Representation Of Experience Research Articles

How to Use the Italian Astronomical Heritage for the Dissemination of Scientific Knowledge in the Society

Astronomical Observatories are the most ancient scientific institutes in Italy. They preserve an incredible treasure made by rare books, astronomical sketches, documents and letters, and a noteworthy instrument collection used to realize discoveries and studies in the fields of classical astronomy and astrophysics. In the last few years the National Institute for Astrophysics has promoted a project to preserve, catalogue, and present a great part of the Italian astronomical heritage on the web with “Polvere di stelle”, the gate to arrive at the origin of modern astronomy in Italy. The studies made by some Italian researchers on the history of observatories, on the development of the astronomical instruments, on astronomers and their discoveries, activities, and scientific journeys, have revealed a complex pattern of relationships with other scientific and cultural communities, politicians and the society of their time. So you can study the foundation of Padua and Naples Observatories and you have to talk of Napoleon, Murat, and the Congress of Vienna. You can trace the birth of astrophysics and run into the events of the unification of Italy. Or you can be involved in the biographical study of Schiaparelli and you find yourself talking about archeology and fashion. And vice versa.To disseminate the scientific culture, and valorize the Italian astronomical heritage in a much wider context, we have realized exhibits, laboratories, and theatrical experiences to give life to cultural heritage. Through a powerful emotional involvement, these methods of non-formal communication of science establish a strong relationship between performers and spectators and give a more homogeneous view of the work of astronomers, and the cultural heritage they have left behind.This paper illustrates the projects we have created and the results obtained to transform the history of astronomy into the men’s stories.

Theatre as a Literary Lens of Life Occurrences: A Close of View the Alan Read’s Theatre and Everyday Life

This article examines theatre as a literary lens for viewing life events. The discussion is anchored on a close reading of Alan Read’s Theatre and Everyday Life. Drawing from Alan Read, the article also underscores some key considerations in a theatrical production of Bertolt Brecht’s Caucasian Chalk Circle and Henrik Ibsen’s A Doll’s House as the theatre of everyday life. It is observed that Alan Read defines theatre as the actual production of the play on the stage. This requires a stage, actors, background, costumes, lighting, sound effects, and most importantly an audience. In fact, a space to perform, actors, and the audience are three of the most basic requirements of theatre. Theatre is a collective effort of the playwright, director, actors, technicians, and many other people. Here, there is no direct interaction between the audience and the playwright. Theatre can present another interpretation of the play. In Theatre and Everyday Life, Alan Read does not conform to the conventional theatre as echoed by the Brechtian and Ibsen theatrical experience. Further, Alan Read asserts that there is no split between the practice and theory of theatre, but a divide between the written and the unwritten. In this revealing book, he sets out to retrieve the theatre of spontaneity and tactics, which grows out of the experience of everyday life. It is a theatre that defines itself in terms of people and places rather than the idealised empty space of Avant-garde performance. Read’s Theatre and Everyday Life is a theatre that reflects on people’s daily engagements. Therefore, it examines the relationship between an ethics of performance, a politics of place, and a poetics of the urban environment. His theoretical approach is a persuasive demand for a critical theory of theatre, which is as mentally supple as theatre is physically versatile. In Alan Read’s view, the key difference between drama and theatre is that drama refers to a printed text of a play while theatre refers to the onstage production of the play. He further distinguishes theatre and drama in relation to the interpretation of the play. As explained above, the interpretation of the play presented by the onstage production might be different from the interpretation obtained by reading the drama. In a drama, there is a direct interaction between the audience and the creator. However, in theatre, directors, actors and designers play as intermediaries. In addition, Alan Read says that the theatre being is a physical entity, whereas the drama being drama is an abstract entity. Since theatre does not exist in a vacuum, it requires space for its performance. Both Brecht and Ibsen require theatre for them to undergo a transformation from drama to theatre. As they are in their form, Caucasian Chalk Circle and A Doll’s House can be termed as scripts until they are performed. Therefore, theatre provides an avenue for the scripts to be transformed into drama hence reflecting life, views which lay the basis of Alan Read’s Theatre and Everyday Life

The Potentials and Challenges of Zoom Live Theatre during Coronavirus Lockdown: Pandemic Therapy and Corona Chicken (Part Two)

