Theatrical Elements Research Articles

Caught in the Anthropocene: Theatres of Trees, Place and Politics

This article investigates live performance in the broad geo-historical context of the Anthropocene, a contested term in recent scholarship, but one that offers a breadth of focus on human relations with its coexistent non-human other. These interrelations are examined through a range of theatrical and non-theatrical genres and sites from the Australian parliament's coal theatrics to exemplary performances by Indigenous companies Bangarra Dance Theatre and Marrugeku. It sets the scene with a visit to the Curtain Tree in the rainforests of north Queensland, Australia, arguing that the vitality and display of its root system models a special kind of reciprocity between the performative elements of the environment and the environmental elements of theatre and performance. This is traced through recent short-run immersive works, Hanna Cormick's Mermaid (2020) and Melinda Hetzel and Company's Conservatory (2020), and a rereading of a canonical Australian drama, Summer of the Seventeenth Doll.

Virtual Dream Reality Check: A Case of Interactive Digital Theatre from the Royal Shakespeare Company

The proliferation of digital theatre signals a new era of theatrical experiences. The Royal Shakespeare Company's (RSC) Dream is a recent example of how theatre companies are integrating cutting-edge technology to revolutionise their performances. Emerging from the Audience of the Future (AF) program, Dream combined gaming and theatre technology to create a virtual world for audiences to inhabit and explore digitally. The production incorporated motion-capture technology and Virtual Reality (VR) headsets, allowing seven actors to perform live from a purpose-built studio while audiences simultaneously accessed their performance from a compatible device via a bespoke website (https://dream.online). The resulting experience combined live and virtual performance elements to connect global audiences.This venture into technologically enhanced theatre, however, raises questions about the potential implications of audience engagement with digital productions. In this paper, we question how RSC's Dream combined both live and virtual theatre experiences to offer a more interactive viewing experience. We argue that while Dream signalled an exciting step in the development of digital theatre, the interactive features revealed some discrepancies between RSC's goals and the degree of involvement delivered. We thus contend that for theatre organisations to incorporate digital technologies, they must tend to the nuances of technological interventions and weave them seamlessly with theatrical elements to retain the fidelity of the theatre experience.

Цифровые оперные проекты Дмитрия Отяковского

In recent years, musical theater has shown a steady increase in the use of digital technologies. Dmitry Otyakovsky, a Russian opera director and author of digital music projects, highlights three approaches to using digital technologies in opera: the digital as an expressive means; the digital as a form; the digital as a genre. This article discusses three productions by Otyakovsky based on the approaches described above. The online story The Snow Queen (music by Rustam Sagdiev, production by the Hermitage Theater) uses digital technologies as an expressive means. Here, live acting is combined with sand animation, computer-generated imagery and screenlife aesthetics. Part of the Let’s Play Opera project, The Miserly Knight with music by Sergei Rachmaninoff is an online performance. Each singer’s part is prerecorded, while the screenlife format is supplemented with a video game. The characters of the opera use social networks and video conferencing for communication. They also play an online role-playing game Sphere. Glossary 2.0 (music by Evgeny Voitenko) is a digital opera where all the musical and theatrical elements are composed with the help of digital technologies. Among them is the libretto developed by a human and a neural network, electronic music, and media installations used as scenery. Otyakovsky’s projects are brave artistic and technological experiments that pose important ethical and aesthetic issues. What happens to live communication in the world of Internet technologies? How should we judge the creativity and creative products made by a neural network? Finally, what should a modern opera be like and what is its future? Not striving for a massive transformation, Dmitry Otyakovsky, however, looks for the ways to revamp musical theater and attract new audiences.

Osnove istorijskog razvoja glume u pozorištu od antičke Grčke i Rima do moderne i avangarde

The research subject of this paper is oriented on the development of acting through the focus of the actor as an artist and acting itself as an art. Answers are given in the paper, who were all the actors and what acting tools they used. Furthermore, in which period dramatic theater prevailed, theater based on elements of drama, and when was it created epic theater, and do we have elements of epic theater on the stage even before the appearance of dramatic theater. Drama theater is based on imitation, on a story that has its own introduction, plot, culmination and denouement. In the drama theater, there are characters on stage who are always in some kind of conflict. In epic theatre, the actor narrates, he shows the events that took place, he shows them by telling us about them. We can conclude that, in most cases, every performance is interwoven with both epic and dramatic elements, and that it is very difficult to talk about only one form of theater within one performance.

Spaces and technologies of the circus spectacle

Contemporary circus is a complex, interdisciplinary form of performing arts. The new circus was built on the basis of the traditional one, but it is more complex than it and brings a combination of elements of acrobatics, dance and drama theater, shadow theater, puppet theater, as well as contemporary visual arts and digital technologies. The circus spectacle, its architectural concept and its content, have changed over the centuries, following social events and the cultural framework of the time. Although the spectacle is still adapting and changing, we ask the question, whether stationary circuses have managed to adapt and transform for the needs of modern society. In this paper, through a brief history of the circus spectacle and important typological characteristics of the objects, one of the most significant objects of this spectacle will be analysed.

