Theatrical Tradition Research Articles

Dive Into the Past: Chinese Intangible Cultural Heritage Represented in Chinese Mobile Games

This study delves into the representation of intangible Chinese cultural heritage in Chinese mobile games. Nowadays, even with huge economic potential, Chinese mobile games are still faced with negative comments, especially from parents. To develop their reputation, Chinese mobile games have portrayed considerate Chinese intangible cultural heritage (ICH). The representation of cultural heritage in video games has been a subject of discussion for a long time, while console and computer games and tangible cultural heritage have been at the centre of academic studies. Hence, we strived to investigate how Chinese ICH is depicted in Chinese mobile games. A thematic analysis was conducted on data collected through analytical gameplay of 30 Chinese mobile games selected from Apple’s App Store and the Chinese TapTap platform. Our analysis indicates that Chinese ICH is represented in Chinese mobile games to fulfil the persona of game characters, to create a more engaging and immersive game world experience, to provide more intense combat moments, to offer visually enjoyable virtual goods, and to deliver culturally driven updates during traditional festivals. Among the various forms of Chinese ICH, Chinese traditional craftsmanship is found to be used most frequently because of the huge effort it requires to be mastered, which could be educational to players. Theatrical traditions were found to be depicted in most game elements because they combine visual, audio, and motional elements. Lastly, folk and classical literature is portrayed in Chinese mobile games to provide a narrative resource that culturally resonates with players.

Towards an Egyptian Theatre: Syncretic Aesthetics in the Works of Tawfiq al-Hakim and Yousuf Idris

Tawfiq al-Ḥakīm (1898-1987) and Yūsuf Idrīs (1927-1991) are two towering figures in Egyptian and Arabic theatre, not only for their poignant social commentary but also for their bold theoretical and theatrical innovations. Their contributions served to decolonize the Egyptian stage and paved the way for subsequent generations to reclaim an Egyptian identity. The objective of the current research paper is to investigate how the two playwrights syncretized elements from Western and Eastern theatrical traditions that created unique and impactful theatrical experiences which are neither Western nor indigenous but amalgamation of both. Moreover, the paper delves into the dramatic world of al-Ḥakīm and Idrīs, specifically al-Ḥakīm’s Agamemnon (as revisited and reworked in Qālibunā al-masraḥī [Our Theatrical Mold (1967) and Idrīs’s al-Farāfīr (1964). Through an examination of these plays, the analysis explores the playwrights' experimentation with dramatic form, which draws upon the rich tapestry of Egyptian folk culture, while simultaneously engaging with the universality of content found within the Western dramatic canon. The research paper is grounded in a multifaceted theoretical framework that integrates several theoretical concepts. Deploying Christopher Balme’s “syncretism,” along with Homi Bhabha’s “third space” and Erika Fischer-Lichte’s “interweaving” as analytical framework, this paper examines the transaction between indigenous and colonial theatrical productions that led to the emergence of new dramaturgies by al-Ḥakīm and Idrīs that bridge the precolonial, colonial, and postcolonial paradigms. The paper concludes that the playwrights’ incorporation of syncretic forms in their plays represents the recognition of multifaceted cultural heritage.

Aesthetic Grounds and Practice of Screen Adaptations of Theatrical Productions in the Light of Film and Television Language in the 1970s

The aesthetic grounds and methods of screen adaptation of theatrical performances in the context of film and television art in the USSR in the 1970s are investigated in the article as well as the influence of film and television technologies on the theatrical genre, the peculiarities of the adaptation of stage performances to the cinematographic and television environment. Attention is also paid to the revealing the peculiarities of cinematographic art as a synthetic phenomenon and its interaction with the theatrical tradition. These issues are considered in the context of the cultural and political realities of the USSR of that period, highlighting the relationship between aesthetic searches and ideological attitudes of the era. In general, a deep and systematic understanding of the process of film adaptation of theatrical performances within the framework of Soviet cinema and television art of the 1970s is submitted in the article. Since the films of this period become a time of development of existential problems of human life. The typical life of a Soviet person recedes into the background, instead, the basis of the plot becomes the search for peace of the soul, its urges for freedom, which usually unfolds against the background of something insignificant. Unlike the adaptations of literary works, when ”current ideological content” is imposed on classical original sources, adaptations of the best plays of leading Ukrainian theaters have offered perfect art, introduced a wide audience to the achievements of stage masters. But the screen adaptation of the performance is a fixation of one staging, which, of course, is shown unchanged on movie screens. The play cannot remain as it is conceived from the very beginning, and therefore gradually it has started to transform itself according to the requirements of television. However, such transformations are not always successful either. This is the beginning of the creation of a kind of the average genre between cinema and theater, which wished for better, because the aesthetic content of such a specific genre has remained opened.

