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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.

Fifty years ago, István Örkény’s Kulcskeresõk (Key Seekers), an atypical allegory embedded in a farce, took shape with the effective assistance of Gábor Székely, chief director and manager of the Szigligeti Theatre in Szolnok. However, it did not reach its final form, as the author revised the play again after its world premiere. Before the reading rehearsal in Szolnok, six or seven versions of the play were prepared. Székely believed that “Örkény could express great things in the second act”, but “the first act was more of a separate play than a preparation for the next one”. As a result, the director requested multiple modifications from the author. The version of the text, reshaped several times by Örkény and staged in Szolnok, was published in the December 1975 issue of the journal Korunk. However, before the play’s next premiere at the National Theatre in Budapest in January 1977, Örkény revised the first act 126 again, still dissatisfied with its beginning. (Nonetheless, in the three-volume collection of his plays published in 1982, the version staged at the Szigligeti Theatre was included.) My study examines the dramaturgical and staging characteristics of the 1975 Szolnok production, highlighting the differing approaches of contemporary reception. [ABSTRACT FROM AUTHOR]

This study forms part of a broader series of analyses examining the principles of dramaturgy and theatrical traditions that shape the interpretation of drama and the understanding of dramatic texts. It focuses on action, the most enduring element of the classical unities, and analyzes Chekhov’s play Uncle Vanya–often described as being “without action” –through close reading and dramaturgical methodologies. [ABSTRACT FROM AUTHOR]

The literature on listening and daily discourse often describes an overly romanticized conception of listening, meaning what it should be in its ideal form. However, at most, this ideal is realized through the 'masks' that listeners 'carry' during their performance of listening. The ideal version that is being projected through the performance of listening is not cognruent with what actually happens behind the mask and performance. Individuals do not have the cognitive capacities to realize this unrealistic and unattainable ideal, but they have the capacity to act as if they do. Using Goffman's (1959) dramaturgical account this paper reveals the psychological and social world that hides behind the mask and performance of listening in order to ground the theorizing of listening in a more realistic perspective. This account gives rise to novel and indispensable listening concepts: the definition of the situation, the sincere and cynical listener, undercurrent listening, and misrepresentations of listening. These concepts demonstrate that the study of interpersonal listening cannot be isolated from the dramaturgy of listening as (expressed) manners of listening are intricately and inherently embedded in social structure. This account also strongly contests the psychocentric and simplistic definition of listening as proposed by Kluger, A. N., & Mizrahi, M. (2023). Defining Listening: Can We Get Rid of the Adjectives? Current Opinion in Psychology, 101639.). [ABSTRACT FROM AUTHOR]

This article examines an interdisciplinary improvisation practice that brings together dancer Olivia Millard and theatre-maker Kate Hunter. Drawing on their performance work, Audio Logical, the authors unfold their separate and interwoven practices as they respond, react, move and travel together through the crossovers and meeting points in the genealogies of their combined 50-year performance history. This immersive practice has brought considerations to the fore of sustaining a practice; what does it mean to build a body of work – and a body? How do we sustain an embodied practice now and into the future? Audio Logical engages with the imperative of the present while contemplating past experiences and embodied histories. The artists also acknowledge their ageing female bodies unapologetically. Rather than representing a loss of youth, the elder body is proposed as a site of revolutionary potential. [ABSTRACT FROM AUTHOR]

This paper develops a dramaturgical theory of cunning misrepresentations, an important but previously unexplored aspect of entrepreneurial impression management. By cunning misrepresentations, we refer not to illegal activities such as fraud or corruption but rather impressions constructed during everyday interactions that actors (and their performance team) know to be false or misleading, such as small exaggerations, white lies or tall stories. We examine three vignettes from an ethnographic study of small business owners. Our analysis reveals three types of cunning misrepresentation: pretending, exaggerating and embellishing. We outline the contribution of our theory of cunning misrepresentations for the study of everyday entrepreneurial impression management and discussing the methodological implications of studying the relationship between the frontstage (when the audience is present) and the backstage (when the audience is absent). [ABSTRACT FROM AUTHOR]