Whiteface versus Black Performance: Accounts of Black and Afro-descendant Performers in Portuguese America

Abstract: This study of theatrical performance in Portuguese America examines the prevalence of Black and African descendant performers onstage, whether enslaved or free. On the one hand, I consider the artistic implications of these performers' prominence in terms of how their performances fused European theatrical elements, for instance, with plays being staged in opera houses and featuring works by Pietro Metastasio and Carlo Goldoni. Other engagements with the European tradition suggest Spanish influences, such as performances of comedias and comic farces ( entremezes ). On the other hand, we find Afro-diasporic performance practices on the Portuguese American stage. Additionally, I address methodological challenges: How can this kind of theatricality be analyzed? Is it possible to reconstitute such scenes of Black performance and analyze acting methods, notwithstanding the scarce documentation? Finally, must we interrogate the connections between social organization in colonial Brazil's slave-holding society and forms of artistic expression. Sources mobilized for these queries include travelers' descriptions of performances, documents found in archival sources, and firsthand accounts of fêtes.

Philosophy of Spiritual Evolution in Karnad's Play Hayavadana

Girish Karnad, the “Renaissance Man” and an important proponent of the “Theatre of Roots” movement, rebelled against British influenced Indian drama. He had employed native traditional myth and legends into the themes of his plays and used folk theatre techniques for representational intent. His play Hayavadana delves into the Indian folk theatre elements to address the contemporary issues of the nature of identity and human being's quest for completeness through the perspective of philosophical riddle of mind and body dualism. The play explores the issue of mind-body dualism or conflict of incompleteness at three levels viz. divine, human and animal levels. With the example of transposed heads of the two main characters and the question of their real identity; the transformation of Hayavadana into a complete horse with ability to neigh; and the child's ride and control on the horse offer the multi-layered consciousness levels of the human understanding and psyche along with the possibility of intended spiritual evolution.

Waiting for Godotand the Racial Theater of the Absurd

AbstractThis essay argues that the 1957 Black-cast revival of Samuel Beckett'sWaiting for Godotstages an Africana absurd sensibility that precedes and supersedes European philosophies of absurdism. While the Continental absurd developed as a repudiation of Western reason and aspired to a universalizing assessment of the human condition, the Africana absurd is situated in the historical formation of racial slavery and colonialism. More specifically, the Africana absurd is a response to the formal meaninglessness and incoherencies of Western racial logic. Locating it within the existential and historical situation of Black theater in the Jim Crow era and attending to theatrical elements such as casting, stage props, and choreography, this essay shows how the production recasts Beckett's absurdism, metatheatricality, and antihumanism to present, rather than represent, the felt absurdity of racial modernity.

Importance of Customer Perceived Value in Restaurant Businesses: Influence of Brand Experience on Brand Strength and Electronic Word of Mouth

The purpose of this paper is to empirically examine the relationship between brand experience, brand strength, and electronic word of mouth along with mediating role of perceived brand value. A total of 308 responses were generated, using an electronic questionnaire. The data was deductively analyzed using reliability, validity, confirmatory factor analysis (CFA), and structural equation modeling (SEM). The results of this study indicate that brand experiences positively influence brand strength and electronic word of mouth. Moreover, the results revealed the partial mediation of customer perceived value in the relationship of brand experience and brand strength and also in the relationship between brand experience and electronic word of mouth. This study explains how restaurants can create electronic word of mouth and increased brand strength through memorable experiences. This study provides insight beyond marketing mix elements, and ad theatrical elements which provide evidence for positive customer value perception increased brand strength, and widely generated word of mouth. The theatrical elements of serving food studied in this research have not been studied before in the context of Pakistani restaurants. Therefore, this study bridges the gap between previous studies.

The risks of wearing Mr Punch and other costumed performances

When identifying risk and ethical issues in live performance the focus is predominantly framed around the audience, and even more so with the popularity of immersive theatre. However, with the unpredictability of audience behaviour in immersive work, the safety of performers is starting to rise to the surface. For example, concerns of performer safety in the immersive work of Punchdrunk were raised in 2018, including allegations of sexual assault against performers by audience members who were veiled behind the anonymity of white masks. This visual article will refocus the discussion of risk onto the performer, as well as on the often overlooked theatrical element of costume and its potential impact on performer behaviour and embodiment, in addition to the impact it can have on the audience. The live performance case study Six O’clock Swill (2009), a piece based on Mr Punch, will be used to interrogate perspectives on these performative risks.

