Theatrical World Research Articles

Desființarea neputințelor sau precizie în loc de empatie

The study explores in a metaphorical key an idea of the Nobelist Maurice Maeterlinck about potentiating the dramatic text and emphasizing predestination by interpreting texts not by actors but by puppets. Going through experiences from the world of puppet theater and the construction of automata, one can come to the conclusion that the perfecting of the artistic act in an already global space (where expanding access to information and supposed creation become dimensions of censorship) now assumed by Artificial Intelligence (an entity that promises to overcome everything we call human error or inability) tends to become a point of arrival and not a way to evolve. Thus, the natural growth through human endeavors, failures and successes is arrested and can turn efficiency into a modus vivendi in which informing, training and shaping are no longer distinguished or do not even differ

Provocările și oportunitățile interacțiunii umane cu inteligența artificială în domeniul teatral - Un studiu despre teatrul telematic

The last few years have seen rapid changes in the technology development in the most varied fields. Even the theater had no way to escape from these new trends, especially with the advent of the pandemic which accelerated the appearance of new types of theater and performances, out of necessity. In this paper, we will present and analyze the personal experience with the telematic theater and the interaction with the character Ogmios, a theatrical robot, all within the Tele-Encounters project. This project aimed to develop telepresence as an artistic language. We talk about the challenges and opportunities regarding the potential of AI to restructure the theatrical world, and about the need for interdisciplinary collaboration between artists, ethicists and robotics experts, and we launch hypotheses about what the future could look like among robots, artificial intelligence and telepresence

Anne Bogart: Despre aici și acum

The book A Director Prepares by Anne Bogart offers an engaging look at the world of theater, combining valuable insights and practical ideas for directors. Structured into seven key chapters (Memory, Violence, Eroticism, Terror, Stereotype, Embarrassment, Resistance), the book explores fundamental aspects of the human experience and its links to the art of theater. The memory chapter discusses the impact of memories on the creative process, emphasizing the importance of using them for authentic performance. Violence is analyzed in terms of its necessity in art, with the role of evoking strong emotional responses. Eroticism is discussed as a driving force in the creative act, while terror is seen as a stimulus for creativity and intensity in the stage event. Stereotypes are reinterpreted as tools for exploring and challenging social perceptions, while embarrassment is presented as a source of artistic vulnerability and authenticity. In the end, resistance is described as a driving force that leads artists to overcome limitations and discover their voices. Anne Bogart's book is not only about directing but also about the psychology and philosophy of theater art, making it essential reading for aspiring and experienced directors alike.

Shakespeare - The Father of English Drama

William Shakespeare, often hailed as the "Father of English Drama," revolutionized the world of theater through his unparalleled contributions to literature and drama in the late 16th and early 17th centuries. His works, spanning comedies, tragedies, and histories, have profoundly shaped the English language and the structure of modern drama. Shakespeare’s mastery of character development, complex narratives, and universal themes such as love, power, jealousy, and mortality enabled him to create timeless plays that resonate across cultures and generations. This article looks a Shakespeare beyond a literary genius.

라미라가극단(羅美羅歌劇團)의 설립 의의와 공연 현황에 관한 연구

Ramiraga Opera Troupe(Ramira Gageukdan) was founded by Seo Uisik, Seo Hangseok, and An Giyeong, and its predecessor was the Columbia Musical Troupe(Columbia Akgeukdan). Seor Uisik decided to establish an indigenous opera troupe in order to culturally oppose the Japanese policy of suppressing speech and writing, and for this purpose, he formed Columbia Musical Troupe(Columbia Akgeukdan) under Columbia Record Company in partnership with Columbia Record Company. And he organized Joseonyeheungsa and took the lead in planning the works and operating the theater company, and entrusted the composition of the works and performance direction to his former colleague Seo Hangseok. In addition, An Giyeong was in charge of composing the music necessary for the opera and assigning it to Korean opera work. These series of efforts led to the birth of the Ramira Gageukdan. Ramira Gageukdan officially held its inaugural performance in December 1941, performing 〈Kongjwipatjwi〉 and 〈Gyeonujingnyeo〉 at Bumingwan. ince then, the two works and 〈Galaxy〉 have emerged as representative works of Ramiraga Opera Troupe(Ramira Gageukdan) and are remembered as typical examples of ‘Korean local opera’. This study aims to examine the founding process and origins of Ramira Gageukdan, as well as its representative performances and aesthetic characteristics. Ultimately, this study was designed to examine the situation of the Korean theater world in the 1940s, which was oriented toward indigenous theater troupes, and to discuss its historical significance.

