Theatrical Stage Research Articles

Safety Risk Assessment Method of In-Service Stage Suspension Equipment Based on Grey Fuzzy Comprehensive Evaluation

Performance safety is one of the important goals for the high-quality development of modern performance services. The in-service stage suspension equipment that has been put into use is one of the most frequently used and most closely related stage machinery in performances, and there are often significant safety hazards during its use. In response to the current lack of safety risk assessment methods and incomplete assessment techniques for in-service stage suspension equipment, this paper proposes a safety risk assessment method for in-service stage suspension equipment based on grey fuzzy comprehensive evaluation, with professional theaters as the target scenario. This method first identifies risk factors based on Failure Mode and Effects Analysis (FMEA), then uses the grey relational analysis (GRA) method for risk factor analysis, and finally adopts the fuzzy comprehensive evaluation (FCE) method to achieve safety risk level assessment. By constructing and analyzing an evaluation model for professional theater stage suspension equipment, the safety risk levels and corresponding safety risk factor rankings of performance accidents such as electric shock, falling, and failure can be obtained, and measures to reduce risks can be provided based on the most important risk factors. The research results show that more attention should be paid to the influence of human factors in the safety assessment and detection of in-service stage suspension systems. The research in this article is of great significance for improving the safe use of in-service stage suspension equipment, enhancing the level of performance safety management, and improving the quality of performance equipment services, laying the foundation for the formation of relevant regulatory systems and standards.

New Observations on the Dionysian Scene Mosaic Panels in the House of the Triumph of Dionysus in Daphne-Antiocheia: Iconographic Description of the Periaktos System in the Decorative Architecture of the Theatre Stage Building

and French teams between 1932 and 1940 uncovered Roman ruins such as a theatre, church and villa. In the publications on the mosaic, the objects on either side of the actors and masks in the L-shaped panels of the Dionysian centre panel in the Dionysian Victory House have been interpreted as boxes and drawers. With this study, it has been seen that the mosaic panel of the Roman villa called “The House of the Triumph of Dionysus”, where a theatrical theme related to the god Dionysos is processed, is the first known iconographic expression of the wooden, prismatic rotating decor system periaktos found in the theatre stage building. We know about the periaktos from the accounts of Vitruvius. Since this decor system was made of wood, it was not possible to find archaeological remains of it. The only archaeological data on the periaktos system is the stone platform on which the periaktos system sits in the stage building of the Kaunos theatre discovered by Prof. Varkıvanç. With this study, the pictorial expression of the stage decor system on mosaics, which we know from Vitruvius’ reports, has also been identified.

THE PINK ROCKS OF CARLO CRIVELLI (CIRCA 1489)

ABSTRACT Until the 1800s, art historians considered the Venetian artist Carlo Crivelli (circa 1435–1495) to be a secondary if not a minor painter. This lack of recognition stems essentially from the dissemination of his paintings in churches and convents throughout the provincial region of Marche (central-eastern Italy), where Crivelli spent the most productive period of his life from 1468 until his death in 1495. As a consequence of this limited accessibility, his paintings could not be seen by mainstream art dealers and historians such as the scrupulous Giorgio Vasari (1511–1574). More than anybody else, the British demonstrated a great interest in Crivelli’s art in the late 1800s by acquiring many of his dispersed paintings that eventually ended up in the National Gallery of London, where the richest collection of the artist’s paintings is preserved today. Among them, ‘The Vision of the Blessed Gabriele’ is the one that attracted our attention not so much for its pictorial qualities and symbolic significance typical of Renaissance paintings, but rather for the many details making up the background of the painting, which accurately depicted the geological and environmental characteristics of the Adriatic port city of Ancona and the nearby Monte Cònero mountain. In this research, besides a meticulous study of architectural, geomorphologic, faunal, and floral details, we focused on the representation of a large outcrop of strikingly pink, thinly stratified rocks, which we studied through a quantitative RGB (red, green, blue) chromatic analysis and then compared the results with those from an analogous analysis of rock samples and outcrop images of all the more-orless red formations of the Umbria-Marche lithostratigraphic succession. This led us to the conclusion that Crivelli’s pink rocks represent the lower Paleogene Scaglia Rossa limestone exposed at Monte Cònero. Thus, the background of Crivelli’s painting ‘The Vision of the Blessed Gabriele’ is no longer an idealized landscape put there as a symbolic or simple wing of a theater stage, but a realistic representation of the physical environment surrounding the main subject of the painting as only a few Renaissance maestros like Piero della Francesca, Andrea Mantegna, and Leonardo da Vinci incorporated in their most famous and studied masterpieces.