“TECTONICS OF FEELINGS” E.-E. SCHMITT IN THE “CONVERSATIONAL THEATRE” PARADIGM

The article analyzes the play by E.-E. Schmitt’s “Tectonics of Feelings” in the paradigm of “conversational theater”, which has become quite popular in France since the 80s of the 20th century. “Conversational Theater” continued the traditions of absurdist and avant-garde theater, with a tendency to turn to linguistic experimentation, changing the language of the stage, which is still relevant in our time. The dialogue in the talking theater is actually an action, a new way of understanding reality, where the space of action is expanded thanks to the language experiment, illusions and reality are mixed, the conflict is based on a remark that further explains the break in the relationship between the characters, it is also resolved in the dialogue. The psychological portrait of the characters is revealed not in situations and actions, but in speech, which gives the play theatricality.

Euphrase Kezilahabi’s Kaptula la Marx as a site of cold war contestation and communitas making

This article analyzes Euphrase Kezilahabi’s Kiswahili play Kaptula la Marx, examining its explicit engagement with Cold War politics, ideologies, and aesthetics. Kezilahabi blends the satirical and revolutionary, making the play a site for Cold War contestations and community-building. It is a work of postcolonial disillusionment but also a call to arms. By focusing on the portrayal of the African dictator, particularly his ill-fitting clothes as symbols of power, Kezilahabi satirizes and undermines the dictator’s authority. The play’s rich Cold War references reveal Kezilahabi’s global visions, addressing African politics’ entanglement in the global Cold War and a growing North/South divide. Additionally, the play draws on radical theater traditions, featuring a revolutionary leader figure and interactive elements with the audience that inspire oppressed groups to unite for change.

Performer vs. Actor?: Grotowski and the Tradition of Italian Theatre

This article is devoted to the provocative proposal of a plausible relationship between Grotowski’s last season (above all his idea of the Performer) and a certain tradition of the Italian actor’s theatre. We understand this relationship and this provocation essentially in terms of micro-theatricality and intra-theatricality. By intra-theatricality we mean that method of composition which is inscribed in the tranches de vie of layered, multi-generational actors, in their ability to reuse existential sequences and to reproduce on stage the complex relational routine that the company represents as a community. Apart from the fact that the distance between the twentieth-century Performer and the traditional Italian actor has often been emphasized, there is something in the traditional profile of the Italian actor that, in the mid-twentieth century, paradoxically coincides with the mission that Grotowski assigns to the Performer. The purpose of this article is to explore these analogies.

Study on the Historical Development of Folk Songs in Shanbei

Northern Shanbei folk songs are famous traditional music in China. This study focuses on the origin and historical development of northern Shanbei folk songs, as well as its characteristics and ways of expression. The origin and development of northern Shanbei folk songs have not only incorporated ancient farming culture and theatre traditions, but also combined them with modern music to form a unique musical style and mode of expression. This has made northern Shanbei folk songs retain their ancient characteristics in their inheritance, while also advancing with the times and adapting to the needs of modern society. As an important part of Chinese folk songs, northern Shanbei folk songs are of great significance to the study of Chinese music culture and social history.