"Fit for Entry": Researching and Remembering the 1917 Gasoline Bath Riots at the U.S.-Mexico Border through Theatre

This research focuses on and serves as the foundation for the creation of a theatrical world, supporting the play’s structural narrative to raise awareness of a historical event and to spotlight historically silenced and suppressed voices of color. The gasoline baths occurred at the El Paso, Texas border in 1917 when Mexicans were inhumanely disinfected with toxic chemicals as they sought entrance into the U.S. as a result of discriminatory beliefs and practices. Primary research will include published articles and books, focusing on the event that will serve as source material for the play developmental process. Secondary research efforts will include U.S. immigration policies of the time as well as identifying key historical figures. Carmelita Torres, a central figure in the event, will serve as the main protagonist and voice of the play. The narrative will showcase her advocacy for her community as well as demonstrate the gender bias role of women. Ultimately, this play intends to serve as a catalyst for change, creating a space for conversation, empathy, and transformation to awaken an audience towards moral and social action.

Tank Man as Icon and “Crisis Actor” in Lucy Kirkwood’s Chimerica and Lauren Yee’s The Great Leap

The photograph of the so-called Tank Man, who in 1989 stood in the street and stopped a line of Chinese army tanks after the forcible dissolution of pro-democracy demonstrations in Beijing’s Tiananmen Square, is one of the twentieth century’s most famous images of unarmed protest. This article explores how the iconic Tank Man image performs in Lucy Kirkwood’s Chimerica (2013) and Lauren Yee’s The Great Leap (2018). By expanding performance studies scholarship that frames his actions as theatrical, this article adds Meredith Conti’s notion of the “crisis actor” to the discourse around Tank Man: an activist who responds to moments of political urgency by performing resistance for contemporary audiences seeking authenticity in the noisy digital landscape. To track Kirkwood and Yee’s dramatization of the Tank Man icon, I analyse how their stage directions locate Tank Man in theatrical worlds that merge history and fiction, past and present, live and mediated. Arguing that Kirkwood and Yee make Tank Man legible on a human scale through domestic drama, this article traces how each characterizes their fictional Tank Man as a husband, father, and reluctant political actor compelled to radical action by the domestic tragedy of a dead wife and a lost or absent child. This allows the playwrights to humanize and reanimate the historical protest performance of Tank Man as they use the figure’s iconicity to bolster their characters’ subjectivity as crisis actors. In Chimerica and The Great Leap, Tank Man as icon and crisis actor offers a hopeful model of utopian politics for contemporary audiences, newly legible as a mediatized twenty-first-century hero.

Catherine the Great’s Pastoral Comic Opera “Fedul and His Children” as a Cultural Pattern

Despite her status, Catherine II was a typical writer of the Enlightenment. She wrote her plays in order to “govern morals”, and her goal was to create a new cultural pattern for the nobility. The difference between her and ordinary writers was not the quality of her plays, but the power she possessed to reaffirm her classicist ideals using off-stage effects. Her opera Fedul and his Children, for example, was written to address the pressing contemporary problems arising from unequal relationships between noblemen and non-noble women. The other characters were also based on real people, drawn from the Imperial court and from the theatrical world. Fedul and his Children is a typical comic opera in which Catherine uses the rules of the genre to persuade the audience of the correctness of her views. The moral victory of the third estate is confirmed in the play by the fact that, according to the text, precisely its members are the carriers of primordial natural values, which is why interactions with the corrupt world of the nobility pose such a danger to them. Her ability to make use of the specificities of the genre sheds light on Catherine as someone who was familiar with and sensitive to the style of the period. Fedul and his Children has all the characteristic features of a comic opera, including allusive character names, peasant songs, the use of proverbs and the fear inspired by the hostile city in peasants fresh from their pastoral idyll.