This study discusses the potentials and challenges of Zoom theatre performances during the lockdown caused by the Covid-19 pandemic. It examines the utilization and applicability of videoconferencing software Zoom, and other streaming software compatible with it, in creating a viable performance option for theatre practitioners and audiences during mandatory social distancing. Such software can be a strategy for social inclusion, alleviating the adverse effects of extended quarantine. The article also discusses the technical and performative aspects of Zoom theatre, pointing out its pros and cons. It uses a critical and analytical approach to performances of two Zoom plays, Pandemic Therapy and Corona Chicken (Part Two), revealing how the playwright, dramaturg, and actors manage to present a live theatrical experience capable of engaging audiences and promoting social interaction. Khaled Mostafa Karam is an Assistant Professor of English Literature at the Suez University in Egypt and a Postdoctoral Fellow in the Department of Cognitive Science, Case Western Reserve University, USA. He has published eleven articles on the interdisciplinary field of cognitive science and drama. Galal Mohamed Naguib is an Assistant Professor of Sociology at Suez University and author of several articles in the fields of demographic analysis and the sociology of art.

From \u2018spectating\u2019 to \u2018spect-acting\u2019: medical students\u2019 lived experiences of online Forum Theatre training in consulting with domestic abuse victims

IntroductionHealth care professionals, including general practitioners, have an important role in the care of those affected by domestic abuse. Therefore, it is important that healthcare professionals are adequately trained in recognising features of domestic abuse and supporting victims in disclosure. Founded by Augusto Boal, Forum Theatre is a drama methodology that can permit an experiential and immersive learning experience; lending itself well to a subject matter of oppressed individuals. In this study we aimed to gain a deep understanding of medical students’ lived experiences of training in consulting with individuals who experienced domestic abuse using an online format of forum theatre.MethodsA multidisciplinary team developed an online forum theatre training exercise, which involved a simulated consultation between a general practitioner and domestic abuse victim. Our qualitative approach used hermeneutic phenomenology to explore the participants’ lived experiences of this training. Following the online forum theatre experience, we analysed 11 participant interviews using template analysis to structure the phenomenological interpretation.ResultsWe developed five themes through our analytical process: 1) ‘Almost being there…but not quite’: the realistic experience of forum theatre; 2) ‘Taken on an emotional journey’ 3) ‘Opening and controlling a privileged space’; 4) ‘Small things matter…’: cultivating and maintaining rapport and 5) Critically reflecting on future professional self.DiscussionThis study offers fine-grained insights into medical students’ experiences of an online immersive forum theatre training exercise in consulting with individuals who have been affected by domestic abuse. Online forum theatre has the potential to provide a simulated and meaningful approach to train medical students about domestic abuse.By providing students with a unique opportunity to step into a General Practitioner’s shoes in a domestic abuse consultation, students can practise how they manage a consultation with an impacted individual through a safe, guided, and experiential approach.

Mimesis and the Process of Becoming Human: Performativity, Repetition and Practical Knowledge

Although mimetic processes play an important role in the aesthetic experiences of art, literature, music, and theatre, they are also important in other areas. Mimetic processes are central to how human beings develop into humans. Plato and Aristotle were among the first to point this out. More recently, this ancient insight has been confirmed by research in evolutionary anthropology, neuroscience, and cultural anthropology. Cultural learning is essentially mimetic learning. It ensues through relationships with other people, as well as with nature, cultural objects, and artifacts. Hence, mimesis is of central importance for the development of cultural and practical knowledge. In this article, I argue that mimetic processes are processes of repetition and as such they are key elements both of memory and innovative action. They pave the way for innovations in post-literary cultures where a mimetic turn, or re-turn of attention to mimetic processes, is currently underway.

“Showmance”: Is performing intimacy associated with feelings of intimacy?

Many actors report, anecdotally, a phenomenon known as a “showmance,” whereby actors develop romantic and/or sexual feelings for acting partners, often in the process of portraying romance onstage together. Because acting partners spend so much time together and may be engaging in several activities that facilitate emotional and physical closeness, it is possible that performing intimacy may influence feelings of actual intimacy. In this study, we aimed to understand the association between the type of onstage relationship that an actor portrays with their acting partner and the degree of intimacy—specifically nurturance and eroticism—that they feel toward this partner. We surveyed actors (amateur and professional) about their past theatrical experiences performing with a romantic acting partner ( romantic/intimate), a non-romantic but still intimate partner ( non-romantic/intimate; e.g., friendship, parent-child), and a non-romantic and non-intimate partner ( non-romantic/non-intimate; e.g., strangers, colleagues). We found that actors reported significantly higher levels of nurturance when recalling romantic and non-romantic/intimate onstage roles, compared to non-romantic/non-intimate roles. We also found that actors reported significantly higher levels of eroticism when recalling romantic onstage roles compared to other roles. Finally, we found that actors reported having experienced a significantly greater proportion of romantic/sexual feelings across their acting careers toward romantic acting partners, compared to other acting partners. The findings of this study provide a better understanding of the bidirectional relationship between behaviour and affect, as well as the predictors of intimacy, through a theatrical lens.