The ‘New Chinese Opera’, which emerged in the 1940s, has become a significant part of the performance repertoire, a ‘hot’ research topic and an indispensable subject of historical surveys of Chinese music. The subject matter of these operas ranges from historical events (as in Honghu Red Guards of 1958) to stories drawn from classic Chinese novels (as in Camel Xiangzi of 2014). Critical and aesthetic reception has focused on the dominance of realistic subject matter in this form and the concern of its producers to reach a wide audience. This emphasis on the marketability of art reflects how deeply rooted secularisation and utility are in contemporary Chinese culture. This paper examines a third theme of aesthetic discourse that is particularly present in historical narratives of Chinese opera: the struggle to distance Chinese opera from Western models. The image of ‘opera’ that emerges in these accounts reconfigures the form for contemporary use, with the result that the history of Western opera as an agent is absent - or, in the case of dramaturgical models and influences, distorted.

The poetics of the body in Bernard-Marie Koltès is a vast subject, sometimes controversial for politically (in)correct, sociocultural or racial reasons. Koltès places the body at the center of many of his texts as the main theme around which other elements, secondary themes, such as death, money, time or the question of identity, gravitate. In this article, we propose to find another, new meaning for the notion of the body in Quai Ouest (1985). Critics have observed that the corpse floating in the river is not a simple (theatrical) object, but a reflection of a society adrift, encompassing and, at the same time, enclosing the actors. The theories of Georges Dumézil, Gilbert Durand, Mircea Eliade and others will facilitate our mythocritical approach to Bernard-Marie Koltès' text. We conclude with the question of identity, which becomes a constant in this play, given that the societal environment is a mixture of several immigrants, and therefore several nationalities, who have come together in the same mythical space (the hangar).

The article deals with the comprehension of the concept of reality in the cultural and scientifi c heritage of the French enlightener Denis Diderot. The interest to this topic is dictated by the timeless relevance of the innovative dramaturgical theory of the thinker, in which the issue of depicting the real is central. In the course of the analysis the works of domestic and foreign philosophers and literary critics, who touched upon the problem of the representation of reality in the 18th century and especially in the works of Denis Diderot, were involved. The concept of reality is considered both in aesthetic-philosophical (the article “Beaux”, “Entretiens sur Le Fils naturel”, “Discours sur la poésie dramatique”) and natural-scientifi c (“Pensées sur l’interprétation de la nature” and the article “Nature”) works, which allowed to reveal Diderot’s unifi ed ap proach in defi ning the real and formulating the rules of its representation. The article analyses the approaches to the representation of the real in a work of fi ction, which are described in detail by the enlightener in his treatises on dramaturgy. The study compares the concepts of “nature” and “reality” and explains their diff erences. Nature in Diderot’s understanding is the visible world, objective reality, whereas reality appears as a fi ctional unity, subjectively embodied in an artistic work on the basis of images from memory and imagination. This reality is constructed by the author of the work and is plausible. The author of the article, based on Diderot’s treatises on theatre, has formulated a number of criteria that must be followed in order to recreate a plausible reality. These criteria indicate the same requirements for the arts, which, according to Diderot, are most suitable for depicting the real – theatre, painting and music. The analysis shows that Diderot’s innovative aesthetic system clears the way for the saturation of art with plausible fi ction, and this “enrichment”, in turn, proclaims a new era – the “critical era of theatre”.