Features of the Genre and Style of the Historical and Heroic Opera “Jiang Jie”

Being internationally recognised and having received many state awards, the historical and heroic opera “Jiang Jie”, or “Sister Jiang”, is considered as one of the peaks of national Chinese music. The work is little studied in the Russian scientifi c literature. The music of the opera is based on Sichuan folk songs and their characteristic pentatonic mode, elements of Sichuan and other types of opera, including Beijing, Yu, Yue, Hang Tang, Yang Qin and others. The score includes spoken dialogue, mass and domestic scenes, as in folk Chinese drama, as well as vocal forms, choral and symphonic pieces, as in Western European opera, which gave “Sister Jiang” the features of the genre and style of modern Chinese opera in the Western European style. All this speaks of the development of the national musical theatre traditions in the conditions of a new musical language of the 20th century. The study of this process seems relevant in the context of the problem of preserving national identity in the musical art of China. The article presents the results of an analysis of the features of the genre and style of “Sister Jiang” as a historical and heroic opera in Chinese in the Western European style, which crowns one of the most fruitful periods in the development of modern Chinese musical drama.

ЧЕТВЕРТЬ ВЕКА БЕЗ ЧЕХОВА: ПЕРЕОЦЕНКА ЦЕННОСТЕЙ

The article examines the reaction of the literary and theatre criticism in the USSR and Russian Diaspora on 25th Chekhov's commemoration. In the country, where socialism was being constructed, classical tradition was under attack, as well as Chekhov, who exerted his influence on the aesthetic system of dramaturgy in particular and theatre in general. In those conditions the play “The Weirdo” (1929) by Alexander Afinogenov, nurtured by the Revolution and seduced by the highest power, and his appearances and speeches at various disputes and in press, supporting “psychological realism” and best theatrical tradition of the Moscow Art Theatre, were perceived ambiguously. Key words: Chekhov, chekhovism, twenty-five years, criticism, new drama, classical traditions, MAT, Afinogenov, “The Weirdo”, revolutionary theatre

Рубежность и сущностные характеристики театрального танца в России конца XIX – начала ХХ века

Innovation and experiment as sources that expand and deepen the space of theatrical dance in Russia in the late 19th – early 20th centuries had a complex connection: from “traditional” and “local modern” to “systemic” and “natural”. Unlike Western European ballet theater, in Russia the aesthetic concepts of expressionism, constructivism and abstractionism were the first poetic experiments “with” choreography and “in” choreography, which received reinterpretation not only at the level of off-dance plans and free formative laws of movement, but also at the level of artistic coordinates of space and the semantics of academic ballet art. The paper aims to substantiate the position that after the era of romantic ballets by Marius Ivanovich Petipa (1818-1910), a milestone of the choreographic system begins in Russia, associated with the tasks of rethinking the language of theatrical dance, its architectonic structures (scenic and bodily), as well as the essential characteristics of the content and form of the ballet text. The study is novel in that it develops the following hypothesis: the architectonic space of the stage and architectonic bodily forms become figuratively and expressively evidence-based. The connection between the lexical potential and the creation of tectonic tasks in the system of academic movement is revealed, the verbal, temporal and visual continuum of space is correlated. As a result, the paper systematizes European and Asian theatrical traditions in the study of artistic and physiological processes of movement in order to determine the specifics of the architectonic bodily structures of the period under consideration.