Silent Theatres: Dramatising Furniture in the Fictional Interiors of Fin-de-Siècle Exhibitions, Stages, and the Commercial World

Focusing primarily on Paris and London, this essay delves into fictional interiors crafted for exhibitions and commercial displays around 1900, contending that their genesis can be traced back to the practices and methods of theatrical stage design. Nineteenth-century performance, fervently inclined to material realism, established traditions for the staging of domestic objects. Theatres lent their techniques and their professionals to other types of display. From stages to homes, and from bedrooms to period rooms, the dramatisation of domesticity seized both public and private realms. Regardless of the purposes they served, be it memorial, educational, recreational, or promotional, fictional interiors of the turn of the twentieth century capitalised on the emotional resonance of material settings on individual sensibilities, and the ability of the audience to weave narratives from the arrangement of domestic objects.

A.N. Ostrovsky’s Dramaturgy in Slovakia

The article examines the history of the acquaintance of Slovak literary culture and theater with the dramatic heritage of the great Russian playwright A.N. Ostrovsky. It tells in detail about the first translations of his plays into Slovak and the first experiences of productions on the professional stage (all of them are associated with the name of director J. Borodach), about the difficulties of translating some of the titles of the plays, and also traces the evolution of the perception of Ostrovsky’s work in Slovakia over the past century. The periods of greatest popularity of his plays are highlighted (1950s, 1970–80s), and an overview of the most significant Slovak theatrical productions based on his works is given. Special attention is paid to several outstanding productions of the drama «The Forest», which appeared on the Slovak theater stages in different historical periods and largely influenced the perception of this Russian author by the Slovak audience: performances of the theater «Divadlo na Korze» (1971, directed by V. Strnisko), Theater SNP in Martin (1982, directed by L. Vaydichka), theater «Astorka Korzo ’90» (1997, directed by R. Polak), Slovak Chamber Theater in Martin (2014, directed by L. Brutovsky, M. Daho), Theater J. Palarika in Trnava (2020, directed by V. Strnisko).

Exploring the Playwright’s Self-Representation in Tom Stoppard’s Dramatic Works

This article examines two masterpieces by the British playwright and screenwriter Tom Stoppard: the two-act play The Real Thing and the screenplay Shakespeare in Love. These works employ the author-as-character technique in disparate ways. This study will endeavor to demonstrate how the playwright interweaves artistic and realist elements, as well as the ways in which his intricate techniques of synthesis impact the written page and the theatrical stage.

Fantasy strolling beyond the stage: A study of fan-culture geography of the Takarazuka Revue

ABSTRACT The Takarazuka Revue is commonly differentiated from other Japanese theatres based on their gendered stage performances and distinct relations between the performers and their patrons. So far, little research has been conducted on Takarazuka’s fan culture beyond the prism of a theatre performance and performer/fan relationships, especially when it comes to issues such as locality, fan tourism, or fans’ consumer practices that are not limited to the activities of fan clubs. Looking at Takarazuka from the perspective of the imagined core of Takarazuka fan culture offers us a glimpse into the reasons for the unprecedented popularity of this establishment: the fantasy beyond the stage. Drawing on ethnographic data from fieldwork conducted in Takarazuka City and interview data with Takarazuka fans, this article examines Takarazuka fans’ perceptions of Takarazuka Revue’s birthplace, the core of Takarazuka City, and the landscape surrounding its home-theatre, the Takarazuka Grand Theatre. I explore how past memories, lived experiences, and personal encounters of individual fans transform an urban neighbourhood into a shared fantasy surpassing the theatre stage; an embodied space characterised by movement, liminality, and affect, which is hidden behind the idea of the “Takarazuka space”. I argue that Takarazuka fans’ awareness of the ubiquitous Takarazuka space on both communal and personal levels signifies a multi-layered fantasy which exceeds the expectations of theatregoing practices, and provides us insight into the way local theatres within urban landscapes have the potential to shape individual fan identities and promote the creation of fan networks.

