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The purpose of the article includes the theoretical context of theatrical costume research. After all, correctly selected and systematically organised methods provide a scientific basis, and therefore success in discourse. Classical methods of art history that arose in the 19th century were chosen in order to realise the outlined goal. Those methods to nowadays have not lost their relevance, namely, formal-stylistic, iconographic, and iconological since we were interested in the possibility of their application for the study of stage costume. The methods used in the article were primarily aimed to identify a common algorithm in the study of a separate narrow subject of research. By applying the historical-comparative and typological approaches to the above-mentioned methods, their universal possibilities were revealed, and thus the undiscovered potential in the process of performing the analysis of theatrical costume. The novelty of the article is evidenced by the theoretical elaboration of the content of each of the three specified methods, supported by historical facts-examples from the history of the costumes of performances staged in different years in Ukraine. The conclusions of the study are based on the step-by-step application of the three specified methods of classical art history for the analysis of theatrical costumes and the performance. The formal analysis gives a comprehensive description of the costume in its components, colour, silhouette, and architecture. Iconography opens up opportunities for classification as an elementary arrangement of concepts, motifs, and themes. Iconology allows to extend the classification scale to typological and take the next step through synchronic or diachronic contextuality.
Key words: theatrical costume, art history, formal-stylistic method, iconography, iconology.

From the lifting of the ban on women from theatrical plays in mid-1600s England to the communicative impact of the #MeToo campaign, actresses' presence on the stage has always had the capacity to profoundly question and shrink societal norms related to gender and cultural space. Using a qualitative methodology, the paper analyses young actresses' experiences of work in the Italian performing arts' sector, considering aesthetic and emotional aspects related to theatre work. The occupational environment, described through the sector's specific datasets and surveys, appears to be characterised by marked power asymmetries in terms of age and gender which, in turn, is embedded in young actresses' everyday bodily and emotional experiences of work.

Taking as its starting point the cultural policy discussion of audience development, this article suggests that a focus on the audience's experience of theatre performances is underdeveloped in the cultural policy debate which focuses either on reaching out to new target groups or on artistic quality. Through qualitative audience investigations, the article discusses how talking about theatre can serve as a method of investigating theatre experiences from an audience perspective, and thus provide knowledge which must be a pre-requisite both for theatres and for cultural politicians in search of a larger and broader audience. The analysis discusses audience experience with regard to the sensory, the artistic and the symbolic level of two specific performances, and at the same time it provides arguments for why talking about theatre is a useful tool for theatrical institutions in their work with audience development. ; Taking as its starting point the Nordic cultural policy debates surrounding audience development, which concentrate either on reaching out to new target groups or on artistic quality, this article suggests that the focus on the audience's experience of theatre performances has thus far been underdeveloped. Through qualitative audience investigations, this article shows how talking about theatre offers a method by which to explore theatre experiences from an audience perspective, and thus provides invaluable knowledge for theatres and cultural politicians in search of larger and broader audiences. The analysis discusses audience experience with regard to the sensory, the artistic and the symbolic level of two specific Swedish-Danish performances, thereby demonstrating how this approach offers a useful tool for theatrical institutions engaged in audience development.

In the years 2009–2015, a comparison of theatre systems in seven smaller European cities was conducted and named the STEP City Study. The study also included reception research, conducted with an extensive questionnaire, and qualitative research comprised of focus groups and interviews with audience members. One of the surprising results showed that, generally, the spectators enjoyed the performances a lot, but at the same time, did not rate them as very personally or socially relevant. That is why we decided to explore the notion of relevance in this article, or in other words, to examine what we are measuring when we ask the audience if the performance was relevant for them. In this study, we combine audience research and performance analysis of the shows that were evaluated as the most personally or socially relevant. The shows had either existential or contemporary political topics, were created in rather traditional ways, and did not stand out in any particularly innovative theatrical approach. We also conclude that relevance is a complex issue expressed in different dimensions of theatrical experience and cannot be straightforwardly measured.