Shakespearean Theatre in Criticism and Journalism of Petr Boborykin

The aim of the study is to analyze the functions and forms of Boborykin’s references to Shakespeare’s dramatic heritage and determine the extent of Shakespearean theatre’s influence on the formation of the writer’s creative system. The material consists of feuilletons and articles by P. D. Boborykin for the journals “Library for Reading” (1861, 1862), “Case” (1871), “Word” (1878), publications in the newspapers “New Time” (1876), “Theatrical World” (1887), as well as the book “Theatrical Art” (1872) and the memoirs “For Half a Century” (1929, 1965). It is shown that in his feuilleton publicism, Boborykin turns to Shakespeare to criticize the contemporary theatre in all its manifestations — from the quality of plays, the choice of repertoire by theatre administration, acting, to the level of the audience. When evaluating A. N. Ostrovsky’s dramaturgy, the writer uses criteria developed by himself for analyzing Shakespearean theatre. Boborykin does not recognize historicism in artistic texts due to the author’s inability to be unbiased in reproducing the realities of the depicted era. In relation to Shakespeare’s plays, the writer introduces the term “universal human nature”, implying the reflection by the playwright of his contemporary reality in the settings of the chosen era. Boborykin reproaches A. N. Ostrovsky for an abundance of epic elements which, in his opinion, are unacceptable in dramaturgical art. Shakespeare’s works became the aesthetic, artistic, and philosophical foundation for the writer’s system of evaluating theatrical art.

On the inspiration of Lin-Manur-Miranda musical Hamilton

Lin-manuel-Miranda's musical "Hamilton" as the fastest in the history of Broadway music costs and began to profitable musical with its pioneer music style and the core values of drama structure in the world stage, the success of the Broadway musical is not only in the history, also for the development of world musical provides unprecedented possibilities.the success of Lin-Manuel Miranda's musical "Hamilton" has had a profound impact on the world of theater, particularly in the realm of musicals. Its pioneering music style and the core values of drama structure have opened up new possibilities for the development of musicals worldwide. The widespread appeal and profitability of "Hamilton" have inspired artists to experiment with different genres and storytelling techniques, pushing the boundaries of what is considered traditional musical theater. Furthermore, the global interest in historical and biographical musicals that "Hamilton" has generated has enriched the cultural landscape of musical theater, offering audiences a diverse range of stories and perspectives. Overall, "Hamilton" has left an indelible mark on the world stage, paving the way for future innovations in the field of musical theater.

Re-Contextualizing Stage Politics: Interrogating Shakespeare’s Hamlet In Uruguay

For the spectator initiated in the political aspect of the Shakespearean theatre, Carlos Manuel Varela’s Interrogatorio en Elsinore proposes “a kind of extended palimpsest” of Hamlet that connects on stage a troubled, fictional Elsinore to the traumatic reality of Uruguay during the military junta. For the reader fascinated by comparative literary studies and implicated in the theatre world, Interrogatorio en Elsinore resonates with the Bulgarian playwright Nedjalko Iordanov’s the Murder of Gonzago by drawing from parallel extreme ideologies of neo-fascist and communist dictatorships and their institutionalized regime of terror. Both plays showcase the potential of the performance in Hamlet to underpin the role of the artist in the political landscape. Applied to Interrogatorio en Elsinore, such reflections lead the initiated spectator to conclude that Varela’s play proposes a Hamlet who connects on stage a troubled, fictional Elsinore to the traumatic reality of Uruguay.

Dressing for disaster: Edo firefighter uniforms and the kabuki tradition

In eighteenth- and early nineteenth-century Edo, firefighters were cultural icons in the life of the city. A dense forest of wooden buildings, Japan’s new capital was notorious for its fierce blazes. The hikeshi (‘firefighters’) became instantly recognizable for their striking full-body tattoos and ornately painted jackets, which they would flaunt to the watching crowds after extinguishing a blaze. This unique bodily adornment came to symbolize their manly bravery and the hikeshi were soon popular protagonists in the emerging world of kabuki theatre; multiple ukiyo-e (prints of Edo’s entertainment district) document kabuki actors in their guise. In this article, I illuminate the interactions between the cultural phenomena of Edo – renowned for its print and theatre industries – as they shaped, and were shaped by, the dress and bodies of its firefighters. Through a survey of surviving hikeshi uniforms, I demonstrate visual and material connections between the hikeshi’s ornamented skin, their garments and a series of illustrations by Utagawa Kuniyoshi for the 1827 edition of the epic poem, ‘Water Margin’, about a band of mythically strong bandits. I therefore reframe uniform as an expressive piece of menswear through which the hikeshi participated in an invented masculinity.