The Influence of the Bertolt Brecht System on Traditional Chinese Theater

Introduction. The article is devoted to the phenomenon of modern Chinese theater and aims to explore the ways of its evolution – from imitation of European avant-garde forms of theatrical art to the formation of an original artistic language. An important goal is also to identify the factors that have determined the unique aesthetic and meaningful characteristics of modern Chinese theater.Methodology and sources. As a result of the application of the comparative analysis method, the article compares the theatrical concepts of Ibsen, Stanislavsky and Brecht, which influenced the image of modern Chinese theater.Result and discussion. The special role of the European theatrical avant-garde is shown, namely, the concept of Brecht's dialectical drama, which became widespread in China at the end of the XX century. Over a twenty-year period (from 1959 to 1979), three so-called «Brecht booms» took place in China, radically transforming Chinese traditional theater. However, despite the high popularity of Brecht's ideas, the Chinese Theater did not turn into a literal translator of the European avant-garde, but formed its own artistic style based on traditional structures of audience perception. The key role in this process was played by the national cultural context – socio-political and mental – which determined the specific forms of adaptation of the cultural meanings of the European theater. The history of Chinese avant-garde theater lasts for more than forty years and began in the early 1980s. After experiencing a period of direct borrowing, Chinese theatrical figures came to rethink the European heritage in the context of their own culture. As a result, it was the middle path of Chinese theater development that turned out to be the most productive – a path that absorbed the outstanding artistic ideas of Stanislavsky and Brecht, the modern Western avant-garde, but also without rejecting traditional artistic principles. This is how Chinese theatrical culture has developed with its own unique style.Conclusion. The 20th century became the era of the interchange of Eastern and Western theatrical traditions, which largely shaped the world cultural landscape, in which the interaction of Brecht's theory and traditional Chinese culture forms a special topos.

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

Decolonizing Performance: Wole Soyinka’s Synthesis of Theatrical Traditions in Death and the King’s Horseman

Decolonizing Performance: Wole Soyinka’s Synthesis of Theatrical Traditions in Death and the King’s Horseman

Devising in Hawaiʻi: The Efficacy of a Eurocentric Methodology With BIPOC Students

Devised theatre has been praised for celebrating cultural differences as assets, and boasts a flexibility and adaptability of form that suggest a formidable tool for creative expression and education in an increasingly shifting and unpredictable world. However, the reality is that devising comes from a Eurocentric theatre tradition and most professional devised theatre companies in the United States today are made up of a majority of White practitioners. In this article, I discuss my experience devising with Native Hawaiian, Pacific Islander, and Asian American students on O’ahu, and based on the gathered data, I make the argument that a devised theatre process aimed at giving its participants as much control as possible can benefit BIPOC communities under the right circumstances.

Unveiling the Aesthetic Charms of 'Khabar Mati': A Deep Dive into Text Folk Performance on the Southern Coastal Shores

This research delves into the aesthetic elements of 'Khabar Mati,' a renowned folk theater performance in the Southern Coastal region. The study employs qualitative analysis with a descriptive method to decipher this traditional theatrical expression's intricate artistic and cultural dimensions. The research meticulously examines the narrative and performance aspects of 'Khabar Mati,' providing a comprehensive analysis of the text and its enactment on the stage. Through this in-depth investigation, the study aims to provide valuable insights into the rich aesthetics embedded within 'Khabar Mati.' The findings promise to shed light on the profound artistic heritage of the Southern Coastal communities, offering a deeper understanding of the cultural and aesthetic significance of this captivating folk theater tradition. By scrutinizing the textual and performative aspects, this research provides a holistic exploration of 'Khabar Mati,' contributing to a more comprehensive appreciation of its artistic and cultural merits.

Performing Institutions: Trials as Part of the Canon of Theatrical Traditions

In this article, I confront distinctions between fiction and reality in the Ixil Trial in Guatemala (2013), considering the relationship between theater, justice, and law. To this end, I argue that there is a parasitic relationship between theater and the law. Although theater has influenced the mechanisms of the judicial or accusatorial system in the twentieth century, trials, in themselves, constitute theatrical forms. Transitional justice, which limits my approach to a broad spectrum of judicial rituals, has shaped its very own canon. I argue that it is through an analysis of the theatrical elements of these trials that it is possible to unpack the distinctions between law and justice.

Zu den Anfängen der deutschsprachigen Literatur im Banat – Kulturvergleichende Überlegungen (1718 – 1850)

Abstract German-language literature of the Banat develops under specific historical circumstances amidst a multi-ethnic Region, in which the multiple social-political, religious and linguistic relations to Romanians, Hungarians, Serbs and Jews find their immediate expression. The beginning of the German-language writings of the Banat Swabians are under the aegis of the Austrian model, especially of the Viennese model. Here one mainly includes the extremely stimulating press and theater tradition of the Banat, which can still be remarked in the interwar period, and which created the conditions for the unfolding of a lively spiritual life. Johann Friedel born in Timișoara, an outstanding representative of Josephine epistolary satire, was considered on account of his novels and letters to be the founder of the local German-language writings by several scholars.