This article presents the findings of a season-long investigation of video-based coaching (VBC) practices in an English youth soccer academy. During the period of fieldwork, the lead author immersed themselves within the academy setting, in which they observed 22 VBC sessions and also day-to-day interactions between coaching staff relating to these activities. In addition, 18 interviews were conducted with 5 coaching staff, totalling 8 h of in-depth interview data. The fieldnotes and interview transcripts were iteratively analysed, utilising Goffman's dramaturgical writings and Groom et al.'s grounded theory of VBC. Our analysis produced two overarching themes. These were (a) how the coaching staff concealed that VBC sessions were principally designed to develop 'high priority' players and (b) how the coaching staff purposefully withheld critical thoughts and feelings about their player's performances, preferring instead to strategically focus on the provision of positive messages during VBC sessions. These findings contribute to the limited investigation of this aspect of coaching and demonstrate the importance of educating coaches to acknowledge how VBC can be influenced by and used to respond to workplace demands and expectations. [ABSTRACT FROM AUTHOR]

Nowadays, people often use social media, especially Instagram, to create an interesting impression for the audience. However, the content created often differs from reality. This research aims to find out how to use social media @kulinercirebon to manage impressions through Front Stage and Back Stage analysis on Instagram social media. This research uses qualitative methods with analysis that refers to Erving Goffman's Dramaturgical theory. The research results show that from the Front Stage side, the owner of the Instagram account @kulinercirebon tries to give an interesting impression of the culinary delights in Cirebon. The @kulinercirebon account displays various interesting and informative photos and videos, depicting typical Cirebon food in an appetizing way, while from the back stage, the owner of the @kulinercirebon account often responds to various questions that arise via direct messages on Instagram. Apart from that, the owner of the @kulinercirebon account also uses his social media account as a paid promotional medium for business people who want to promote the place they own. The conclusion of this research shows that the owner of the Instagram account @kulinercirebon manages his account according to his main goal, namely introducing culinary places in the Cirebon area. [ABSTRACT FROM AUTHOR]

Copyright of Revista Foco (Interdisciplinary Studies Journal) is the property of Revista Foco 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 Jurnal Manajemen Pendidikan dan Ilmu Sosial (JMPIS) is the property of Dinasti Publisher 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 Jurnal Manajemen Pendidikan dan Ilmu Sosial (JMPIS) is the property of Dinasti Publisher 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.)

In the Czech Republic there has been a growing interest in education in nature [výchova v přírodě] in connection with accreditation as a field of study. Outdoor experiential educator Jan Neuman, who died in April 2021, was instrumental in the development and formalisation of Czech education in nature programmes over the past 50 years. The aim of this review is to highlight the culturally unique, holistic and multi-disciplinary approaches of the concept of education in nature within the Czech environment, comparing this term with outdoor education internationally. Such cross-referencing of different cultural and indigenous variants aims to enhance outdoor physical activity opportunities in natural environments. We define education in nature in the Czech Republic and highlight the historical development of education in nature, with a focus on turistika activities, summer camps [tábory], and holistic dramaturgy approaches that elaborate on the cultural heritage and unique Czech approach to education in nature. [ABSTRACT FROM AUTHOR]

This article proposes a methodology to identify rhetorical energies that form within the diegetic timeline of movies and to translate these to creative sculpting of spacetime designs. In turn, the narrative manipulation of rhetorical spacetime correlates with that of the audience's emotional states. I achieved this by indexing fictional spacetime with movie barcodes to create a visual compression of sequential film frames into one solid image. I also discuss how patterns of spatial and temporal arrangement within the selected film trailer occurs. I utilise the short form movie trailer The Monster (2020) as my case study as it is a work that I co-directed. Essentially, I propose a method to show how temporal designs of a fictional dimension may be sculpted and intensified. For comparative purposes, I discuss a related study on Alejandro G. Iñárritu’s The Revenant (2015). I conclude that the spacetime relationships of the timeline exhibit a propensity to result in dramaturgic tension patterns. [ABSTRACT FROM AUTHOR]

The paper explores the potential of sound to repoliticize theatre and performance. By examining the activity and dramaturgical practices of the multimedia art collective Medea Electronique (Greece), it highlights contradictions of contemporary art, particularly the continuous transition from ‘everything is political’ to ‘no, not everything is political’ and vice versa. From a post-Brechtian perspective, the political function of art lies in preserving the diverse sensibilities at the core of art’s autonomy. This entails avoiding that art be reduced to a post-political gesture or aligning it too closely with everyday aestheticized experiences.