А.В. Луначарский и Е.К. Малиновская: к истории взаимоотношений руководителей советского искусства

The article examines the relationship between the two prominent leaders of Soviet art — head of the Russian SFSR People’s Commissariat for Education A.V. Lunacharsky and E.K. Malinovskaya who managed the Moscow academic theatres in 1919–1924. Based on the material of six archive fund collections, the author of the article shows the complex dynamics of the relations influenced by their long-standing acquaintance from pre-revolutionary times, their personal artistic tastes, and the situation that developed around academic theatres in the early 1920s. In his letters to Malinovskaya, Lunacharsky often acted as a leader and patron, which appeared natural from the point of view of subordination. However, being not only a high-ranking official but also a prolific playwright interested in a special relationship with the theatrical world, in the matters that concerned the staging of his plays, he sometimes turned into a petitioner. Despite disagreements with Malinovskaya, sometimes significant, Lunacharsky appreciated her business qualities and deep involvement in the affairs of the theatre department, especially those of the Bolshoi theatre, where Malinovskaya, in addition to the general management of the academic stage, held the post of director. However, being passionate about her business, by 1924 she had managed to make a large number of enemies, which stopped Lunacharsky from further defending his “energetic employee” in the government service, and he decided to accept her resignation.

Viral Interstitiality and Unlikely Resources: Gender and Labour in Turkish Public Theatre During the Covid-19 Pandemic

The growing literature on Covid-19 and theatre has demonstrated how the pandemic has intensified gendered precarities in theatrical labour.1 However, the pandemic has also provided feminist theatre makers with unexpected or unlikely resources, albeit with limitations. The Istanbul Municipal Theatre's (İstanbul Büyükşehir Belediyesi Şehir Tiyatroları or İBBŞT) production of Melek that premiered in 2020 is an indicative example of such rare and largely invisible cases of pandemic theatre. Critically engaging with the archives and repertoires of tuberculosis (TB) melodrama and the Turkish lives of the genre, Melek conducts an experiential mapping of the performativity of death and the porous borders between everyday performance and artistic performance. The production offered independent feminist theatre practitioners, who otherwise maintain a precarious existence in Turkey's theatre world, access to new spaces, resources and audiences. Combining archival with ethnographic research, I will demonstrate how, in the case of Melek, the intersections between actual and fictive viral contagion – what I define as viral interstitiality – constitute inclusive economies amidst the Covid-19 pandemic. In somatics, the interstitial is theorized and enacted as suspensions of static schisms that shape relational empowerment.2 Drawing upon this grasp of the interstitial as connective thresholds, viral interstitiality sheds light on the practices and the economies of care that emerge from the porous dynamism between the viral and the theatrical.

Broadway on Demand

Alexander Street’s Broadway on Demand collection presents a varied package of streaming videos about the theater world. It includes a selection of full plays and musicals, as well as interviews, documentaries, podcasts, and other shows that aim to capture the aura of the theater experience.

Door-(not)knocking scenes in Plato

Door-knocking scenes are familiar in the world of ancient Greek theatre. Plato appropriates this motif in three occasions, twice in the Protagoras (310b1, 314c-e) and once in the Symposium (212c). At the same time, he elaborates on the motif by invoking it through its absence: there is no need to knock on a wide opened door – especially a door that one expected to be closed.

THE PERM INTELLIGENT VIEWER AT THE MEETING WITH HIGH MUSICAL ART (BASED ON THE MATERIALS OF THE ANTHROPOLOGICAL RESEARCH IN PERM)

The article examines the image of the Perm musical theatrе's viewer, formed in the theatrical environment of the regional center in 2011-2019. It was established that the myth designed by the artistic director of The Perm Tchaikovsky Opera and Ballet Theatre allows the neophyte to enter the traditionally closed world of classical music by building a specific plot (the logic of the fairy tale). The methodology is based on the concept of V. Ya. Propp. Using its language, the author indicates the stages of the intelligent viewer’s entry into the world of musical theatre. The process of becoming the viewer is based on the concept’s key elements (rite of passage - the madness of the neophyte - mastering the “cunning science”), which exist in the form of the plot’s “embryos” in the personal mythology of T. Currentzis. The main mythological motifs and images read by viewers influence the formation of their own practices of self-presentation. Focused interviews with viewers in Perm, which were conducted by the author in 2016-2019, are used as a source.

