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This text proposes, in the first instance, a reflection on the contributions of popular festivities and carnival to the strengthening of theatrical identity in Colombia and, in a second part, its contributions to artistic education. The aim is to deepen the understanding of the elements of festive culture present in theatrical performances and their possible articulations and interrelations with artistic education processes. The following references are taken: i) three works of Colombian popular theater, by three highly recognized creators, Misael Torres, Juan Carlos Moyano and Críspulo Torres, who have inquired into festive culture, by covering popular festivals, carnival and other traditional manifestations, with the purpose of recognizing in these works part of what constitutes us as a society; our imaginaries expressed in characters, plots, stories, as well as the emergence of methodologies for stage creation; ii) two examples of training projects in formal and non-formal contexts, of academic programs based on popular and festive culture, to create pedagogical proposals based on the recognition of the knowledge immersed in festivals and the possibility of sparking dialogues of knowledge: the Popular Institute of Culture of Cali and the Department of Performing Arts of the Antonio Nariño University. In conclusion, the contributions of festive culture to popular theater and the multiple possibilities generated by its integration in artistic education processes are presented. [ABSTRACT FROM AUTHOR]

This work contains an attempt to understand the sources, evolution and results of the phenomenon of personal sincerity in the Soviet performing arts of the 1960s-1980s. This refers to three complementary tracks of the development of Soviet artistic culture (style, type, and method of perception) which determined various performing arts coming to the fore. Special attention is paid to author songs, theatre, cinema, and Russian rock. The material for such comprehension consists mainly of the personal experience of the author of the article, including observations and personal participation in the events described. The methodological basis of the work is a pragmasemantic approach, according to which meaning formation is determined by the contexts of socio-cultural practices, while personal subjectivity acts as a universal interface for such meaning formation, its dynamics, changes and interactions of contexts, including cultural and political ones. Meanwhile, subjectivity itself is formed in a specific historical and cultural context, including art and artistic culture. This, at the same time, contributes to the positioning of subjectivity in society, its self-realization and self-organization.

Backpages is an opportunity for the academy to engage with theatre and performance practice with immediacy and insight, and for theatre workers and performance artists to engage critically and reflectively on their work and the work of their peers. [ABSTRACT FROM AUTHOR]

Can framing intimacy as a necessary and primary outcome of collaboration help group members trust each other across conflicting identities? The theater industry has started welcoming Intimacy education to prevent harm that can arise during the performance of intimate scenarios. In response, academic institutions that train emerging theater makers have created guidelines and policies for intimate collaboration. In the Undergraduate Drama Department at New York University, they've created Intimacy Guidelines that include an emphasis on nurturing emotional, intellectual, and experiential intimacy alongside physical intimacy to encourage collaboration that "is vulnerable and brave." (p. 2). As an NYU Theatre Professor and socially engaged theater maker, the author sees the potential in these guidelines to help students who are working in diverse performance-based group activities address their distrust of others and nurture belonging within the group. Having first experienced intimacy as a phase of the group process through arts-based activities in social work groups, the author interviews a social worker who effectively develops intimacy through arts-based activities in groups. They discuss the potential and limitations of intimacy in groups and reflect on the similarities and differences between a social work group process and the Drama Department's Intimacy Guidelines. [ABSTRACT FROM AUTHOR]

This article explores the integration of music, dance, and narrative in the performing arts. It argues for the importance of cross-arts research and identifies four areas where this research could be conducted: songs with words, music in film, dances with music, and danced narratives. The author discusses the coupling between music and narrative in songs with words, as well as the role of music in film underscore. The relationship between dance, music, and narrative is also examined, with a focus on how dance and music align and how danced narratives create a three-way coupling. The article emphasizes the need for cross-domain research to better understand the integration of different art forms and the cognitive and neural mechanisms involved. [Extracted from the article]

The IFLA Library Reference Model (LRM) defines work as an abstract entity that represents "the intellectual or artistic content of a distinct creation." The work entity enables the grouping of equivalent content in search results and enables connecting and relating resources across databases and documentation practices, independent of media and format. This article explores how the LRM work entity relates to and is understood in the context of theater performance documentation. It presents an analysis of different conceptual models relevant to performance documentation and examines how databases for performing arts refer to or include works. The main part of the article, however, is a user study based on interviews with theater researchers on how they understand the concept of work in relation to theater performances. The main research contribution of this work is the gained insight into how the concept of work is understood in the context of theater performance documentation. [ABSTRACT FROM AUTHOR]