International audience ; Theatrical works staging Europe through the prism of human trafficking and European-bound migration across the Mediterranean have situated the Italian island of Lampedusa in the public imagination as the geographic symbol of Europe's failure to respond adequately to humanitarian needs. A wide range of performance pieces on the subject of Lampedusa use different media to explore how migration and human trafficking call into question the authenticity of the European Union and European culture's commitment to integration, human rights, and diversity. Engagement with what can arguably be termed the artistic trope of migration in the first decade of the 21st century, and notably those focused on Lampedusa, are key to understanding how the trope of Europe and its symbolic representations are constructed and deployed. This paper juxtaposes an analysis of a select corpus of theatrical works by Lina Prosa, Marco Martinelli, Anders Lustgarten, and Zentrum für Politische Schönheit with a selection of political cartoons in order to sketch the key tropes in the broader spectrum of symbolic figures of Europe in the early 21st century and to consider the stakes and consequences in how artists and artistic institutions engage with tropes of Europe and the political reality of Europe in the early 21st century. ; Les œuvres dramatiques qui mobilisent la traite des êtres humains et la migration trans-méditerranéenne vers l'Europe comme éléments structurant pour une mise en scène de l'Europe ont réussi à fixer l'île italienne de Lampedusa dans l'imaginaire public comme symbole géographique de l'échec de l'Europe à tenir ses engagements humanitaires. Les praticiens des arts du spectacle vivant se servent de plusieurs médias pour créer des œuvres consacrées au sujet des naufrages au large de Lampedusa pour démontrer que la migration et la traite des humains remet en cause l'authenticité de l'engagement de l'Union européenne et de la culture européenne en matière d'intégration, de droits humains et de ...

The article attempts to concretize the essence of the two aesthetically polar staging approaches — theatrical and non-theatrical (performative) — in the context of the choreographic art development. The author suggests that the basis for separating these approaches can be some peculiarities in the ways they interpret such fundamental concepts as "actor", "role", "spectator", "drama", "action", "conflict", which, in a choreographic performance, are in certain relationships determined by cultural traditions, and in a non-theatrical production, they are transformed up to their disappearance. A similar experience of separating a theater and a non-theater on the basis of the presence of an actor, a role, a spectator and an hierarchy between them is proposed in theater studies. However, in choreographic (including ballet) performances, the content of the role is closely linked with the music and is often determined by the emotional background and musical dramaturgy. In the case of a radical departure from the composer's intention, turning to a different starting point for the composition, the specificity of the choreographic (ballet) performance is destroyed. Borrowings from non-theatrical art are showed in the construction of meanings when working with intrinsic body movement, as well as in the reliance on interdisciplinarity. Within a single line of choreographic art, there is a whole spectrum of ideas that interpret the concepts of "theatricality", "non-theatricality", "drama", and "performativity" in different ways. On what basis to classify them in order to reduce them to a consistent system is a difficult question. The article attempts to outline the foundation for future classification. The relevance of this topic is caused by the insufficient elaboration of the conceptual base in the specialized literature on choreographic art.

Balibar's consideration of Althusser's notion of dramaturgy suggests that we might rethink conventional ways of understanding ideology. Althusser works out his views on dramaturgy through an engagement with Brecht, and so it makes sense to consider how Benjamin's reading of Brecht offers an alternative point of view. Benjamin's focus on gesture offers concrete ways of reconceptualizing both identification and disidentification. Read together with his critique of legal violence, one can also see how the gesture displays and arrests the destructive power of the state. Benjamin thus introduces a way to think about state violence through a dramaturgical formulation of ideology.

An experience, early in my life, at the Tampa Bay Performing Arts Center opened my eyes to the transformative power of Theatre - it would shape my ambitions for performance, inform the choices I made about my acting career, and impel my passions. That single moment had a profound and lasting effect on my soul, one that would ultimately point me to the purpose of (")me;(") but what exactly was it? What transaction occurred between the performers on stage, and myself, and others in attendance that evening?My life as an actor has been an incredible journey of growth. Over forty-six U.S. states, and abroad, I have performed in Broadway musicals, stage plays, concerts, recordings, cabarets, as part of political campaigns and sporting events, and in universities, schools, and churches. Acting has fundamentally changed the way I see people, and challenges the way I learn, express and see myself. As my imagination, creativity, and craft has grown, I remain profoundly impacted by my experience in Tampa, and I have often wondered exactly what happened that evening? Did it have anything to do with the synesthetic elements of the performance (-) the lights, sounds, or scenery? Was it specifically the music, the voices, the amazing singers? Perhaps it was the daring acting and story. Did it depend on particular foreknowledge or familiarity of skill, or craft? Was it something that happened by chance, or by design? Was it because of me? Or did it, somehow, override everything I was at the time? Was it something intangible that is present at some, or all, theatrical events that enlivened the experience? This paper seeks to provide answers to some of these questions. My process in seeking answers will be to chronicle my own life experience as a person/artist. Having begun a script a couple of years ago, I decided to return to solo performance as a means to help me determine what made the experience I related so memorable. The attempt is to write and perform a solo performance piece that chronicles the foundation of this incredible journey of growth, while shedding light on the initial Tampa experience. My intention is to gain an understanding about something I believe contributes to (")theatrical spirituality.(") I believe that the unique blending of the script and the interpretation of these words through acting can impart life. The combined force of the power of story and the spoken word can cause something tangible, something good, meaningful and of intrinsic worth to happen in an individual or audience as a result of a performance. It is my belief that the formation, articulation and expression of that understanding represents, in part, my acting philosophy (-) what I do and why I do it. In a broader and more important sense, however, it also represents my understanding of who I am and why I am. ; 2016-05-01 ; M.F.A. ; Arts and Humanities, Theatre ; Masters ; This record was generated from author submitted information.