KHẢ NĂNG SỬ DỤNG KỊCH VẢI TRONG PHÁT TRIỂN GIAO TIẾP CHO TRẺ RỐI LOẠN PHÁT TRIỂN Ở BẬC HỌC MẦM NON: TIẾP CẬN TRÊN GÓC ĐỘ LÍ LUẬN

Panel Theatre is a new type of expression method using the context of a theater with simple material made of P paper and felt board at school. Panel theatre helps increase children's concentration, emotion, interest, motivation to speak and ability to respond, and develops their communication skills. Panel Theatre can be used to develop communication skills for children with developmental disorders. Teachers can flexibly change the speed of performance, adjust and sub-divide the content of the drama, adjust the acting in gestures, faces expression, especially adjust words and way of interacting with children, the way of using rhythm to encourage participation and responsiveness, engage children in activities to develop emotions, pleasure and develop basic communication skills. Teachers need to use panel theatre for specific case studies to test the impact of each characteristic element of panel theatre on the development of specific communication skills of children with developmental disorder in the future.

DEHUMANIZATION IN SARAH KANE S POSTMODERN PLAYS

Postmodernism explores society’s perspective on stereotypes and ways in which cultural aspects evolve in a globalized world. It focuses on human experience in different forms by taking its motives from historical and societal issues. Postmodernism in drama is based on postmodern philosophy which originated in Europe in the twentieth century. Postmodern theatre, also known as the new theatre, is a reaction against modernist drama. It makes the audience question and evaluate the differences between reality and art. It dwells on the idea that there is no ultimate truth. Plays written in this mode of drama involve images and allusions, and the audience plays an important role, involving in the performance. Moreover, postmodernist drama is innovative in terms of its technique and in defying social conventions. This paper aims to discuss Sarah Kane’s plays Blasted, Phaedra’s Love, Crave, and 4.48 Psychosis as postmodern plays in relation to dehumanization employed as a recurrent theme in the plays. Violence, rapture, alienation, exploitation, and frustration are some of the themes Sarah Kane explores in the above-mentioned plays. This paper argues that Kane considers theatre an instrument to exhibit the ugly images of life. Kane’s plays portray hideousness of life in tandem with the use of postmodern theatrical elements.

Utilizing Applied Drama in Clinical Ethics Education

"We examine the significance and necessity of introducing applied drama into clinical ethics education to build ethics competency. Case-based clinical ethics, distant from abstract theory-based discursive ethics, pays close attention to emotions of persons involved in a given case, and of participants in deliberation. Some authors have sensibly emphasized this point. For example, CURA, a reflective method puts forward the crucial step to become aware of own emotions and physical reactions to each difficult situation. These suggest that we should not stay just in rational reasoning to resolve moral problems in clinical settings. Such a stream seems to lead us to the next stage of clinical ethics education. Applied drama is an umbrella term for the various ways to use theatrical elements, outside of theaters, in educational settings. The basic conception is playing. It includes two meanings: gaming and acting. Generally, we stop playing when we grow up. Applied drama encourages us to play again. Playing promotes communications in verbal and physical. In acting like an acting person, we are to put ourselves in another person’s standpoint. Through acting a role, we may live her life and feel vividly his emotion but by imagination. Thus, applied drama has great potentiality to change the mode of discussion – or deliberation-based clinical ethics. As applied drama comprises various ways such as improvisation, forum theatre, and so on. We will explore their features and application in actual teaching settings. "

Partnership with a Theater Company to Amplify Voices of Underrepresented-in-Medicine Students

Partnership with a Theater Company to Amplify Voices of Underrepresented-in-Medicine Students

AUGMENTED REALITY IN CONTEMPORARY RELIGIOUS PRACTICE

The usage of the augmented reality is increasing in various religious fields. Virtual visualizations replace the theatrical elements with which church institutions used to operate in the past. The latest media technologies cause a specifically perception of religious ideas and symbols by believers. Consequently, augmented reality is a way of spectacularly visualizing religious topics, and new technologies have an effective impact on the consciousness of contemporary religious adherents. Thus the purpose to determine the main directions, functions, risks and perspectives of applying augmented reality in the religious education and practice of believers is very actual. Augmented reality is a convenient interactive method of forming parishioner’s knowledge, creeds and, ultimately, a steadfast belief in the importance of regular religious practice. The main target audiences for implementing such new technologies consists from children, youth, pilgrims and people with disabilities. Despite serious objections from opponents, the application of augmented reality in religious education and daily practice has a great potential. So the use AR-technology in different directions (learning game, interactive quizzes, animated guides, biblical and hagiographic stories visualization, praying prompts et cet.) is an interesting phenomenon of the religious practice. This methodology could be improved only in case of in close cooperation with teachers, priests and IT-professionals. Thus augmented reality needs their methodologically correct, gradual, controlled programmatic implementation in different religious fields. The phenomenon of dissemination of the latest technologies in the education and daily life of religious communities requires further scientific reflection.