The article analyzes two piano works of M. Stârcea – Variations in G major and Two Preludes, which are used in the pedagogical practice of the AMTFA. The author thoroughly examines the features of the composition, dramaturgy, and musical language of these pieces, identifies the performance difficulties, and offers an interpretation option. It is concluded that the high methodical and didactic potential of these works by M. Stârcea is due to the synthesis of the classical-romantic traditions of the genres of variations and prelude with the musical language of contemporary Moldovan compositional creation.

The article discusses the evolution of R. P. Kumov, one of the largest Don writers of the Silver Age, perceived by modern critics as the "Don Chekhov". This was facilitated by the lyrical beginning of his style, subtle psychologism in the depiction of characters, for the most part people of the clergy – from a novice to a bishop. At the beginning of his career, he openly focuses on the plots of Chekhov's famous works, uses the techniques of his poetics, creating a kind of literary palimpsest. But already in the first half of the 1910s, new themes, characters, motives appeared in his prose and especially in dramaturgy, the desire to depict acute conflicts of our time, large and controversial characters. After 1917, he became a witness and artistic chronicler of the Don Vendee, a fratricidal civil war on the Don. Cossack folklore, motifs and images of folk eschatology play a significant role in his Don texts. All this indicates the need to revise the established ideas about the literary attribution of the writer and his place in Russian literature of the 20th century. The lyrical "mood" as the dominant beginning of his poetics, landscape painting are in many ways related to the aesthetics of Russian impressionism (B. Zaitsev, I. Shmelev, S.N. Sergeev-Tsensky). It is no coincidence that the writer especially singled out S.N. Sergeev-Tsensky. However, this aspect of Kumov's poetics requires special study. Kumov's artistic method cannot be reduced to a single formula. A systematic approach is required to the problem of the evolution of his work, in which romance and realism, spiritual and religious, and psychological, Don and all-Russian, "native and universal" turned out to be inseparable. The definition of the "Don Chekhov" reflects only one of the features of his artistic manner, which is very important, but not accurate enough for literary attribution of the writer's work.

The COVID-19 pandemic has disrupted labor markets around the world. Workers and corporations scrambled to adjust their workstyles to a new normal, by avoiding the commute and working remotely from their homes or elsewhere. Japan is a country that stood out for its inability to adjust to the remote work imperative. Comparative statistics show that Japan reported the lowest number of people engaged in remote work among the OECD countries, as well as the lowest percentage of corporations that offered remote work policies. In this article, I investigate why telework in Japan is difficult. The lack of telework in Japan may seem paradoxical, given the country's reputation for being technologically advanced. I argue that it is not the technological infrastructure that is lacking in the Japanese workplace, but distinct features of work embedded in Japanese culture and its collectivist roots that prevent the effective implementation of telework. I rely on recently published data from various sources, and apply key sociological theories such as implicit contracts, gift exchange, dramaturgy, and impression management to substantiate my main arguments. The paper concludes by drawing on implications for the future of work in Japan. [ABSTRACT FROM AUTHOR]

Copyright of Nueva Revista del Pacífico is the property of Universidad de Playa Ancha de Ciencias de la Educacion 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.)

In 2019, in Romania, there has been an active debate about the limits of theatre expression in the Eastern European cultural space. It is acknowledged that documentary and political theatre have a strong influence on the cultural scene in Eastern Europe, especially after the emergence and appreciation of new techniques such as Verbatim or Devised Theatre among theatre makers. Notwithstanding the fact that these forms of theatre, which have an extremely strong social and critical voice, have appeared in the European space for decades and have started to become more and more widespread, in 2018, in Cluj-Napoca, the premiere of the performance Eu sunt! Și?, directed by Loran Betty, for which I wrote the text. This performance was performed for a year all around Romania, and in 2019 it was proposed for censorship and amendment by the Romanian Orthodox Church. This was one of the first cases of its kind after the exit from the Romanian communist regime, one of the first, or even the first, to be fined by the National Council for Combating Discrimination in Romania, for discriminating against people of faith. Therefore, it is important to understand the context in which this event occurred, as well as the history of performances with similar concerns after Communism, and of course, the opinion of the authors of this performance. In addition to all this, we will also analyze performances that addressed similar themes in the Romanian space and discuss the limits and freedoms of theatre in the Romanian cultural space. [ABSTRACT FROM AUTHOR]

