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Copyright of Doc On-Line: Revista Digital de Cinema Documentário is the property of Doc On-Line: Revista Digital de Cinema Documentario 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 Studii de Ştiintă şi Cultură is the property of Studii de Stiinta si Cultura 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.)

The formation of the army’s image has acquired newfound significance in our time. Paradoxically, alongside the spread of humanist ideology, the number of violent conflicts worldwide is increasing. These stimulates the need for propaganda aimed at shaping the image of the army and enhancing the attractiveness of service. As one of the world's largest military forces, the US army has engaged in a diverse array of conflicts with over 750 military bases in approximately 80 countries (Kohli 2020). A diverse range of tools is employed to shape the image of the US army, including media, recruitment campaigns, social media, public events, etc. Among these tools, movies have their specific role. While traditionally intended for entertainment, movies have been used for over a century as a means to shape public opinion. This article delves into the main attributes of the US Army as a social institution, analyzing its four fundamental characteristics: the Militia Tradition, Mobilization Miracles, Man-Mindedness, Maritime Influence, the weapon and the enemy as distinctive attributes. Additionally, it features the seven core values of the US Army: Loyalty, Duty, Respect, Selfless Service, Honor, Integrity, and Personal Courage. The article provides a detailed analysis of how various components of movie production tools communicate the attributes and core values of the US Army and contribute to shaping its image, examining a high-viewership movie “Interceptor” (2022). The goal of the study was to find out the image of the US Army that “Interceptor” projects and to identify the verbal and visual communicative means it uses for this purpose. The content analysis made it possible to distinguish verbal and visual elements of the movie, encompassing human voice, mise-en-scène, as well as film editing techniques, to identify and highlight the messages and ideas conveyed about the attributes of the US Army. [ABSTRACT FROM AUTHOR]

La création théâtrale au Cameroun donne l’impression d’un projet qui décrit le cadre de vie de certaines sociétés. Elle met en lumière les informations nécessaires à la maitrise des us et coutumes des personnages/acteurs. Il s’agit en réalité, dans ce théâtre, de l’expression de leur organisation sociétale. En analysant "Guéidô", on y découvre une étude minutieuse qui renseigne sur le Cameroun profond. La présente recherche examine les modalités et les buts de cette entreprise de création. Elle se propose de faire ressortir les raisons qui entretiennent ces représentations sociales dans la création théâtrale contemporaine au Cameroun. Cette étude repose sur l’ethnoscénologie qui est une discipline scientifique issue de l’ethnologie et des arts du spectacle. Elle examine les pratiques culturelles dans leur contexte de production sans jugements de valeur ou préjugés. Sa démarche ici conduit à analyser les pratiques performatives, la confrérie des neuf notables, l’usage de la parole, les systèmes de croyances, les systèmes de rétributions et de condamnations et l’univers des créateurs. Ainsi, on découvre que la création théâtrale contemporaine au Cameroun participe à compléter, à sa manière, les études sur les systèmes d’organisation des sociétés camerounaises, à travers la mise en scènes des représentations sociales.

Copyright of Recherches en Langue et Littérature Françaises is the property of University of Tabriz 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.)

Kelly Reichardt pays attention to women's actions and subjectivities, often when they are alone, but not at the expense of men. It takes seeing her films more than once to understand how intricately her characters are pieced together through unexpected shot progressions, a non-linear sensibility and the overall logic of Reichardt's mise en scène. That so many points in her films lead to 'not knowing' may have something in common with her preference for a-sexuality, a much more radical, subtle project than sex role reversal. Reichardt's body of work, as a whole, operates through a mise en scène of sexual difference that is irreducible to a theme or an overt subject. [ABSTRACT FROM AUTHOR]

Copyright of Samuel Beckett Today / Aujourd'hui is the property of Brill Academic Publishers 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 article analyses the stagings of Le Bal, written by Némirovsky between one chapter and the next of David Golder, with which it has a number of points in common, starting with the depiction of a Jewish family. As the title suggests, everything revolves around the ball that should have consecrated the family's aspirations, but instead precipitates its social defeat. This is a text in which the potential theatricality of Némirovsky's texts is particularly evident, as evidenced by the presence of certain theatrical effects, such as phrases that take the place of stage directions. After a brief observation of Lemoine's staging in 2013, in which comico-grotesque aspects predominate, the article turns to Bergamasco's staging in 2015, in which the emphasis is on the violence of feelings and mother-daughter rivalry.