The article explores the playwright Yi Kwang-su's contributions to Korean literature and theater, focusing on his play Kyuhan. Yi used theater as a platform to challenge societal norms and promote social change, addressing issues such as educational inequality, oppressive societal practices, and the role of women. The theater served as a heterotopic space where different perspectives and experiences could be explored, and Yi aimed to create a space for reflection and dialogue among the audience. The text also discusses Yi's critique of Confucianism and his advocacy for cultural change. [Extracted from the article]

Copyright of Revista Estudos Feministas is the property of Revista Estudos Feministas and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista Eletrônica de Ciência Administrativa is the property of Instituto Brasileiro de Estudos e Pesquisas Sociais and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Postdramatic theatre revisits the theoretical concepts of drama, plot, character, and the body in order to deconstruct the deeper nuances of human identity vis-a-vis theatre and performance, especially in the postmodern times when the 'absolute' has lost its meaning. The understanding of post-dramatic theatre entails the analysis of the new theatre aesthetics, especially post-1960s. This paper intends to understand the concept of post-dramatic theatre both as a theory as well as a philosophy that defies any normative way of doing theatre and making performances. The paper aims to argue that post-dramatic theatre does not pose an opposition to the conventional meaning of theatre performance but goes beyond it to broaden the horizon and meaning of theatrical performance keeping in mind the postmodern scenario. After understanding this concept of theatre, the paper also attempts to trace the relevance of postdramatic theatre in the Indian context, especially regarding the representation of crisis. This will be done in the light of how the meaning of postdramatic theatre in the Indian context entails an understanding around the aspects of multiplicity and diversity attached to the Indian theatrical traditions that are open to experiments and creativity beyond conventionality. [ABSTRACT FROM AUTHOR]

Objective: Psychotic experiences, such as hearing voices that others do not hear, being afraid of threats that others do not perceive, or believing in ideas that others find implausible can be confusing for those who face them and challenging to relate to for those who do not, leading to alienation and social exclusion. The objective of this article is to discuss how immersion in theater can enhance our understanding of human nature and facilitate a social environment that supports the recovery of individuals with psychosis. Methods: Drawing on theories of the psychology of art and narrative psychology, this conceptual article discusses a theatrical production, a play, titled "Voices," created by a person with lived experience of voice hearing. We apply Semenov's model of art as a social psychological system as a guiding framework to focus on the roles of the art product, artist–author, artist–performer, and recipient. Results: Theater is a uniquely reciprocal art form where actors and spectators share emotional, intellectual, and cathartic experiences, which could foster interpersonal connection, personal growth, and empathy. This article brings new perspective on how theater can elucidate psychotic experiences, encourage dialogue about these experiences, and facilitate social integration and recovery of individuals living with psychosis. Conclusion and Implications for Practice: Theater can promote social change, making space for a wider range of perspectives in society. Engaging individuals with lived experiences of psychosis in theatrical productions could lead to new insights about and acceptance of psychotic experiences, both for these individuals and for society at large. Impact and Implications: Drawing on theories of the psychology of art and narrative psychology, the authors discuss a theatrical play, titled "Voices," created by a person with lived experience of voice hearing. This article offers a novel perspective on the transformative power of theater in understanding psychotic experiences, fostering dialogue to explore these experiences, and contributing to social inclusion and rehabilitation of individuals living with psychosis. [ABSTRACT FROM AUTHOR]

Whom does the screen interface serve, and how do artificial intelligence (AI) tools affect theatrical publics across both the playing space and the playgoing space? Screens are a site where cultural and performative meanings are generated and negotiated. This article draws on interface theories to analyze the roles of screens in regulating publics' access to performance, producing new ambient conditions of theatergoing and changing the publics' relationships to themselves and to performance. Screens in All the World's a Screen , an Irish Sign Language production, served and became co-spectating theatrical publics. The organizers encouraged the theatergoing public to use an AI app on their phones, their anthropomorphized "machine guests," to obtain auto-captioning based on pose analysis of the actor and to receive retail suggestions that the AI deemed relevant. Operating both within and beyond the fabula of the performance, screens as anthropomorphic interfaces create multiple theatrical publics through an imperfect spectatorial proxy. [ABSTRACT FROM AUTHOR]