The Opportunities and Challenges of Theater Stage Design in the Era of Artificial Intelligence

The integration of artificial intelligence (AI) and new media technologies has revolutionized the theater industry, offering innovative opportunities for artistic expression and audience engagement. This article explores the impact of AI on multimedia stage design, particularly its implications for the theater industry and individuals with disabilities. By analyzing the innovative applications of artificial intelligence in scriptwriting, stage design, and virtual reality, the article points out the new opportunities and challenges that artificial intelligence brings to artists and audiences. It particularly emphasizes how the combination of AI with AR/VR technologies provides a novel artistic experience for disabled individuals while also offering suggestions and prospects in areas such as intelligent audience experiences, copyright protection, and the transformation of traditional theaters. The article concludes by highlighting the importance of artificial intelligence in leading the theater industry forward and calls for an open-minded approach to addressing the challenges posed by new technologies, ensuring that theatrical arts continue to inspire audiences.

The Opportunities and Challenges of Theater Stage Design in the Era of Artificial Intelligence

The integration of artificial intelligence (AI) and new media technologies has revolutionized the theater industry, offering innovative opportunities for artistic expression and audience engagement. This article explores the impact of AI on multimedia stage design, particularly its implications for the theater industry and individuals with disabilities. By analyzing the innovative applications of artificial intelligence in scriptwriting, stage design, and virtual reality, the article points out the new opportunities and challenges that artificial intelligence brings to artists and audiences. It particularly emphasizes how the combination of AI with AR/VR technologies provides a novel artistic experience for disabled individuals while also offering suggestions and prospects in areas such as intelligent audience experiences, copyright protection, and the transformation of traditional theaters. The article concludes by highlighting the importance of artificial intelligence in leading the theater industry forward and calls for an open-minded approach to addressing the challenges posed by new technologies, ensuring that theatrical arts continue to inspire audiences.

The classical drama as contested heritage in modern Greece: theatre productions from private initiatives to state projects in the 1930s

Abstract Performing classical drama at ancient venues in interwar Greece reflected the socio-cultural context of the time. The development of archaeological tourism and the perception of classical monuments as heterotopic spaces created particular political and ideological needs. Until the mid-1930s, private theatre companies and individual artists reused classical venues such as the Odeon of Herodes Atticus and the theatre of Epidaurus to stage productions that gradually attracted local, national, and international attention. But by 1936, the National Theatre began exploiting the socio-political potential of ancient theatres and classical drama festivals and state-sponsored productions dominated the Greek theatrical stage. During this period, the claims of exclusivity on the part of the National Theatre and the National Conservatoire defined their competition with private companies and shaped the course of the revival of classical drama in twentieth-century Greece.

Application of histogram of oriented gradient features and support vector machine models in stage lighting control in drama

SummaryThe lighting control of the theatrical stage is directly related to the presentation effect of the program and the audience's experience. With the development of intelligent control technology, the control of lighting effects has been continuously improved. However, the existing stage lighting control lacks intelligence, resulting in poor control effect and weak energy‐saving performance. Based on this, a human contour image classification model using support vector machines (SVM) based on histogram of oriented gradient (HOG) feature extraction method is constructed to achieve stage lighting control. The results show that the revised HOG feature extraction approach achieves recognition performance of 99.6% when the ratio is 0.8. The HOG‐SVM model proposed in the study has the best recognition performance, reaching 99.6%. This indicates that the stage lighting control system based on HOG‐SVM feature extraction constructed in the research can meet the actual needs of stage program performance, which can be applied to stage lighting control to effectively reduce energy consumption.