Between 2021 and 2024, director Eric Fraisher Hayes and dramaturg Beth Wynstra teamed up for a series of productions of Eugene O'Neill's early and lesser-known plays under the auspices of the Eugene O'Neill Foundation. The following dialogue revisits some of the discoveries made during their joint creative exploration of these plays in production. [ABSTRACT FROM AUTHOR]

Identity and reality are socially constructed and maintained by both the individual and society. A primary way this occurs is through a process where people adjust their behaviors to meet the expectations of those around them and fit into an assigned place in life. People are not the sole creators of their destinies or their identities. Instead, their choices and how they develop identity are accomplished through social structures, interactions with others, and language used. Whenever people experience an event that damages their identity—like a history of substance abuse—they have difficulty redeeming themself and restoring their reality primarily because society is reluctant to let the person move past the injured or addicted identity. The author utilizes autoethnography and the idea of the antihero to show the social process where a spoiled identity can be reinterpreted into a new one. The article relies on dramaturgical analysis and the concept of social construction of reality, world-building, and world-maintaining. The author explores how his struggle with alcohol and subsequent religious conversion to Evangelical Christianity helped him establish a new identity, interpret previous mistakes, and build supportive connections. This study is significant because it emphasizes the sociological aspects of identity creation and restoration instead of individual ones. [ABSTRACT FROM AUTHOR]

Copyright of Central Asian Journal of Art Studies is the property of Central Asian Journal of Art Studies 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 Art-E is the property of Suleyman Demirel University, Faculty of Fine Arts 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.)

This paper discusses dramaturgy and artistic research's evolving role in theatre education, focusing on the Master's programin Theatre at Oslo National Academy of the Arts as a case study. Drawing inspiration from Richard Jochum's ideas in "After Artistic Research," the paper highlights the shift towards incorporating artistic research into the curriculum of art universities. However, it acknowledges the challenges in establishing a clear framework for artistic research within these institutions. The author argues that teaching and practising dramaturgy and artistic research in theatre academies have significant implications, marking a departure from traditional theatre education paradigms. The paper aims to contribute valuable insights and practical strategies to educators and practitioners involved in theatre education and artistic research, emphasising the importance of understanding and navigating the complexities of this evolving field. [ABSTRACT FROM AUTHOR]

In the Prologue to Rinaldo and Armida (1698), playwright John Dennis is quick to distance this new work from Lully and Quinault's earlier Armide (1686). Despite this, traces remain, as evidenced by the presence in Dennis's drama of Armida's confidante Phenissa, a figure invented by Philippe Quinault. The most notable link with Lully's opera comes, however, in John Eccles's entertainment for Act 3, a divertissement -like masque of Venus and Cupid, which includes a chaconne that bears a close resemblance to the passacaille given in the fifth act of Lully's Armide. In comparing Eccles's chaconne with Lully's passacaille , it is possible to note not only common structural features, but also the corresponding narrative role taken by the respective scenes in which each dance features. It will be argued that the use of such an identifiably French element in Dennis and Eccles's work represents a conscious dramaturgical decision, and an ironic reframing, consistent with the work's patriotic intent. Through this, it can be argued that familiarity with the music of Lully allowed it to be readily adapted and reimagined for the London stage. [ABSTRACT FROM AUTHOR]