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Peace can be built from the ground up. Moreover, peacebuilding is future-orientated and thus calls for a focus on children and youth. This approach involves a need to adapt methods to respond to the needs and abilities of young people, building their agency and capacities. Qualitative, participatory, arts-based methods offer such an approach, allowing for creativity, hope, and change for the future. This article will present qualitative data from 75 children and young people between the ages of 7 and 18 across three urban settings in Colombia and qualitative interviews with the adult stakeholders involved in the intervention, such as theater teachers and auxiliary researchers. A thematic analysis identified three major themes relating to peace: educating for peace, everyday peacebuilding, and building sustainable peace. From these categories, a textual data analysis was conducted using KH-Coder software to find co-occurrence networks. The implications for this article serve to further reinforce United Nations Resolutions 2250 (2015), 2419 (2018), and 2535 (2020), recognizing the essential role of children and youth in peacebuilding processes. Public Significance Statement: The findings of this study suggest that children and youth should be integrated into peacebuilding processes. To enable their contribution of perspectives, opinions, and actions to peacebuilding, it is crucial to develop strategies such as theater or other artistic expressions. [ABSTRACT FROM AUTHOR]

Copyright of Bylye Gody is the property of Cherkas Global University Press and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Between the performing arts and visual arts, for example between theater and painting or graphics, there are multiple interferences, which are not limited to scenography and costume. Cultural references and visual quotes are just two directions of development of modern and contemporary theater. Artists can support plays through images, but they can just as well inspire dramaturgical texts, either through life and professional activity, or through their creation, in itself. From books such as “The Lives of Painters, Sculptors and Architects” signed by Giorgio Vasari or Giovanni Pietro Bellori1, or from various works and biographical studies dedicated to artists, we can find out a lot of information that explains or completes what we know or what we can deduce directly from their work, but most of the time those aspects are conjunctural, explaining only the context of the professional training, the orders or the game of chance that led to the realization of their works, as they came to be known. About artists such as Michelangelo, Caravaggio, Claude Monet, Tolouse Lautrec, or more recently about Pablo Picasso and Salvador Dali one can say that they have put themselves in their work, in addition to unparalleled mastery and personality. 2 Rarely, however, there is such a continuity between life and artistic work, as in the case of Van Gogh and Edvard Munch. [ABSTRACT FROM AUTHOR]

The article reviews a theatrical production MIRZO ULUGBEK, directed by Olimdjon Salimov; and BIBIXONIM directed by Shurat Sanaqulov at Hamid Alimjam Theatre of Drama and Music, Samarkand, Uzbekistan on September 9–10, 2022.

Participation in psychosocial enrichment activities, such as music and arts programming, have shown potential to delay or reduce functional decline - without adverse effects that can be associated with pharmaceuticals. The performingarts programming described in this community case study was inspired by a community music program called B-Sharp Music Wellness, located in Phoenix, Arizona, which involved small groups of musicians who provided symphony performances for people with dementia. Our community programming sought to engage people with dementia and their informal care partner (typically a spouse) in existing performing-arts programs in their local community, providing social hours and season tickets for either symphony, dance (ballet), or non-musical theater performances. This case study describes the program history and design, including outcomes and lessons learned from the program evaluation of the last full season (2018-19) and partial season (2019-20), when the program was halted due to the COVID-19 pandemic. Program outcomes suggest strategies for, and benefits of, design for performing-arts programs as psychosocial interventions in other communities. [ABSTRACT FROM AUTHOR]

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The chorus has become a signature of German-language theater productions since the late 1980s. As a reflexive figure it exposes its linkage to the setting of the scene and the process of figuration. This article discusses the chorus against the backdrop of global societal changes, the specific situatedness of choral theater aesthetics in German history, the environmental epistemic turn in cultural studies and media discourses, and the institutional shift towards internationalized festival productions. It expands on the prefiguration of chorality in German literature (Elfriede Jelinek, Heiner Müller), the development of stage productions creating choral, i.e., non-dramatic aesthetics beyond group representations from Einar Schleef to Florentina Holzinger and thus the emergence of a new and manifold performative language at the threshold of performance and dance art. As this article suggests, these transformations of the chorus from rhetorical experiments to predominantly kinesthetic forms may indicate future unforeseeable turns of a figure that has been crucial for German-language theater in the last decades. [ABSTRACT FROM AUTHOR]

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