An Unexpected Journey “from the naves to the chops”: “Macbeth”, Animal Trade, and Theatrical Experience

The paper proposes to appreciate the play’s butcheries as an incision into the unstable character of the category of the human. The vividness of the “strange images of death” is thus analysed with reference to the cultural poetics of Elizabethan theatre including its multifarious proximity to the bear-baiting arenas and execution scaffolds. The cluster of period’s cross-currents is subsequently expanded to incorporate the London shambles and its presumed resonance for the reception of Macbeth. Themes explored in the article magnify the relatedness between human and animals, underscore the porosity of the soon to turn modern paradigms and reflect upon the way Shakespeare might have played on their malleability in order to enhance the theatrical experience of the early 17th century. Finally, the questionable authority of Galenic anatomy in the pre- Cartesian era serves as a supplementary and highly speculative thread meant to suggest further research venues.

Interrupting Immersive Immediacy

Immersive experiences in theatre and digital games are often characterized by immediacy in space and time, focusing on the imminent action of the here and now. Live action roleplay (larp) practices, by contrast, can encourage reflexivity. Such reflexive play can support the agential capacities of players in participatory performance works to visualize and pursue alternative futures.

Merry Wives

Reviewed by: Merry Wives Ali Madani Merry Wives Presented by The Public Theater at the Delacorte Theater, New York City, NY. 6 July–18 September 2021. Directed by Saheem Ali. Adapted by Jocelyn Bioh. Costume design by Dede Ayite. Scenic design by Beowulf Boritt. Lighting Design by Jiyoun Chang. Sound design by Kai Harada and Palmer Hefferan. Original music by Michael Thurber. Original drum compositions Farai Malianga. Fight direction by Rocío Mendez. Choreography by Darrell Grand Moultrie. Hair, wigs, and makeup design by Cookie Jordan. Production stage manager Narda E. Alcorn. Stage Manager Benjamin E. C. Pfister. Sound system design by Jessic Paz. With Abena (Anne Page), Gbenga Akin-nagbe (Mister Nduka Ford), Pascale Armand (Madam Ekua Page), MaYaa Boateng (Fenton/Simple), Phillip James Brannon (Pastor Evans), Joshua Echebiri (Slender/Pistol), Angela Grovey (Mama Quickly), Jacob Ming-Trent (Falstaff), Susan Kelechi Watson (Madam Nkechi Ford), Julian Rozzell, Jr. (Shallow), Kyle Scatliffe (Mister Kwame Page), David Ryan Smith (Doctor Caius), and others. “The Public Theater,” promotional material announced, “is theater of, by, and for all people.” On public transit to the Delacorte Theater I encountered a man walking the subway A-train selling tasers and stunguns, [End Page 152] another entering in a hospital gown, and a third wearing a track suit, reading Karl Marx’s Economic and Philosophic Manuscripts of 1844, and smirking (he wasn’t wearing a mask despite official mandates). Are these minor spectacles relevant or merely remarkable? After some eighteen months of drastically reduced time witnessing the New York City public, it can be difficult to distinguish. The Public Theater’s staging of Merry Wives (July–September 2021) was the first production of Shakespeare at the Delacorte Theater in Central Park since the 2019 performances of Much Ado about Nothing and Coriolanus. Like much of the theater planned for 2020, The Public’s production of Shaina Taub and Laurie Woolery’s musical adaptation of As You Like It, scheduled to return to the Delacorte during the first summer of COVID-19, was cancelled in deference to public health, and their planned production of Richard II became a radio play. Merry Wives was my first experience of live in-person theater in the pandemic era. This production would also have been my first opportunity since March 2020 to participate in a crowd, were it not for the mass demonstrations against anti-Blackness and police brutality that had spurred a sequestered public to collective action. In New York City those mass demonstrations were followed promptly by mass arrests, further police brutality, and swarms of nocturnal police helicopters hovering just overhead. The effect of the City’s militarized response was to deny rest to those who most needed it, to dissuade the public from further action. It was out of this dizzying urban scene that Jocelyn Bioh’s adaptation of Merry Wives appeared. A celebration of Black joy, The Public’s performance of Shakespeare’s city comedy was keyed to the time and location of its staging. Beowulf Boritt’s fabricated block of contemporary Harlem, complete with Citi Bikes and a Black Lives Matter mural, served as backdrop to the action of the play’s West African-descended characters. Directed by Saheem Ali, Merry Wives radiated joy and “Black Aliveness,” a term I borrow from Kevin Quashie’s recent monograph of the same name. To imagine Black being in reprieve from the threat of anti-Black violence, as this performance managed with exuberance and style, participates in the worldmaking of Blackness as capacious and relational. The production insisted on the relational nature of the theater, organizing seating based on vaccination status, ability, and seniority. Those audience members at greatest risk from COVID-19 were seated in a section preserving physical distance and requiring masks. I and my viewing companion, a friend visiting from out of town whom I had not seen in two years, sat in the “full capacity” zone designated for the vaccinated. Before the performance began, ushers invited audience members in the [End Page 153] vaccinated section to remove masks. (Performances were cancelled the following week due to a production member’s positive COVID-19 test.) On this night, Bioh and Ali invited to the stage Helen...