The stage of the radio theater - new metaphorical space

This research is motivated by theoretical as well as practical, personal examples, explaining why I believe the realm of radio theatre is metaphorical and original. The first part of the article explores three elements of acting technique are presented: Imagination, Voice and Tempo-rhythm. These are inevitably found in radio theatre, showcasing the enduring relevance of the Stanislavski method, which can be a demonstration of the universality over time of the way in which the Russian theoretician thought about the theater. Subsequently, the paper discusses the National Radiophonic Theatre as a beacon of top-quality theatre and delves into the independent radio project Legendele Dobrogei, conducted in Constanța, in which I participated, portraying twenty roles across twenty radio productions. The final section of the article, brings to the attention of the readers what is the role of the actor in the whole story of the radio theater, a story full of metaphors that appear when you look at them with the mind's eye.

Neuro-Aesthetics – Representing the Mind on Stage

This article analyses the challenges of representing the mind on stage, through stage design and acting techniques. To address this particular difficulty, we used our practice as research at Craiova National Theatre in 2019, with the play Under (re)Construction, written by Marco Tesei, and also various examples in both theatre literature and theatre practice, focusing on relevant renditions of the mind on stage in modern theatre. Our conclusions highlight the difficulties, from a director’s point of view, of making the audience understand that a specific section of a play takes part in a character’s mind. Moreover, the study shows that representing the mind on stage equally poses problems to the team of artists involved in the creation of the show.

美国实验戏剧的反叛起源与精神符号

In the 1950s and 1960s, American theater gradually diversified. Following the impact of the Absurdist theater on American realism and expressionism, American theater also moved from modern theater to exploration of postmodern theater. The experimental theater on Broadway and Broadway posed a challenge to traditional American theater. Experimental drama begins to weaken the story and script in terms of content, and instead invests a large amount of artistic creativity in formal expression. By weakening the script, it emphasizes the relationship between observation and performance, sensory perception, and spiritual state in the field, which distinguishes it from the traditional theatrical stage. This article will start from the cultural trends in the United States and explore the spiritual origins of American experimental drama’s rebellion against tradition; Taking representative figures and their works in American experimental drama as examples, analyze the specific characteristics and trends in content and form of American experimental drama, and understand the postmodern spiritual symbols conveyed in American experimental drama; Deeply understand the essence of the spirit of American experimental drama and the philosophical discussions conveyed by the concept of experimental drama.

The Actors Shaping Roles to Stimulate Real Emotions in Drama Performances

The emphasis should be placed on actors playing parts that evoke genuine feelings in theatrical performances. In this article, I discuss the characteristics of a successful actor as well as the significance of feeling when it comes to developing a compelling stage presence. This study is to investigate the theory underlying dramatic performance art, with the goals of enhancing actors' comprehension of the script, gaining a better knowledge of the actor's inner image and emotional control, and developing strategies to mould the character's genuine feelings. The significance of this study lies in the finding that emotions are the driving force behind dramatic performance, and that in order for performers to create moving performances, they need to incorporate these feelings into their roles. Actors can learn to live more authentic lives and more fully fulfil their artistic tasks with the assistance of true emotion. I myself have been an actor on the theater stage for more than ten years, and through this article I also want to share the importance of emotional expression.

Weak Foundations: The Origins of Women’s Football in Spain, 1894–1931

In 1914 in Spain, the first recorded football matches played by women took place, although the first media mention of Spanish women playing football dates from 1894. As in other countries, Spanish pioneer women footballers were helped by men who acted as coaches, referees and supportive journalists, and the first female footballers played for the benefit of charitable causes. The origin of women’s football in Spain is a multi-dimensional historical phenomenon that encompasses more than Spanish women playing football. Journalists working for Spanish media reported on foreign female teams practicing the sport abroad and/or touring Spain to play football, and Spanish vaudeville actresses parodied women footballers in real pitches or on theatre stages. The years 1894–1931 provided weak foundations to women’s football in Spain. Spanish women played football (if only sporadically) but only two teams are known with certainty to have existed, and no system of regular contests emerged. As time passed, women footballers faced increasingly ferocious criticism from the printed media. The Spanish case shows that after an early and promising start, the historical process of women’s inclusion into the world of football stalled. The process was not linear, as stagnation and steps backwards followed a hopeful beginning.