Esse artigo apresenta uma análise do filme Nous (2021), da cineasta franco-senegalesa Alice Diop, a partir de dois elementos estético-formais: a mise en scène e a montagem. Considerando certos recursos mobilizados na obra, como o uso do autobiográfico em uma perspectiva política que coloca no centro a experiência afrodiaspórica da população francesa de origem migrante, analisamos as dinâmicas entre o individual e o coletivo produzidas pelo filme. Verificamos as relações que Diop cria entre o cotidiano de habitantes racializados da periferia de Paris e de franceses brancos, colocando em perspectiva as complexidades identitárias na França contemporânea e interrogando quem faz parte, afinal, desse “nós” ao qual o título do filme faz referência.

Building character values is highly fundamental for the growth of children. Media is one of the digital platforms for teaching children those values, particularly social roles, beliefs, and other values in society. Through media, children can access any information that attracts their interests. An animated movie is one of the media products most children like. In this study, the author aims to analyze the animated movie, "Pororo, The Little Penguin," which could be used as a teaching technique to teach preschool students about the importance of character values. The author used the qualitative method and applied Mise en Scene theory from Manon de Reeper and Decoding- Encoding approach from Stuart Hall. The study's object was taken from the YouTube channel of Pororo, The Little Penguin, Season 6, Episode 13, titled "We're Sorry, Loopy." The dataset was also derived from the comments on Common Sense Media to find out how the parents or kids react to this animated film, Pororo. Asides from it, the author also took the sources from the literary works and proceedings to support the analysis. The result indicates that the film's episode contains social and educational principles that should be ingrained in students at a young age.

The main aim of this paper is to study a number of American key films from the 1960s and to relate them to the cultural and historical spirit of the age. In its critical approach, this paper depends mainly on Roland Barthes' theories and concepts regarding the visual image and semiotics. The main films that will be studied include "Midnight Cowboy" (1969), directed by John Schlesinger; "Bonnie and Clyde" (1967), directed by Arthur Penn; and "The Wild Bunch" (1969), directed by Sam Peckinpah. The researchers argue that studying the content and various forms of these films in particular is significant because it reveals cultural and ideological messages about the 1960s. The present paper is also an attempt to shed light on Roland Barthes' arguments about film theory. Despite the fact that the sum of his writings on film is relatively small, a closer scrutiny of these writings reveals that he has a vast influence on the field of film studies. His ideas on semiotics and structuralism are influential and can be extensively applied during film analysis. [ABSTRACT FROM AUTHOR]

Building character values is highly fundamental for the growth of children. Media is one of the digital platforms for teaching children those values, particularly social roles, beliefs, and other values in society. Through media, children can access any information that attracts their interests. An animated movie is one of the media products most children like. In this study, the author aims to analyze the animated movie, "Pororo, The Little Penguin," which could be used as a teaching technique to teach preschool students about the importance of character values. The author used the qualitative method and applied Mise en Scene theory from Manon de Reeper and DecodingEncoding approach from Stuart Hall. The study's object was taken from the YouTube channel of Pororo, The Little Penguin, Season 6, Episode 13, titled "We're Sorry, Loopy." The dataset was also derived from the comments on Common Sense Media to find out how the parents or kids react to this animated film, Pororo. Asides from it, the author also took the sources from the literary works and proceedings to support the analysis. The result indicates that the film's episode contains social and educational principles that should be ingrained in students at a young age. [ABSTRACT FROM AUTHOR]

