Suchergebnisse

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.

Das Thema dieses Artikels ist das ungarische Theatersystem.Der erste Teil befasst sich mit allgemeinen Fragen im Zusammenhang mit dem bestehenden Modell der Theateraktivität.Darauf folgt eine analytische Übersicht der heutigen ungarischen Kulturgesetzgebung unter besonderer Berücksichtigung des Gesetzes XCIX von 2008 "Über die Förderung der Organisationen derVortragskunst und über ihre besonderen Beschäftigungsregeln". Dann werden alle aktuellen Modelle der direkten und indirekten finanziellen Unterstützung für Theaterorganisationen überschaut.Da es Ähnlichkeiten zwischen dem russischen und dem ungarischen Theatersystem gibt, konzentriert sich der abschließende Teil des Artikels auf die teilweise Übernahme der ungarischen Praxis, die die Entwicklung von Institutionen durch zusätzliche Mittel für russische Theater fördern würde. ; The present study is concerned with the Hungarian theatre system. In the first part generalquestions connected with the existing model of theatrical activity are treated. This isfollowed by an analytical review of modern Hungarian cultural legislation, in which specialattention is paid to the structure and content of Law XCIX / 2008 "On the support and rulesof employment in organizations of performing arts". Then all the existing present-day modelsof direct and indirect financial support of theatrical organizations are considered. Since theHungarian and Russian theatre systems have some similar characteristics, the final part isdevoted to possible partial adoption of Hungarian experience with a view to developing theinstitutions for the additional funding of Russian theatres. ; Настоящее исследование посвящено венгерской театральной системе. В первой части рассматриваются общие вопросы, связанные с существующей моделью театральной деятельности. Затем следует аналитический обзор современного венгерского культурного законодательства, в котором особое внимание уделяется структуре и содержанию Закона XCIX / 2008 «О поддержке и правилах занятости в организациях исполнительского искусства». Затем рассматриваются все существующие на сегодняшний день модели прямой и косвенной финансовой поддержки театральных организаций. Поскольку венгерская и российская театральные системы имеют некоторые сходные характеристики, заключительная часть посвящена возможному частичному заимствованию венгерского опыта с целью развития организаций для дополнительного финансирования российских театров.

The article is dedicated to the development of theatrical art in Mariupol at the beginning of 20th century. The theatrical life of Mariupol has not been investigated yet as an original art phenomenon, and therefore, it demands for the detailed studying. There are the repertoire, the role of touring troupes and development of charitable activities of actors in the city described in the article as well. The information was collected from literature, newspapers and funds of local lore museums.The study showed us the rising of ideological and educational value of the scene provincial theaters at the beginning of XX c. In Mariupol worked several theaters, which created conditions for the formation of theater seasons, touring groups' arrivals and also the base for the development of local amateur groups. Performances of guest performers - Ukrainian, Russian and foreign stars of theater scene contributed to the promotion and enrichment of theatrical culture, transforming Mariupol into the cultural centers of the region.The author considers the features of the state policy in the sphere of theatrical art during the Civil War (1917-1920) and in the first years of Soviet government power. The Soviet government made a circle of attempts to use the theater in the business of agitation and propaganda as much as possible. In consequence with nationwide problems, the conditions which theater city institutions worked in, сconsiderably got worsened because of the fact of the demand of entertaining genres in the repertoire of the theaters. Nevertheless, thanks to the safekeeping of the best examples of the theatrical traditions, the priorities in the repertoire policy were given to the Ukrainian, Russian and foreign classics.In conclusion, it may be said also, that theater in Mariupol at the beginning of XX c., was developed, despite the complications that have been appeared under the influence of existing political regime and differed from others in the existence of various professional and amateur groups, wide touring guest activities of the prominent masters of the stage and diverse repertoire. ; В статье исследовано развитие театральной жизни Мариуполя в начале XX в., рассмотрены репертуар, вклад гастролирующих трупп и развитие благотворительной деятельности театральных работников. Проанализированы особенности государственной политики в области театрального дела во времена гражданской войны (1917-1920-е гг.) и в первые годы советской власти. ; У статті досліджено розвиток театрального життя Маріуполя на початку XX ст., розглянуто репертуар, внесок гастрольних труп та розвиток благодійної діяльності театральних працівників. Проаналізовано особливості державної політики в галузі театральної справи в часи громадянської війни (1917-1920-ті рр.) та в перші роки радянської влади.

There were some features of the development of theatrical art in Mariupol studied during 1946-1960-s. And also there were different arrangements of Soviet government described, which were directed on the reconstitution of control over the theatre's business which was weakened during the war time. The main reasons which stopped the active actions from the side of Mariupol theatre were illuminated too, at the end of 1940- s. It was brought to life that despite of absence of professional theatre, the art culture of the city continued its developmental improvements due to the tours and unique art of amateur theatre circles and organizations concentrated in Mariupol. There was also the opening of District Drama Russian theatre lighted too, which over helped the art activity with its upgrade. The head tendencies of development of Mariupol theatre were analyzed brightly in 1960-s, as also creative searches of the director and its cast. The significant attention was paid to the features of repertoire, tour's activity, to the level of interest and attendance of Mariupol theatre by its citizens. The place of theatre in the cultural life of Mariupol audience was determined under the influence of periodical press.