CHRONOTOPIC FUNCTION OF LITERARY INTERIOR IN KAZAKH PROSE OF THE INDEPENDENCE PERIOD

The purpose of the study is to study how important the literary interior plays in the text of a work of art, to analyze this narrative unity in the context of artistic unity, which plays an important role in understanding the poetics of works, in transmitting their aesthetic value to the reader. This article discusses the concept of "interior", which has entered the circulation of the Kazakh literary science and the problems of artistic poetics and the functioning of the literary interior. The activity of the literary interior is comprehensively analyzed and confirmed by examples. The review of the research works considered around the formation of the artistic space of the literary interior is given. The features of the application of the subject detail underlying the idea and theme of the work are determined. The relevance of the research lies in the fact that the Kazakh literary science still analyzes the issues of poetics and activity in modern Kazakh prose as an actual topic on the way to the formation of a literary theoretical concept. The analysis of the structural features of the literary interior in a literary text reveals its main and other functions. Activity in cognition of space, inner world, character, being in which the hero lives is analyzed in continuity with the problems of aesthetics in fiction. The identification of modern Kazakh works of art and the manifestations of literary interior in them, taken on the object of research, increases the scientific value of the study. Examples are given from works about the place that the aestheticization of objects, details of the objective world occupies in a person's life. The concept of interior in literature is analyzed in connection with such broad aspects of the work as plot, composition, symbolic system. Practical significance of the research work: it can be used in lectures on literary studies, for students and undergraduates, doctoral students dealing with literary studies. In the process of interpreting a work of art on the theater stage, scriptwriters and production directors have a lot to do. The following methods were used in the study: theoretical analysis, generalization, systematization and comparative analysis.

Implementation of Three Dimensional Virtual Reality on Android Based AtTanwir Umsida Tower

In the current digital era, many technologies are being developed, one of which is virtual reality or VR technology,VR can be used for various problems in the current era including the introduction of an item, building, etc. At theUniversity of Muhammadiyah Sidoarjo (UMSIDA) itself, the 23 floor At-Tanwir Tower building will be built whichlater have many facilities for educators, students or the community. Of course, an introduction to the current era isneeded, namely VR, with the creation of the Android based At-Tanwir VR Tower, it is hoped that it will be easy torecognize the outdoor/indoor environment of the building and be able to introduce the building to the widercommunity. Later, VR users can look around and explore outside and inside the building from the parking lot, grasses,classrooms, auditorium, theater stage, cafeteria and the observatory room, all of which are three dimensional.

The Use and Impact Socialization of Religious Moderation Values Through Media of Hand Puppet Theater Stages Toward Forming Character of Tolerance In Primary School Students

Indonesia is a country with a rich diversity of religions and cultures. This diversity is a defining characteristic of the Indonesian nation and must be preserved and respected. This research aims to promote values of religious moderation through hand puppet theater performances to shape the tolerance character of elementary school students. Adopting a Participatory Action Research (PAR) methodology, which includes counseling, art performances, group discussions, and material distribution, this research strives for accurate results. The findings of this study will demonstrate the impact and effectiveness of performances in influencing the character of students at MIS Nurul Yaqin. A child's character is significantly shaped by their experiences at home, school, and in their community. This research indicates that the character development of MIS Nurul Yaqin students is influenced by three key aspects: (1) moral knowing, (2) moral feeling, and (3) moral action.

Between Androgyny and Drag: Dzi Croquettes on the Brazilian Theatre Stage, 1972 / 2012

Abstract: In the 1970s, Dzi Croquettes was an all-male troupe that revolutionized Brazilian theatre and dance at a time of dictatorial military ruling and increased censorship. Branding themselves as “androgynous,” they mixed cross-dressing, comedy, and cabaret aesthetics that pushed the limits of gender performance, which eventually led to their exile in Europe. In 2012, Ciro Barcelos, one of the surviving members, created a tribute musical of the same name, Dzi Croquettes. I analyze the work by Dzi Croquettes in the 1970s and Barcelos’s musical to offer a diachronic approach to the study of androgyny and drag as political performance. I introduce the term dzi androgyny to describe an embodied dramaturgy and philosophy particular to the one Dzi Croquettes performed as they faced censorship. Repurposed forty years later, Barcelos’s musical evidences a “re-presentation,” meaning a re-introduction, of a historically grounded aesthetic that puts Dzi Croquettes in conversation with contemporary forms of drag.