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Trifles

Exploring Original Cast Recordings as “Vocal Scripts”: Navigating “Vocal Omnivorousness” and Learning “The Sungs” of Musical Theatre

ABSTRACT An original cast recording is produced to prolong the musical theatre experience, serving as a sound souvenir, a marketing tool, and a means to a commercial end, contributing to a show’s overall success and impact. However, it also plays a part in performance practices, assisting singers and voice teachers in learning new repertoire, and navigating an omnivorous performance field drawing on a wide variety of vocal and musical styles and aesthetics to tell its stories. In this regard, the original cast recordings take on the status of so-called vocal scripts, here defined as sonic entities choreographing social interactions between players, making them objects of interest in performance research and performing arts pedagogy. Drawing on writings from the fields of musicology, cultural sociology, and voice studies, this article’s theoretical contribution is twofold; (1) on a conceptual level, offering insight into and establishing the term vocal script, and (2) from a vocal pedagogical stance, exploring the ways of listening involved when interacting with a multifaceted vocal script. This article argues for taking the original cast recordings seriously within the theatre profession as material mediators, playing active parts in the formations of vocal behaviors, vocal styles, vocal tastes, and vocal pedagogies.

Forensic Performances: Searching for Justice in NAKA Dance Theater's BUSCARTE: Duet

This article uncovers the connections between the legal and scientific art of searching for human remains and theatrical performances. NAKA Dance Theater, a performance group based in Mexico City and Oakland, California, is at the centre of this intersection of art and forensics. Founded by José Navarrete and Debby Kajiyama, NAKA creates theatrical events to configure a claim for social justice where the official legal–scientific terrain has failed to protect victims of state repression. These artists advance a commitment to what I call forensic performances, and their investigative practices revitalize theatrical experience in a time of debilitated democracies. Forensic performances give theatre a role in violent societies where mass graves are woven into life: they carry out some of the work of investigative journalism, without its dangers. Theatre opens up a space to do a forensics that is orthogonal to a state forensics claiming a certain kind of reality and truth that is dangerous for democratic politics.

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.

Reflections on the Legacy of 19th-century Istanbul Armenian Theater Projects in the Contexts of Ottomanism and Turkishness

Abstract Modern European theater disseminated both revolutionary discourse and a nationalist project in the aftermath of the French Revolution to every region it entered – a situation, which led to staggering impacts in multi-national, multi-religious, and decentralized territories such as the Ottoman Empire. Local individuals who engaged in European-style theatrical productions within the Ottoman Empire were initially and primarily Armenians. As a politicized form in terms of public opinion, urbanization, westernization, and education, the Ottoman Armenian theatrical experience became a legacy that was able to serve a budding Armenian nationalism, the idea of a shared Ottomanism during a specific time, and, eventually, to bolstering Turkishness as the Empire evolved into a nation-state.

The concept of style in the scenic interpretation of a musical score

In the aesthetics of opera theater at the beginning of the 21st century, the concept of "style" is applicable only to a musical score. The impact of auditory and visual perception in an opera show contradicts the canons of classical opera, which are always focused on the synthesis of the arts that formed this phenomenon. The article is devoted to the urgent problem of the reform of the work, based on the ideals of contemporary drama. The mechanisms and ways of using the experience of a certain type of theater at the beginning of this century are considered by the author in a general historical and cultural context. The article reviews the innovative trends in the art of the opera singer. The purpose of the research is to present a singer-actor who is part of the operatic text. Using the experience of theater and music sciences, the author identifies the patterns of interaction between theatrical and musical series in the art of a singer. The author concludes that it is important to create scientific methods to research the above issues.