In this article I will combine Erving Goffman's sociology with some of the main aspects of Actor-Network Theory in order to outline a theatrical conception of social power. My first aim is to try to summarize the sociological perspective introduced by Kenneth Burke and then improved on by Erving Goffman to understand the face-to-face interactions of everyday life. Secondly, I will try to use the theatrical metaphor underlying this theoretical framework to describe power-over relations in everyday life. Thanks to the combination of the dramaturgical theory proposed by Erving Goffman and the 'object turn' given to social theory by Actor-Network Theory, a theatrical conception of power allows the episodic, dispositional and systemic dimensions of power relations to be mapped respectively depending on the actors' performances, their roles of power and the institutionalized scripts. Moreover, this theatrical representation of power-over relations is a defaced understanding of the phenomenon that enables us to investigate not only its different directional forms (power-to, -over and -with), but also their possible variants (empowerment, resistance, domination and solidarity).

Abstract
M.H.L. is a theatrical production dedicated to the first Slovak professional female director Magda Husáková-Lokvencová, which combines documentary theatre and performance. Sláva Daubnerová wrote the script and scene concept and is director and plays the sole character in the play. She portrays the private and professional life of M.H.L. in a chronologically sequenced and mosaic-like fashion. M.H.L. is portrayed as an educated, broad-minded and intelligent woman who knows her own mind. She graduated in law and then took up theatre direction. Her private and professional life represented a series of ups and downs. Initially happy at the side of her husband, Gustáv Husák—successful early on as a politician, and flourishing in the theatre, she later had to struggle to survive and make a comeback to the theatre. Performer Daubnerová, enhanced the performance by using video art and sound design as important elements in the production.

London's cultural and social life is the focus of four recent books which, with the exception of a few forays by Manley, concentrate mostly on the late sixteenth and first half of the seventeenth century.

The paper concerns the analysis of the building of Cricoteka in terms of theatricality, which is the role of architecture in the performance of city life. It discusses such aspects as the transfer of the idea of theatre onto architectural form, the dialogue with the viewer, the place of the building in the city and the influence of the object on the environment by generating tension between individual elements of composition solids. Theatrical dimension of architecture might be understood as a spectacle, invented and robust physiognomy, but also intriguing visual appeal. Through the versatile architectural costumes the architecture puts on, especially contemporary architecture, which stands out from the other buildings, tends to be incomprehensible to its recipients. Aiding the comprehension of the message, as well as its conscious shaping by the authors, is key to mutual understanding and establishing the dialogue. The detailed analysis of the building's interior, which is the key aim of a project of Cricoteka, remains out of scope of this work.

When the testimony of horrific and tragic events that occurred in one's life becomes poetry, a theatre performance born from this premise is in many ways sensitive and multi-layered. The responsibility of presenting a willingly exposed personal account becomes a burden and a privilege at the same time. "Porn. The Story of my Wife" by András Visky tells about a true story that occurred in the author's family.

Frontmatter -- Contents -- Acknowledgments -- Setting the Stage -- 1. Jews, Theatricality, and Modernity -- 2. The Birth of Theatrical Liberalism -- 3. Theatrical Liberalism under Attack -- 4. The Theatricality of Everyday Life -- 5. Theatricality and Idolatry -- 6. I Am a Theater -- Curtain Call -- Notes -- CREDITS -- Index -- About the Author

"The crowns and scepters of stage emperors," remarked Sancho, "were never known to be of pure gold; they are always of tinsel or tinplate." "That is the truth," said Don Quixote, "for it is only right that the accessories of a drama should be fictitious and not real, like the play itself. Speaking of that, Sancho, I would have you look kindly upon the art of the theater and, as a consequence, upon those who write the pieces and perform in them, for they render a great service to the state by holding up a mirror for us at each step we take, wherein we may observe, vividly depicted, all the varied aspects of human life; and I may add that there is nothing that shows us more clearly, by similitude, what we are and what we ought to be than do plays and players." Miguel de Cervantes, Don Quixote, II, iii, 12

THE PAPER EXAMINES THE CONCEPT FIRST DISSECTED BY MONTESQUIEU IN THE PERSIAN LETTERS THAT A THEATRICALLY AMBIGUOUS SOCIAL UNIVERSE OF PERFORMERS IS AT THE HEART OF THE CONCEPT THAT LIBERTY IS UNDERSTOOD AS THAT CONDITION IN WHICH THE INNER PERSON. IS SHIELDED FROM PUBLIC SCRUTINY BY A PERSON'S FREEDOM TO ACT, AND BY THE NECESSITY OF A PERSON'S ACTING, ON THE PUBLIC STAGE. IT ALSO FOCUSES ON THE CONCEPT THAT AN UNTHEATRICAL POLITICS, FREE OF AMBIGUITY, VIOLATES NATURAL LAW AND IS A CONDITION OF DEPOTISM, AND THAT A THEATRICALIZED POLITICS IS A PREREQUISITE OF LIBERTY.

This dissertation is a study of Vietnam War veteran narratives and how they are presented on stage. I argue that these plays are a form of commemoration of the Vietnam War and those who fought in it. I examine three plays: Medal of Honor Rag (1976) by Tom Cole, Still Life (1982) by Emily Mann, and Tracers (1983) by John DiFusco, et al. There are hundreds of plays and musicals written directly about the war. Through a dramaturgical methodology I combine textual analysis, production research, interviews with two of the three playwrights, academic scholarship on the plays, my own staged reading of Still Life in February 2015, and select oral/written histories from Vietnam veterans to illustrate how the plays function as commemorative-storytelling of the veteran experience. Each chapter is a dramaturgical case study that could be used for production. The plays each have a wide range of topics, motifs, and themes, many of which I address, including the overlapping themes of wounding (moments of injury and psychological repercussions), coming home (surviving the war and returning home), and commemorating (via medals and memorials).