In this article, I attempt to establish some auteurist coordinates for analyses of the films of Kon Ichikawa. Though historically overlooked in studies of Japanese cinema in favour of more classical filmmakers like Yasujirō Ozu, Kenji Mizoguchi and Akira Kurosawa on the one hand and more contemporary filmmakers like Seijun Suzuki, Takeshi Kitano and Takashi Miike on the other, I argue that Ichikawa is a unique and skilled auteur whose complex narratives and powerful themes are manifest in his richly idiosyncratic visual strategies. Towards the goal of capturing the scope and diversity of his prolific career, I explore films from The Heart (1955) and Conflagration (1958) through Odd Obsession (1959) and An Actor's Revenge (1963) up to The Devil's Island (1977) and The Makioka Sisters (1983). In so doing, I strive to distinguish Ichikawa from contemporaries like Ozu and elucidate the specifics of his unique visual strategies. Focusing on his penchant for character studies and his ability to isolate his characters in physical space in front of the camera as well as within the space of the frame itself, I argue that the unifying thread in Ichikawa's career is his fascination with outsider characters alienated from friends, family and society and whose isolation he depicts by virtue of brilliant use of both the full and widescreen frame, by playing with foreground and background, by utilizing light and shadow and by subverting shot/reverse shot editing. Whether in comedic or dramatic contexts, and whether in period sagas or contemporary stories, Ichikawa devoted himself to lonely characters in crisis and committed his mise en scène to the externalization of the internal thoughts and emotions of his anguished characters. [ABSTRACT FROM AUTHOR]

This article explores the directing practice of Algonquin and Irish theatre artist Yvette Nolan. Though Nolan is best known as a playwright, this article instead focuses on Nolan as "mentor to a generation of artists" and a significant contemporary theatre director whose interventions into inherited, colonial theatre practices warrant dissemination and discussion. The article explores her directing practice using three major themes: 1) values, process, and who is in the room; 2) food and joy and/as Ceremony; and, 3) vision and excellence. Working to situate hirself relationally as per Indigenous research practices, the non-Indigenous author uses original interviews, existing scholarship, and personal experiences collaborating with Nolan to inform this personal reflection on her practice. [ABSTRACT FROM AUTHOR]

Copyright of Akofena is the property of Universite Felix Houphouet Boigny 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.)

Strange Interlude is a marathon play fusing together dialogue and thoughts spoken out loud in a unique, innovative dramatic object. This essay explores O'Neill's ambition to represent the wholeness and fluidity of psychology, in order to investigate the ways in which this can be embodied on stage in various production styles, from the play's initial triumph to its relative abandonment, and then to a fresh wave of interest in the 21s' century, reclaiming the play as experimental ground. [ABSTRACT FROM AUTHOR]

This article offers a proxemic interpretation of Dido y Eneas, a Spanish Golden Age play written by Cristóbal de Morales Guerrero. It is a mythological work of which the plot is based on the protagonist's psychological confrontation between desire, staying in Carthage with queen Dido, and duty, heading to Italy to begin the Roman lineage. Such forces are represented by two supernatural characters, goddess Venus and Creusa, Aeneas' murdered wife transformed into a hellish spirit, respectively, who enter and exit the stage by spectacular means and employing special machinery. The use of these devices creates a strongly semanticised opposition according to which the top of the stage acquires a positive meaning and the bottom a negative one. In this context, it is perceived that Creusa tends to move upwards, whereas Venus does so downwards. These dynamics can be understood from both an axiological and dramatic view in the sense that the duty of sailing to Italy is the only reliable force since it is decreed by gods and, because of this, it will end up prevailing over desire, for Aeneas will indeed abandon Dido. [ABSTRACT FROM AUTHOR]

The fortune of Molière's theater on the Italian stage dates back to the second half of the 20th century. In the space of a few decades, the playwright, almost unknown to the general public, inspired the greatest Italian directors who, through his comedies, tackled the complex question of the staging of the classics in the contemporary world. The discovery of Molière filled, as Cesare Garboli had guessed, a gap in the Italian theatrical tradition, that of bourgeois comedy and related values absent, at the same time, in Italian society. At the same time, the need to adapt and update Molière's text in relation to the Italian theatrical language calls into question the translation choices and imposes new challenges on the acting. At the end of the century, we can see that Molière definitely entered the Italian theatrical repertoire.