This article focusses on the play Pequeños animales abatidos by Alejandro Sieveking, a text written by the Chilean playwright upon his arrival in Costa Rica to 1974. The text is understood as a literature of exile throughout the author communicated socio-political situations from Chile before coup d'etat, and in this act of memory, he was positioning against the repression of the dictatorship. The analysis persuades that the referentiality of the play is biographical and historical, because of time, space and social actors who were known or lived by Sieveking. As part of his discursive strategies, the author uses the intertextuality to refer to the political affiliations of the characters; the parody or satire to criticize the contradictions from the right and the temporary games to lessen the discourses from the left with characters comparable to the politics of oblivion. The analysis concludes that characters are reduced to their animality, in which they are prisoners of violence and the impossibility of changing circumstances as well as protecting their own lives. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Islamic Research / İslâmi Araştırmalar Dergisi is the property of Turkey Economical & Cultural Solidarity (TEK-DAV) Foundation 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 MATRIZes is the property of Universidade de Sao Paulo, Programa de Pos Graduacao em Ciencias da Comunicacao 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.)

Feedback on the work of staging an American theatrical text on the contemporary French scene : The Lonely Soldier Monologues (Women at War in Iraq) written by Helen Benedict in 2009, and translated into French by translators from Maison Antoine Vitez in 2018. The play is directed by Dinah Pedarros at the Regional Conservatory in Nice in June 2024 and as part of a PhD project supervised by Emeline Jouve (professor of American literature and culture, specialist in US theater at the University of Toulouse Jean-Jaurès) and Christophe Triau (professor of theatrical aesthetics at the University of Paris Nanterre and playwright), they are both members of the ANR ACTiF (American Contemporary Theater in France) program.

The article examines the notion of drama as a genre category in European and ancient Indian theatrical theory. The analysis of ancient texts, foremost the treatise of the Nāṭyaśāstra, which can be considered the most authoritative primary source for the study of classical Indian poetics, forms the basis of the research. This paper identifies Sanskrit analogues of such fundamental concepts of Western literary theory as “drama,” “genre,” “performance,” “scenicism,” “literariness,” etc. The closest analogical to European definitions of drama and genre Sanskrit notions are investigated in depth. They are primarely nāṭya and prayoga — two terms used to define various performative aspects of the play. Another notion studied in the paper is rūpa, which originally stood for “scenario” and, later on, for textual and literary format of the staged play. Due to its universality, the same term functioned as the general definition of ten “exemplary” spectacular forms. Finally, the category of vṛtti is discussed, employed in the Nāṭyaśāstra for the characterization of stylistic features of early mysterial performances and, later on, of classical Sanskrit plays. The scope of the paper does not limit itself to bringing to light and discussing these various notions. The ultimate goal is to highlight the differences between Eastern and Western poetological systems and to point out fundamental issues arising from the non-critical use of European terminology when interpreting and investigating ancient Indian aesthetics.

This is a conceptual study that suggests the importance of “entrepreneurial symbolic management” in enhancing the business growth potential of ventures. Symbolic management is a means of effectively communicating the significance of a venture’s new business in a complex market environment by increasing its identifiability, while inducing stakeholders to associate symbols with their own meanings while appealing to their imagination. To date, studies have pointed out the importance of symbolic management, but there is little evidence that it is an effective strategy for venture business growth. In addition, the concept of symbolic management is complicated by similar arguments that exist in proximity, such as the identity argument and the brand argument, and researchers have not reached a consensus on a unified view of the concept. This study conceptually suggests that ventures can survive the fierce market environment and raise their own viability by appropriately practicing symbolic management.

