatre groups were chosen based on their track records as well as their popularity. The paper also highlights light the concept that Theatre is an important medium of communication that depicts community development and generating awareness among the people of Jammu.

15Theatre and Performance

Abstract It’s a cliché, of course, to open an annual review by pointing out how the texts under discussion reflect our contemporary moment. And none of the books reviewed here are modish responses to passing scholarly fads. All speak first and foremost to concerns located at the very heart of the theatre medium itself: the imaginative construction of alternative shared worlds, and the exploration of our hopes and fears around modes of interpersonal touch and intimacy. So, forgive me just one brief reflection on how it is surely no coincidence that the books that intervene most excitingly and meaningfully in the scholarly field this year are also those that speak to some of the most pressing anxieties and desires in the broader world as well, in the wake of pandemic contagion, the #MeToo movement, a cost-of-living crisis, and continued dystopic crises in both the academic industry and in national and global politics. The first section of this chapter, ‘Utopia’, reviews three monographs that discuss the intersections between theatre, concepts of utopia and utopian thinking: Siân Adiseshiah’s Utopian Drama: In Search of a Genre, Selina’s Busby’s Applied Theatre: A Pedagogy of Utopia and Ryan Claycomb’s In the Lurch: Verbatim Theater and the Crisis of Democratic Deliberation. The second section, ‘Touch and Intimacy’, reviews two books that cast an eye on questions of touch and intimacy onstage, from a contemporary practice-based and historical scholarly perspective respectively: Supporting Staged Intimacy: A Practical Guide for Theatre Creatives, Managers, and Crew, co-authored by Alexis Black and Tina M. Newhauser, and Alex MacConochie’s Staging Touch in Shakespeare’s England.