Reneltta Arluk is an Inuvialuit, Cree, Dene theatre-maker hailing from the Northwest Territories whose work for the stage is gaining increasing prominence. The first Indigenous woman to direct at the Stratford festival, for example, as well as a published poet and performer, Arluk has been involved with the creation of new work across Turtle Island and beyond for decades. Yet little has been written about her directing practice and its interventions into (as well as strategic engagement with) more widely used directing methodologies. After a brief introduction contextualizing Arluk's work, the under-representation of Indigenous women's approaches in discussions of theatre directing, and the author's relationship to Reneltta and her work, an edited transcript of an open-ended interview between Arluk and non-Indigenous theatre artist and scholar Charlie Peters follows. What emerges is a picture not so much of a singular and rigid set of practices but rather a series of beliefs, insights, and questions that characterize Arluk's directing practice at this particular moment. [ABSTRACT FROM AUTHOR]

Copyright of Área Abierta is the property of Universidad Complutense de Madrid 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 this article, I examine the film style of Yasmin Ahmad's short film Chocolate (2009) by looking specifically at its production design component. Through the application of design intensity theory, the abstract function of film style theory and Viktor Shklovsky's ostranenie (defamiliarization) concept, my examination reveals that production design through the patterning of everyday objects as props (kitchen utensils, a plastic food cover, AA batteries, a baby milk bottle and a chocolate bar) in Chocolate functions more than denoting the setting of the story and enhancing the reality effect. It also works to visualize abstract ideas about the ambivalent possibilities of interracial–interfaith relationships in contemporary Malaysia. [ABSTRACT FROM AUTHOR]

Can the writing of a screenplay or the making of a narrative fiction film be considered a form of academic research? This will be a familiar question for those professional filmmakers entering the academy. To answer this question, scholars of screenwriting and screen production face the difficulty of articulating their creative practice as research within the broader institutional research cultures of the academy. This article seeks to overcome this difficulty by reflecting on the methods employed in the process of screenwriting a biopic about British boxer Randolph Turpin. To demonstrate how screenwriting and screen production practice generates and disseminates new knowledge, I offer a working definition of narrative fiction filmmaking as methodology, where mise en scène is shown to operate as a core reflective strategy. [ABSTRACT FROM AUTHOR]

A partir de la seconde moitié du XIXe siècle, un spectacle spécifique attire beaucoup l’attention : La Terre avant le Déluge, une représentation conçue à partir de diapositives pour lanterne illustrant le monde depuis la formation du système solaire jusqu'au destin de l'humanité. Ces spectacles ont été suscités par de nouvelles preuves géologiques de l'existence d'un temps planétaire remontant bien plus loin que la chronologie chrétienne orthodoxe. Pour la première fois dans l'Histoire, des animaux préhistoriques foulent la scène dans des paysages idéalisés. Le répertoire imaginaire de ceux qui ont conçu ces scènes fait coïncider l'illustration d'histoire naturelle avec l'iconographie esthétique et la tradition biblique. C'est le cas d'une séquence de diapositives tirées de La Terre avant le déluge, un livre publié en 1863 par le vulgarisateur scientifique français Louis Figuier (1819-1894). Les scènes ont été initialement dessinées par Edouard Riou (1833-1900), jeune illustrateur et ancien élève du graveur français Gustave Doré, l'un des illustrateurs les plus prolifiques et les plus célèbres du XIXe siècle. La séquence canonique des scènes de Riou a été conçue pour faire passer l'argument scientifique à une époque où la croyance religieuse devait être réconciliée avec les nouvelles découvertes empiriques. Comme le montre cet article, la performance de la lanterne magique répondait parfaitement à cette demande d'une vision intégrée de la Préhistoire. La qualité spécifique du médium en matière de structure, d'expérience et de perception permettait de réinjecter les nouvelles connaissances dans une histoire cohérente. La lanterne possédait intrinsèquement la capacité de mettre en place une négociation entre science et religion, d'opérer un " mouvement " de la pensée et de permettre l'émergence de nouveaux objets de connaissance.