"Contents" -- "Editor and Contributors" -- "List of Figures" -- "Theatrical Engagements In Times Of War: An Introduction" -- "Part I Theatrical Training" -- "Chapter 1 The Greek Tragic Chorus and Its Training for War: Movement, Music and Harmony in Theatrical and Military Performance " -- "Background: War in Athens" -- "Alternative Military Training" -- "Movement" -- "Music" -- "Harmony" -- "Conclusion" -- "Chapter 2 Cultural Camouflage: Acting Identities in World War 2 Espionage " -- "Doing Dramatic Things" -- "Setting the Stage" -- "Training" -- "The Theatre of the Time" -- "Instructions and Manuals" -- "Chapter 3 The Scenographer as Camoufleur " -- "Fake Nature" -- "Part II Propaganda Strategies" -- "Chapter 4 Puppetry and the Spanish Civil War " -- "Chapter 5 Theatrical Propaganda and an Imagined West During the Korean War " -- "National Theatre as a Spirit of Resistance" -- "Contesting National Identities as Theatrical Propaganda" -- "An Imagined West as the Origin of a Pro-American Culture" -- "The Discovery of a Sinhyup Style" -- "Chapter 6 The Biopolitics of ISIS' Iconoclastic Propaganda " -- "Obscene State of Exception" -- "HD Terror" -- "Swarmcasting Terror" -- "Terrortainment" -- "The End of Postmodernity" -- "Conclusion" -- "Part III Patronage and New Directions" -- "Chapter 7 Guns, Money and the Muse: New Patronage in the Russian Civil War, 1919–1922 " -- "New Programmes, or Old Programmes in New Forms?" -- "New Patrons" -- "New Audiences, New Reactions" -- "The True Innovation: Consequences of New Patrons and New Clients" -- "The Galician Invasion: Friends from Home" -- "Chapter 8 Manipulating Beijing Opera: Criminality and Prosperity During Civil War in China C. 1930 " -- "Wars, Shanghai Concessions and the Green Gang" -- "War and Theatre" -- "Innovations of Shanghai Jingju Production and the Green Gang" -- "Production Factors

The major problem of the Hebrew theater, from its very beginning to the present, is summarized as an attempt to form and create a theatrical tradition where there are a multitude and richness of cultural roots. (DÜI-Hns)

This article continues "The Bibliography of the Theatrical Movement of Western Asia and North Africa,"Peter V. Chelkowski, editor, started in the MESA Bulletin XVI. 1 (July 1982), pp. 9–23.Today's Hebrew theater is almost as multifaceted and varied as the number of individuals and institutions which comprise it. It is quite a complicated matter to trace its origin, since the cultural roots of modern Israeli society are a multiplicity of ethnic cultures from all over the world. And it is only natural that this ethnic and cultural diversity should be expressed in the theater in general, and in all of its linguistic, pictorial, and gestural components in particular.

This article addresses some fundamental affinities between theatre and teaching and is based on emerging work in a long-term experiment which we began in the conference 'Weber/Simmel Antagonisms: Staged Dialogues', held at the University of Edinburgh on December 2015. Aimed at exploring the possibilities of the theatrical and dialogical forms for teaching the classics of social and cultural theory, it is a risky experiment whose initial results are presented in this special issue. In order to introduce the dialogues and situate them in the context of the broader project, the article does three things: first, it expounds the process of subjectivation at work in both theatre and teaching and explores some of the modalities of the subjective shift sought for in the public and students. Second, it explains the specificity of this experiment by contrasting it with other uses of theatrical dialogue in teaching. Finally, before briefly introducing each of the dialogues, the article clarifies the fundamental difference between the dialogical form and debate, as radically separating them is at the heart of any experiment in subjectivation, away from the stirring of opinions.

The article deals with the influence of theatrical aesthetics on Pierre Alexis Ponson du Terrail – the famous writer of the French popular literature of the second half of the 19th century. The great connoisseur of the theatre, Viscount of Ponson du Terrail filled his novels – and first of all, an extensive cycle of works about Rocambole – with allusions to the scenic practices of his time (first and foremost, he speaks about Parisian pulp theatres) and plays that had won favour with the commonalty: "Le Chiffonnier de Paris" by Félix Pyat and "La Tour de Nesle" by Alexandre Dumas. On the other hand, performability is a paradigmatic feature of feuilleton. Viscount of Ponson du Terrail was the leading representative of this genre. Particular attention is paid to the production of the play "Rocambole" by Auguste Anicet-Bourgeois and Ernest Blum (1864) and the transformations that the novel text underwent in the stage version.