An Endless Capacity for Dissembling: Representing Teenage Girls on the American Stage from The Children's Hour through If Pretty Hurts Ugly Must Be a Muhfucka

One day in 2018, I arrived at Playwrights Horizons in New York City excited to see a new play by Lindsey Ferrentino called This Flat Earth. I did not know much about the story aside from the fact that it had teenage actors playing teenager characters, but I quickly realized that it was about two teens trying to make sense of a recent mass shooting event as their school. The most striking part of this experience was watching Ella Kennedy Davis playing a thirteen-year-old white girl named Julie who takes out her anger, grief, and confusion about this senseless violence on those around her. Davis spent much of the play on the emotional limits of anguish, screaming, crying, and shaking to the point where she continued to do so throughout the curtain call. Both my discomfort with the actor's obvious distress, and my genuine dislike for the whiny, sad, one-dimensional role—whose main characteristic is her ignorance of previous school shootings—were enough to distract me from the play itself. But what created this distancing effect? I first thought of Bert O. States's phenomenological observation that children onstage often break our illusion of the theatrical world, but I noted that my phenomenological response was distinctly different from what I feel when I see children acting onstage. Instead of wondering if the actor understood the play she was in, I instead feared she understood all too well.

Audience of traditional art in Kazakh steppe

This article considers the evolution of the stage art audience formation in the traditional society of the Kazakh steppe civilization, linking it to the ancient historical, cultural, and ritual processes of our people, as well as to the very origin of the earliest form of stage art. We regard the future improvement of the artistic culture of today's spectator on the assumption that cultural and spiritual continuity between different generations of spectators of the Kazakh steppe will not be broken. Consequently, it becomes obvious that this position is a trend characteristic of the world history of art. For example, folk art activities in other countries are based on the traditional entertainment of the gathered audience. In general, the origin of art is closely intertwined with folk art. They are inextricably related and cannot develop without each other. This phenomenon is confirmed by numerous facts from the history of world theater. There is every reason to come to a scientific conclusion that this position is applicable to the formation of artistic public. We can say that various kinds of entertaining folk games and festive performances, originating in real scenes of nomadic life of the Kazakh people, developed on the basis of national customs and were the initial stage of formation of spectators and listeners of arts and crafts of the traditional Kazakh civilization. Examining the rich cultural history of the steppe, we believe that the study of the audience of the performing arts in the traditional Kazakh society is of great scientific theoretical and practical importance. This issue is still in the category of topics not considered in the framework of scientific research of the national culture philosophy. It is known from history that centuries-old cultural heritage of the steppe region and Kazakh people has a diverse and rich content, along with its own unique style. It is culture that plays a huge role in the vitality of any nation. If we consider the identification of a nation through the prism of its contribution to the development of mankind, then national art is just that distinctive feature that helps defining the nation. Thus, the spiritual contribution of the Kazakh people to world culture is determined, first of all, by its national art.

SPANISH PUPPET THEATER OF 17TH CENTURY SEVILLE

In the history of world theater studies, there has been a tradition of identifying puppet theater as a separate art direction, isolating it from the current theatrical process. If you open the article by B. V. Goldovsky’s “Puppet Theater” in the modern “Great Soviet Encyclopedia”, then from the definition it is obvious that puppet theater belongs to theatrical art. In the tradition of Western and domestic theater studies, it is customary to view history through the prism of the biographies of authors woven into the fabric of the historical context, as well as the surviving texts of plays. Based on this method, bypassing historical documents, over the centuries a picture of the formation of professional theater has emerged. With the advent of computer technology and the beginning of the process of digitization of archives, it became possible to work with documentary primary sources. That is why it is necessary to re-clarify and supplement existing information in order to have a correct understanding of the history of world theater, which certainly influences the modern theatrical process. Spanish puppet theater, unfortunately, also became an exception from teaching aids, although throughout the history of the theater, puppet shows accompanied performances in the Corrals and enjoyed no less success with the public. The center of development of puppet theater in the 16th century was Seville, which was experiencing the Golden Age of theatrical culture. Thanks to the successful completion of the archive digitization process, based on primary sources, it is possible to reconstruct the puppet theater and compare it with modern analogues. Since there are no monographs on Spanish puppet theater in Russian theater studies, the purpose of the article is to draw attention to the relevance of the problem and clarify key points using the example of the reconstruction of the performance of the troupe of V. Colomer in the Monteria Corral in Seville in the 17th century.