Novel do-it-yourself low-cost abdominal laparoscopy entry simulator for gynaecology trainees

Abstract Introduction The COVID-19 pandemic has affected gynaecology trainees in the United Kingdom by reducing operating theatre experience. Simulators are widely used for operative laparoscopy but not for practising laparoscopic-entry techniques. We devised a low-cost simulator to help trainees achieve the skill. Our aim was to pilot this low-cost simulator to perform Royal College of Obstetricians and Gynaecologists (RCOG) supervised learning events. Methods A single-centre pilot study involving six gynaecology trainees in a structured training session. Interactive PowerPoint teaching was followed by trainees’ demonstration of laparoscopic entry for a supervised learning event and personalized feedback. Participants completed pre- and post-course questionnaires. Results All the trainees found the training useful to the score of 10 (scale of 1–10) and recommended this to be included in Deanery teaching. Personalized feedback was described as the most useful. The simulator was rated as good as a real-life patient relative to the skill being taught. Discussion Gynaecology trainees are affected by lack of hands-on experience in the operating theatre for performing laparoscopic entry. A low-cost abdominal laparoscopy entry simulator can help deliver the RCOG curriculum, enabling trainees to achieve required competencies.

Режиссерский метод Игоря Терентьева

The directoring activity of I. G. Terentiev can be considered as the the context of the avantgarde tradition. The reconstruction of his performances is always an appeal to the principles and techniques of futuristic arcane poetry (zaum’), which were formulated by him back in the Tiflis period of his work as a poet, artist and zaum’ theorist. Also, Terentiev’s theatrical experience is closely linked with his contemporaries, and often the performance staging was a special kind of polemic, sometimes a rebellious attack against the theatrical system. The theatre thusbecomes the most adequate form of expression of Terentiev’s revolutionary ideas. His theatrical searches are an appeal to amateur theatre, attempts to interpret the classical text using arcane language, as well as a constant search for new expressiveness. His experiments lacked evidences, with only a few photographs of his performances surviving, mostly negative criticism and eyewitness reviews that can be counted on fingers. The article examines the features of I. G. Terentiev’s directing method on the example of his most famous performances: John Reed, The Inspector General and Natalya Tarpova. The evolution of the director’s creative method is traced, which became more complicated and transformed with each performance. Three directions are singled out, the main for Terentiev’s rebellious directing method. These are propaganda performances in an amateur theatre, futuristic direction using the techniques of arcane poetry and attempts to realize on stage the process of mastering a new proletarian novel. In the article are published the photographs from the performances The Inspector General and Natalya Tarpova, that were found in the RGALI and the funds of the State Central Theatre Museum n.a. A.A. Bakhrushin. These photographs give an idea of performances’ pecularities, directing technique, scenography. The article lists a set of directorial techniques characteristic of various periods of Terentiev’s work, the method of working on the text, and concludes why Terentiev became the last director of the Russian theatrical avant-garde

Rehearsing Revolutions: The Labor Drama Experiment and Radical Activism in the Early Twentieth Century by Mary McAvoy