O artigo possui como temática o estilo no cinema independente norte-americano. O objetivo é investigar elementos de mise en scène presentes no filme Sangue negro (2007), dirigido por Paul Thomas Anderson, associando-os às funções do estilo cinematográfico descritas por Bordwell (2008). De abordagem qualitativa e utilizando como método a análise fílmica, a pesquisa foi delineada com base em três momentos do longametragem, escolhidos a partir do interesse em estudar como Anderson conduz o posicionamento e o movimento dos atores dentro do quadro. Como resultado, observou-se que o cineasta, a partir de um constante interesse pelos aspectos mínimos da imagem bidimensional, aposta num recorrente jogo de velar e desvelar em que não apenas corpos e rostos são ocultados e assumidos, mas também representações subjetivas importantes para uma compreensão ampla da narrativa.

This article presents a comparative analysis of three contemporary stagings of the myth of Phaedra: by Maja Kleczewska (Teatr Narodowy, Warsaw 2006), Michał Zadara (Narodowy Teatr Stary, Cracow 2006), and Grzegorz Wiśniewski (Teatr Wybrzeże, Gdańsk 2019). The theoretical framework refers to the abject quality of the character of Phaedra and its representation in language. The author analyses the directors’ interventions in literary texts reworking the myth of Phaedra: strategies ranging from multiplication, through modification, to annihilation of the dramatic text. In Kleczewska’s intertextual staging, which juxtaposes different plays addressing the theme, the text and the language become less important than the actors’ physicality. Zadara’s ironic theatre deconstructs the discursive formation of Racine’s classical tragedy, while retaining it as the main subject of the performance. Wiśniewski returns to Rancine’s language, but tries to transcend it, counterbalancing it with quiet, restrained acting, enhanced by strong musical phrases. The three stagings resonate with the concept of the theatre as a laboratory of crisis, here: of the crisis of the abject.

À partir de deux récits de la représentation à Lerma, en 1614, de la pièce de Lope de Vega El premio de la hermosura, cet article étudie trois aspects de la mise en scène de celle-ci dans le cadre d’un fête de cour : les costumes et leurs liens avec une culture cosmopolite du vêtement ; la merveille technique propre aux lumière et le goût de la cour pour un théâtre total ; le changement du texte par rapport à la version publiée de la pièce, avec l’ajout d’un entremets à la charge du bouffon Andrés de Alcocer, et avec la réorientation tragicomique du dénouement.

This essay aims to reflect on the elements of mutation within the Italian cinema of the last ten years, analyzing above all the directorial ability of different generations of filmmakers: the modes of production that are behind the dynamics of the mise en scene, the gender issue that gives new strength to the interpretation of the world, the presence of Italian cinema in international festivals, the models of the great masters, the irruption of "cinema of the real" and "out of the ordinary" cinema. The underlying problem Is the gap between the film texts and the film industry: on the one hand, the audiovisual sector continues to experience a crisis more than thirty years old, exacerbated by the pandemic and the platforms; on the other hand, the films produced show a great quality, both In low budget and independent cinema, and - at least in pan — in mainstream cinema. You can identify a "stil novo", it not a "nouvelle vague" of contemporary Italian film, made up of a directorial awareness, a visionary ability married with the urgency to grasp the real, a different gaze towards the world that can be analyzed through some stylistic constants (camera movements, cinematography, framing, acting and casting, locations, directorial sensibey). [ABSTRACT FROM AUTHOR]

Cet article se propose de mettre en lumière la genèse de la pièce de théâtre La Rue des Mouches de Sony Labou Tansi. L’étude s’attache aux différentes étapes de la constitution du texte et met en évidence le chantier de La Rue des Mouches, pièce très inspirée des traditions congolaises, puis se penche sur la datation du texte et la mise en scène, fruit d’une collaboration franco-congolaise. Enfin, elle rend compte de la réception de cette pièce dans les milieux du théâtre francophone.

