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Memory of the Voiceless. Verbatim, Cvasi-verbatim, Mockumentary

. Najera, M., Final Report on Professional Development Activity: “Tectonic Theater Project LA Workshop”, Los Angeles, Mark Taper Forum, 2014. Norton-Taylor, R., The Colour of Justice: Based on the Transcripts of the Stephen Lawrence Inquiry , eBook, Oberon Books, London, 2012. O'Connor, Jacqueline, Documentary Trial Plays in Contemporary American Theater , Carbondale, SIU Press, 2013. Paget, Derek, “‘Verbatim Theatre’: Oral History and Documentary Techniques”, New Theatre Quarterly , volume III, number 12, November, Cambridge University Press, 1987

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Dance Theatre in Notes

Abstract

The fusing of arts enriches a spectacular setting for all human feelings to thrive and express themselves. The theatre in the arts and the art in the theatre, a sublime melding of purity and mystery, speaks striking truths for those with ears to hear them. “The floors” of theatres today enjoy classical dramatic pieces, as well as the staging of experiments, which in my opinion are a real necessity for the entire development of the creative human spirit. The need for free speech and expression gives us motivation to explore the meaning of the term “classical”. The latest trends in the art of modern dance are represented by a return to expression and theatricality, the narrative genre, as well as the historical account of the development of the plot, the restoration interventions in spoken word, chanting and singing; the concepts of art are undergoing a full recovery.

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The Metamorphosis of Performing Arts

Abstract

This article examines the relationship between performing arts, the multidisciplinary aspect of them, thereafter seeking to address a few similarities and differences in approaching a live performance. The confluence between ballet, theatre and opera is obvious and a brief overview of the main interlaced stages in the development of performing arts will also prove that they have always been related and dependant on one another. Every performing art crosses its boundaries and not only does it explore issues or topics specific to the other arts, but it also uses their tools. Thus, this article integrates a few contemporary tendencies of intersection in performing arts, mainly the pervasive presence of ballet and theatre. Subsequently, in considering live performance, the impact on the audience is also assessed, as well as the harmony of perception created between the performer and the public.

Further on, the paradigm development in performing arts is determined due to the augmenting of the new technological tools being used. The aim of using these tools is to create special effects that emphasize the quality of the performance. In addition to a comprehensive influence, this article explains how contemporary social and political changes, scientific and technological progress have determined more changes in the performing arts than they had in the previous centuries.

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Taming the Monster through Theatre. The Therapeutic Valences of Theatre for Young Audiences. The Case of Sibiu

Abstract

The present article aims to demonstrate, starting from a textual and spectacular sample of four texts and performances on the stage of Sibiu, the extent and development that the theatre for young audiences has had in the Romanian theatrical field in recent years. Starting from some general features of this theatrical subgenre, we aim to highlight the close connection between the theme, the character’s construction and a certain type of awareness, of therapy through theatre, operated through this artistic formula. At the same time, our attention focuses on two performances based on the texts of Elise Wilk (Paper Airplanes and Green Cat), an adaptation for the stage of Eleanor Estes’ book, The Hundred Dresses, and a performance created by Yann Verburgh, The Rules of the Game.

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The Birth and Evolution of Stanislavsky’s Method

Abstract

The stanislavskian system arises in full development of the realist current. Starting from the word, the actor expresses through gestures, intonations and mimics. The pre-stanislavskian actor is dominated by dilentatism and emotional “accidents”, the balance is tilted to an act full of clichés and crafts. Perhaps the most important lesson that Stanislavsky gives us is that for the actor in his work to reach a credible character, he must go through all states, sensations and feelings required in building a character. We cannot forget, however, that Stanislavsky devised a new method of representation also due to the emergence of Chekhovian texts. To give effect to the new ways of writing, the attention must focus on the actors, without neglecting the scenography. Stanislavsky wants to convince the actor that if he doesn’t want to use tricks to present truth, he should be just like a painter or musician, to devote his whole being, “body and soul especially” in the creative process.

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Theatre Performance in Postmodernism

://philosophynow.org/issues/58/The_Death_of_Postmodernism_And_Beyond Peter Kivisto, 2014, Postmodernity as an Internal Critique of Modernity , in Postmodernism in a Global Perspective , edited by Samir Dasgupta and Peter Kivisto, New Deli: SAGE Publication Carl Gustav Jung, 1981, The Development of Personality , translated in English by R. F. C. Hull, New York: Princeton University Ptess / Bollingen Paperback Hans-Thies Lehmann, 2007, Postdramatic Theatre , translated in English by Karen Jürs-Munby, London: Routledge Jean-François Lyotard, 1984, The Postmodern

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