“Shakespeare is a Finnish national poet:” Developing Finnish Shakespeare Scholarship from the Enlightenment to the Twentieth Century

In this article, I will take up the idea of “origins” as it pertains to Finnish Shakespeare during Finland’s time as an autonomous Grand Duchy of Russia from 1809-1917. While not technically the beginning of Shakespearean performances, the late eighteenth and early nineteenth centuries are the beginning of the rhetorical use of Shakespeare in public discourse used to establish cultural sovereignty distinct from Sweden and Russia. Beginning with a brief overview of Shakespearean mentions in the latter half of the eighteenth century, I will analyse the public discourse found in Finnish literary journals and newspaper articles in the 1810’s and 20’s. Following an analysis of J. F. Lagervall’s 1834 Ruunulinna, I will then briefly track how shifting attitudes towards translations such as those found in J. V. Snellman’s writings influenced the emerging Finnish literary and theatre tradition, most notably with Kaarlo Slöör and Paavo Cajendar’s Shakespeare translations and the establishment of the Finnish Theatre in 1871. Finally, an analysis of Juhani Aho’s untranslated essay in Gollancz’ 1916 A Book of Homage to Shakespeare will highlight the legacy of prior Finnish Shakespearean traditions, while also highlighting the limits of translation. Ultimately, I suggest that Shakespeare was appropriated early on as an accessible figure of resistance in the face of Swedish linguistic supremacy and the increasing threat of Russian assimilation and oppression.

THE TWO-FACED WORLD OF THEATRE: THEATRICAL BACKSTAGE IN A.N. OSTROVSKY’S PLAYS AND IN “THE MEMORIESˮ OF A.Y. PANAEVA

The article deals with the selected plays of A.N. Ostrovsky which are about the life of actors (“The Forestˮ, 1872; “The talents and fansˮ, 1882) and “The Memoriesˮ of A.Y. Panaeva. The author of the article reveals the reasons why writers turned to the topic of the theater, the specifics of the image of the actor’s personality and his life, focusing on the ambivalence of the actor’s image in the public mind, as well as on the ethical components of the personality actor’s, described by Ostrovsky and Panaeva. Further, the author of the article compares the fictional images of the actors in Ostrovsky’s plays with real personalities, whose life and creative path was described in Panaeva’s “Memoirsˮ, revealing similarities. The article tells us about the reasons for the actors’ poor conditions, their dependence on theatrical officials, on the tastes of an indiscriminate public, that is accustomed to the translated repertoire and wants to see only entertainment in the theater, but not a way to enrich themselves spiritually. A.N. Ostrovsky, author of the fiction, and A.Y. Panaeva, the author of the documentary prose, form images of actors with similar character traits (nobility, faith in their work, respect for their own craft, tragic perception of reality) and falling into the same life circumstances, which indicates Ostrovsky’s desire to get away from the conventions and theatrical traditions that had existed before and create a new realistic theater.

The stage-within-the-screen: Peter Brook’s film adaptation of King Lear

Abstract In his film of King Lear (1971), Peter Brook reimagined his landmark production of the play on screen through an intricate interplay of theatrical and cinematic codes. This article revisits Brook’s adaptation, focusing on how its much-discussed debt to theatrical traditions relates to broader issues regarding the production and reception of Shakespearean films in the UK. I argue that the film’s overt affiliation to theatre sets it apart from other Anglophone adaptations of Shakespeare grounded in Hollywoodian conventions that broaden considerably their potential to reach a global audience across time and location. In establishing strong links between his film and the RSC production, Brook’s counter-cinematic approach to filmic storytelling, alongside his casting of acclaimed stage actors, asserted the authority of theatre as a privileged medium where Shakespeare is made to signify. We shall see that the various marks of site-specific theatrical traditions in the film underscore its appeal to a local – rather than global – audience, thus dismantling essentialist and universalist views of Anglophone adaptations of Shakespeare on screen.