Copyright of Doc On-Line: Revista Digital de Cinema Documentário is the property of Doc On-Line: Revista Digital de Cinema Documentario 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 article explores narrative organisation of the event in the literary story Nunc dimittis by T. Lee and the screen version of the same name. The event in its entirety of concrete episodes is a change of states with the known and the unknown confronting each other throughout the whole narrative. The character of the known side is a young criminal, while a female vampire and her servant stand for the unknown. The literary story and its screen version (the filmic narrative) are brought to comparison in terms of the authentic retranslation that reproduces the original event in another (cinematic) medium in detail, but with minor fluctuations seen in each episode separately. In the article, the mode of retranslation is shown according to the pattern the original – a transponent, where the original is the initial, primary work, and transponents are the products of intermedial, or extracompositional reinterpretation (in this article the only existing screen version is at issue). All adaptations, notwithstanding their number, make up the matrix of a certain narrative together with the original. The literary as well as the filmic episodes of Nunc dimittis resolve into three types of mise en scène where the latter term is defined as the elements that make up the event. The types suggested include the enclosed mise en scène keeping all the participants inside up to its end; the pass-through mise en scène that adheres to one of the characters who is in and out; the open mise en scène where the characters take turns in coming and going. Minor differences between the original and its transponent concern the symbolic load on the names of characters and their actions, which do not change, but rather amplify the original message of the story.

Notre travail propose quelques considérations sur les défis dans la traduction du texte théâtral. Nous partons de la prémisse que ce type de texte, de par son but artistique, qui est celui d’être représenté sur la scène, suppose des spécificités de construction qui doivent être respectées dans le processus de traduction. Cette activité traductive engage un mode distinct de réception ainsi que d’autres mécanismes de lecture des textes, qui vont au-delà la simple traduction du texte littéraire. Selon nous, il y a deux niveaux dans la traduction du texte théâtral : la transposition d’une langue source dans une langue cible et la traduction au niveau de l’interprétation des comédiens. Encore, il s’agit des spécificités de la traduction du texte dramatique selon l’encodeur du texte dans la langue cible, c’est-à-dire le traducteur. Ce dernier peut être un professionnel de la traduction, qui focalisera son attention sur la fidélité de la traduction au texte de départ ou un professionnel du théâtre (metteur en scène, acteur), qui se concentrera surtout sur le processus d’adaptation, car il privilégiera la projection de la représentation scénique. Nous illustrons nos considérations sur la traduction du texte dramatique par l’analyse de quelques aspects observés dans traduction en roumain de la pièce « Roméo et Juliette », faite par St. O Iosif, dans « l’Ubu roi » rendu en roumain par Romulus Vulpescu et dans notre version roumaine de la pièce « Qui est ce Ionesco », de Richard Letendre.

Cette étude examine les éléments les plus significatifs de la mise en scène de Franco, le retour, de Javier Berger, réalisée par lui-même à la tête de la troupe de Séville, Los Primos de Píter, en 2010.

Ce travail met en lumière le travail d’un homme de théâtre complet, Tomás Afán Muñoz, qui écrit pour la scène depuis sa connaissance approfondie de celle. Sa vaste expérience lui permet de jouer de tous les éléments scéniques et de faire des propositions très judicieuses et fort appréciées des metteurs en scène. On s’attachera plus particulièrement à l’arrière-fond social de son œuvre.

Copyright of Arte, Individuo y Sociedad is the property of Universidad Complutense de Madrid 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 Cahiers Victoriens & Edouardiens is the property of Presses Universitaires de la Mediterranee 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 special issue of Ambiances seeks to address issues raised by the emerging theatrical paradigm within international scholarship on atmosphere and ambiance. On the one hand, the issue seeks to investigate why the theatre seems to present itself as such an acute example of what Thibaud (2015) has termed the ‘affective tonality’ of aesthetic experience for scholarship that does not necessarily attend to the study of performance per se. On the other hand, it concerns what, in turn, the practice and study of theatre has to learn from enquiries across a range of other disciplines in which features of theatre and the theatrical as aesthetic, spatial and/or social generators of atmospheres have been regularly deployed by scholars in architecture, geography and philosophy. What might greater insight into the production and reception of theatre’s atmospheric conditions lend to enquiries that draw upon it analogically and/or in exemplary terms? How can the staging of atmospheres within theatre and associated practices offer concrete examples and methods to broader concerns for sociocultural, political, and ecological climates? Similarly, what lessons should theatre and performance take from the considerable efforts within the atmosphere studies to address its own affects, aesthetics, and environments?