나보코프의 오렌지 - 연극적 기원의 지표에서 예술 창작의 원리로

The purpose of this study is to illuminate one of the unexplored origins of Nabokov’s theatrical elements constructing his artistic world by focusing on a recurrent but relatively inconspicuous motif, the oranges in his novels.<BR> Many of the oranges operating as a so-called ‘orange motif’ in Nabokov’s works are originated from the Russian Silver Age culture, in particular, from V. E. Meyerhold’s oranges which had appeared in three modes(performance, journal, and divertissement) in the mid-1910s.<BR> We trace the parallel evolution of Nabokov’s sui generis narrative strategies and the orange motives to shed light on the multifarious aspects of theatricality and the utilization of those motives in various layers of narrative structure in his Russian-period novels, Mary, King, Queen, Knave, The Defense, Laughter in the Dark, and The Gift.<BR> Through this study, we can observe not only the gradual evolvement of oranges from the subtle markers implying the origin of theatricality in his novels to the crucial motif involved in constructing the main syuzhet of the entire novel, but its rather radical transformation into the motif of a fundamental artistic principle in The Gift. As for the transformation of the orange motif in The Gift, we try to demonstrate it by analyzing Fyodor’s own somewhat declaratory phrase(“but the kind of dust that makes the most orange of sunsets”) about his projected autobiographical work in the last episode of the novel, and by linking it with the orange charade at the beginning of the novel.

THE CYPRIOT THEATRE IN THE MIDST OF GLOBAL CRISIS

In the 21st century, the era of globalization, the technological advancement and the ongoing migration movements, the global com-munity experiences a deep and multi-dimensional crisis (sociopolitical, financial, and cultural). This paper discusses the impact of these multi-ple aspects of the crisis in the theatre of Cyprus, especially during the second decade of the 21st century. The theatre in the time of crisis seems to suffocate within the traditional frames of dramatic theatre. As a re-sult, a group of young directors, without hesitation, confront and keep up with the new trends observed internationally, thus introducing new theatre forms (devised theatre, site-specific theatre, happenings etc.) in the Cypriot theatrical landscape and seeking to develop a new way of dialogue with the audience. Cypriot theatre today uses methods and approaches (ideological and aesthetic) that renounce fundamental the-atrical conventions of dramatic theatre. This fact allows us to talk about experimentation, as well as about presence of elements of post-dramatic theatre in the country. The making of theatre in the public sphere is now an act of social resistance to local and global events and the first step that may lead to political and social change.

En værkstruktur målrettet børn med Autisme Spektrum Forstyrrelse

This article presents our design process of a conceptual framework specially designed for children with Autistic Spectrum Disorder (ASD). We designed the conceptual framework for an interactive play called Race against time (I kapløb med tiden). In the article, we analyze the communication difficulties that may occur between theatrical elements and children with ASD, and discuss what kind of positive impact a theatrical concept may have on children with ASD when specially designed for that specific audience.

RESULTS OF EXPERIMENTAL WORK AIMED TO IDENTIFY SCHOOL ANXIETY AMONG TEENAGERS

The article describes the concepts of «anxiety» and «school anxiety»: interpretation and development in psychological science. This article studies the reasons and factors of anxiety of school anxiety in teenagers. The relevance of this topic caused by an increasing number of teenagers who get increasing anxiety and experiencing negative emotions. This article identifies the level of school and personal anxiety of teenagers (5th-7th grade) and discusses possible causes of anxiety in this age group. The article presents the results of the work of a school psychologist aimed to identify the level of school anxiety: results of the ascertaining experiment, forming experiment, individual and group consultations with elements of psychological theater, aimed at reducing the high level of anxiety of teenagers. The article describes productive options for teacher-student cooperation aimed to decrease the level of anxiety among teenagers. The article explains the recommendations for formation a psychologically safe educational environment.

UNIQUE SELF SEARCH IN VOCAL JAZZ

The paper reveals the phenomenon of jazz music and analyses the expression of vocal jazz in a historical, philosophical, and educational context. The historical origins of jazz are related to a community culture and to the natural and authentic creative process; inner freedom is one of the most significant aspects of jazz music, based on improvisation. The global practice of jazz vocal studies is predominated by a systemic approach that links the physiological, psychological, and mental levels. The study process is not separated from the personality (self) development and the creation of a sensitive and enabling relation culture. The paper presents a reflection on personal practical experience and is based on the data of a presentation Unique Self Search in Vocal Jazz: Jazz Voice + Theatrical Elements: Wider Opportunity for Self-Expression, given in the 2nd International Scientific Jazz Vocal Conference held in the Sibelius Academy (Helsinki, Finland).