Reviewed by: Rehearsing Revolutions: The Labor Drama Experiment and Radical Activism in the Early Twentieth Century by Mary McAvoy Christiana Molldrem Harkulich Rehearsing Revolutions: The Labor Drama Experiment and Radical Activism in the Early Twentieth Century. By Mary McAvoy. Iowa City: University of Iowa Press, 2019. pp. 266. $90.00 paper. Mary McAvoy's excellent study of drama programs at labor colleges in the United States begins with the provocation from the 1936 Brookwood Worker's Theatre Conference that there is "No labor audience for this theatre" (1). Louise Schaffer's proclamation was a bell toll for the death of many of the programs whose histories McAvoy regales, but it also prompts provocative research questions that the book takes up: Who was labor drama for? Whom did it serve and how? These questions drive Rehearsing Revolutions into a history of pedagogy, dramaturgy, and educators that spans the continent and a tumultuous period between the world wars. Woven within this history of drama programs are the labor colleges themselves: the education programs founded and supported by labor unions for their workers that for the most part did not survive the first half of the twentieth century. This book is ambitious and edifying, stitching together the many events and influences in the world that created the crucible of labor drama. Rehearsing Revolutions begins with a needed overview of the larger concerns and history of labor colleges and the labor movement in the United States to situate the importance and position of drama programs. Each subsequent chapter is a case study of a particular educator and their influence on a specific regional labor college's drama program. McAvoy deftly utilizes archival records and a broad and careful historical understanding to reveal the economic tensions at play in each of these chapters. The book organizes a constellation of labor colleges chronologically based on the start date of their labor programs. This choice allows McAvoy to trace pedagogical influence from program to program as each educator struggled with the questions of who labor drama was for [End Page 176] and what it was meant to accomplish. Instead of focusing primarily on productions or actors, McAvoy focuses on the educator, which ends up illuminating women's roles and impact, as so many women who may not have had much professional dramatic training were thrust into the role of drama program coordinator. Rehearsing Revolutions uncovers the labor of the drama educator that is often ignored in this period in favor of attending to the professional stage. Following the overview, the second chapter focuses on Doris Smith's work with Portland Labor College from 1921 to 1925 as the earliest example of what the new field of labor drama could be and of the tenuous relationship between radicalism on the stage and approval by the larger sponsoring labor organization. The third chapter focuses on Brookwood College from 1925 to 1926 and the work and pedagogy of Hazel MacKaye, the daughter of US American playwright and stage technology inventor Steele MacKaye. MacKaye's experiments in drama at Brookwood created plays like the 1926 drama The Miners (collected in Lee Papa's Staged Action) that illustrated the need for the dramatic work to come from the workers. Unlike many of the other teachers in this study, MacKaye had experience in professional theatre and larger political pageant work prior to joining the labor movement. Her experience caused her to ask and publish on the larger questions about what labor drama could do and could look like at Brook-wood and across the United States. While MacKaye spent only a year at Brook-wood, McAvoy points toward the influence that her writing and thinking had on the labor movement. While chapters 2 and 3 focus on Northern, more industrial concerns, chapters 4 through 6 turn to the more contentious and racially and religiously fraught work of labor drama and labor organizing in the Southeast. McAvoy's attention to regional differences illuminates aspects of the labor movements that are often missed when too much attention is paid to the industrial north. Chapter 4 examines the work of journalist and activist Hollace Ransdell's brief foray into labor drama from 1928 to 1936 with...

Традиции отечественного музыкального театра в культуре русской эмиграции на Дальнем Востоке

The article focuses on the problem of preserving local music theatre traditions in the culture of the eastern branch of Russian emigration in China, which has not yet been researched enough in modern art history. The author reveals the uniqueness of local music theatre in the territory of a neighboring state, where the foreign non-European culture played the role of “storage,” which made it possible to preserve the traditions of the pre-revolutionary Russian musical theatre in an unchanged form. Based on the materials of the Harbin periodicals, the author identifies several directions within the activities of Far Eastern emigrants in the sphere of musical theatre. These activities aimed at preserving the traditions and achievements of national culture and art. Among them were maintaining connections with the compatriot colleagues abroad and in Soviet Russia, honoring the recognized authorities of national performing arts, criticizing the experience of the Soviet musical theatre, as well as cultivating the national repertoire. The Great Patriotic War helped Russian emigrants in China focus on the true aspects of the local music theatre traditions: the artistic heritage, the achievements of outstanding representatives of the performing arts, and bringing up young followers of the traditions.

The Ideographic Image of Tai Chi Chuan Movement score as a training resource for the actor

The conception of the actor as a living being who keeps his body engaged in a fictional time to create a scenic truth, is related to the real, present and above all trained body. This body, generator of signals meant to be understood by the observer, involves an inner understanding of signs and images that originate beyond its boundaries. The objective of this reflexive article is to propose a “form”2 type of Tai Chi Chuan as a limited and instinctive process, using its ideographic imagery as a guide for the creation of a “movement score”3 , a resource for the actor to scrutinize the action that this imagery engenders and the relationship it establishes with his or her body language. The methodology is premised on an initial consideration that fans out into different possible analyses, until finally culminating in a “meta-reflection”4 , based on prior knowledge and experience in both theater and Tai Chi Chuan. The above includes theoretical and practical aspects that allow dealing with the analysis of Tai Chi Chuan ideograms as images for their representation, to create a movement score from them. The didactics discovers those elements which might potentially help capture Tai Chi Chuan through its calligraphy and vice versa, adapting and reinterpreting understood aspects to the actor’s physical training, which will be evaluated and implemented in the future in the stage environment.