In 2023, Russia celebrates the 200th anniversary of Alexander N. Ostrovsky, the famous playwright who portrayed Russia in the epoch of serfdom. The author used the method of continuous sampling to harvest lexical intertextualisms from A. N. Ostrovsky’s plays, as well as the methods of linguistic culturological analysis, interpretation, linguacultural commentary, and systematizing to describe the material. Biblical expressions in A. N. Ostrovsky’s plays are numerous but remain understudied. However, they play an important semantic and linguacultural role in that they render the text a bookish style. Some personages demonstrate the symbolism of biblical words as dominants of their worldview. Quite often, biblical expressions are incomprehensible, archaic, or semantically random, thus revealing poor education. The article focuses on one-lexeme biblical expressions. They could be divided into two groups: 1) proper names, e.g., Jared, Herod, Judas, Lazarus, etc., and related phraseological units, e.g., to sing Lazarus, i.e. to lament or complain; 2) common nouns with a special symbolism in the text, e.g., expanse, vigil, fasting, abstinence, covenant, grace, goodness, bounty, ordeal, brimstone, etc. Each example is provided with comments on their biblical source and the functional characteristics in the context.

Copyright of Quarterly Journal of Marketing is the property of Japan Marketing Academy 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.)

Sport coaching scholars have increasingly utilised the work of Erving Goffman to theoretically interpret and understand the complexities of coaching practice from a dramaturgical perspective. While this area of scholarship has advanced our sociological understanding of sport coaching, there remains a paucity of literature addressing how coaches work in conjunction with others and stage social interactions as performance teams. Utilising an 18-month ethnographic case study of video-based coaching in a Paralympic sporting context, data were gathered via participant observations, field notes and interviews, which were analysed using Goffman’s The Presentations of Self in Everyday Life as a heuristic framework. Findings and analysis revealed: (a) the coaching staff completed significant preparatory backstage work as a performance team prior to their frontstage delivery of video-based coaching which involved a select group of athletes, (b) the coaching staff found themselves presenting on the frontstage as a performance team to an audience comprising of interested and disinterested athletes, which caused feelings of frustration in response to athlete disengagement, (c) despite the significant backstage preparatory work completed by the coaching team, inconsistencies in their video-based coaching delivery contributed to a spoiled performance team identity in the eyes of their athlete audience. This study contributes new knowledge to the field of sport coaching through its novel dramaturgical analysis of video-based coaching, in particular, the complexity of team-based scripted interactions. Findings and analysis present in this article have important applied implications for preparing coaches for the teamed nature of this aspect of their work and the enactment of performance teamwork. [ABSTRACT FROM AUTHOR]

This article considers theatrical manipulations of time as an abolition dramaturgy, or a theatrical technique that participates in the world-building project of abolition. First grappling with carceral and neoliberal notions of time, this article considers the ways that time is wielded as a weapon in dealing with conflict, resulting in what Ruth Wilson Gilmore refers to as a "premature death" of those deemed disposable within racial and carceral capitalism. Following this investigation of time as a decompositional tool, this article analyzes The Circle Project's What Fools These Mortals Be, a filmed tableau vivant that contrasts the carceral weaponization of time with abolitionist dramaturgical generation, syncopation, and restart. [ABSTRACT FROM AUTHOR]

In the Southwestern United States, during the mid-twentieth century, Mexican Americans introduced a genre of custom cars known as lowriders. They were unique compared to other American custom cars, such as hot rods and other fast cars on American main streets; lowriders rode low and slow and only inches from the ground. In fact, lowriders became central to Chicano culture and to the lives of car owners and their families. The car owner and the rest of the family also drew part of their self-identity not only from the car itself, but also in the act of driving – or lowriding as it is known. The story herewith tells how lowriders, lowriding and car clubs emerged from the heart of Chicano culture in ways that established and supported community building, expanding eventually to worldwide popularity. [ABSTRACT FROM AUTHOR]

For decades, artists and theorists have written of the 'performative' nature of comics with the panel as a 'stage,' and the design process itself as 'acting.' The approaches vary from passing analogies to book-length efforts. While 'acting' gets a great deal of attention, its substrate, the dramatic character, has gone chronically undertheorized. This article develops a dramaturgical methodology of characterisation based on the work of the late Earle Gister to analyse the function of character in graphic novels. The exercise reveals common and distinct conceptual modes or levels of function that may be understood in dramaturgical terms. The orchestration of these levels undergirds narrative complexity and may even expose the unresolved anxieties of the artist. [ABSTRACT FROM AUTHOR]