Le journal est un théâtre ouvert" : les débats sur le théâtre dans la presse russe des Lumières et leur contexte européen (original) (raw)
Related papers
An Introduction to European Theater
Sanjh Publication, 2022
Art is always a mirror of the time giving the absolute justification for the idea that any art form cannot be understood in a vacuum. Artistic work is an organic process that comes into existence with the help of certain binary forces such as politics, economics, and social fabrics of that time. First in the shape of an idea then it transforms into philosophy and later to it gets execute into artistic forms/genres. Sometimes a philosophy provides nurturing ground for artistic genres and other times artistic experimentation creates a philosophical sphere. In both ways, history, politics, and sociology cannot be filtered out from art. To understand, visual, performing, and literary art, the reader’s trajectory must be the social and political history of art and artist. So, any book that is written on visual art, performing art, and literary art is equally a book on history, philosophy, and politics thus must be useful for historians, philosophy students, and students of politics (International Relations, Public Diplomacy, Cultural Diplomacy)
TRANSFORMATIONS OF THE HISTORICAL SPACE THE COMEDIE FRANCAIS AND MNUNCHKINES THEATRE DU SOLEIL
Tethered to their origin, adaptations can travel only so far away to leap forms: from book to screen, or overlay contemporary life with the fascinations of past eras refashioning the narrative of human existence that remains, apart from literal appearances, remains relatively unchanged. We travel through literature, film and television, and objects and rituals of material culture to project onto them and them us onto us. This subjugation of the self identity creates distance from a predictable life. However briefly, foreign cultures provide an encounter with life where we are more receptive to change, and consciously more adaptable, as a result. This paper explores the adaptation of life in and around Paris by her most influential theatre companies, and how they merge historical eras into contemporaneous life. This is in the face of global franchises increasing presence at the street level, an especially noticeable example can be seen in the Marais. Language may be an obstacle in Paris, but French should be spoken in France, so the visitor must shift to other dimensions of language, such as musicality to perceive what is being expressed. Unlike film and television, during a theatrical performance done in that nation's language, surtitles are not an audience necessity or option. This shift to embodied language allows us to discover new facial expressions as a result of pronunciation and culturally calibrated body language. Nuances overlooked in our native tongue becoming obvious and in this absence of familiarity the larger frameworks of life become apparent. Foreign culture is where discourse on the play's narrative plot becomes driven by imaginative conjecture to extend the performance space outside of the theatre, because without literacy we don't know exactly what happened. In the actual streets of Paris, this post-performance epilogue suggests how we might reshape historical adaptations for non-European theatres, through what is unnecessary here.
2014 Introduction: European Theatre Performance Practice, 1750–1900
European Theatre Performance Practice, 1750–1900, 2014
a s h g a t e. c o m a s h g a t e. c o m a s h g a t e. c o m a s h g a t e. c o m a s h g a t e. c o m a s h g a t e. c o m a s h g a t e. c o m a s h g a t e. c o m © Copyrighted Material © Copyrighted Material Introduction * This volume presents foundational and representative essays of the last half century on theatre performance practice during the period 1580 to 1750. Explicitly or implicitly, many essay collections on 'early modern theatre' focus almost exclusively on London. We contend that it is essential to place Shakespeare's theatre in its European context. Some of the most illuminating contemporary accounts of the London amphitheatres were provided by cosmopolitan travellers such as the Swiss physician Thomas Platter. 1 Similarly, a comparative, geographically balanced account italicizes English theatre itself in new ways. Notwithstanding the importance of amateur theatre in universities, religious institutions, Jesuit and other schools, courts, academies, salons and rhetorical chambers, our main focus is professional theatre. Although France was long held back by the Confrérie de la Passion's monopoly over theatrical activity in Paris (see Wiley, 1960, pp. 133-57), the rise of yearround professional theatre in England, Italy and Spain occurred more or less at the same time, between about 1560 and 1580. Our selections range from groundbreaking works of the 1960s, such as J.L. Styan's study of Shakespearean staging and W.L. Wiley and N.D. Shergold's discussions of French and Spanish theatre audiences, to innovative contemporary considerations of the evolution of Italian or English renaissance acting practice, or 'hidden' dimensions of performance, by scholars such as Ronnie Ferguson, Tiffany Stern and Natasha Korda. As such, it complements the treatment of England with essays on the three other major professional theatres of early modern Europe. A comparative approach is fundamental to early modern performance practice, because both theatrical production (emphasized by the term 'theatre') and the literary and dramaturgical dimensions of the play (flagged by the term 'drama') can be productively analysed as international systems. There are at least three reasons for this. First, right across Europe, there were playwrights, dramatic theorists, theatre designers, scenic designers, actors and protodirectors engaged in the shared humanist enterprise of excavating, deciphering, interpreting, adapting and transforming the legacy of ancient Greek, and especially ancient Roman theatre. Renaissance responses to ideas of ancient theatre were various, ranging from uncritical subservience to the flexible and often self-justifying use of general principles (Javitch, 1994), to irreverent-but still highly informed-flouting of classical principles, such as Shakespeare's high-profile violation of the unity of time in The Winter's Tale or Lope de Vega's arch demonstrations of his full awareness of the rules infringed by his plays. 2 Nowhere can the * For helpful suggestions and discussions, we thank the editors of the other volumes in this series; also Susanne Greenhalgh and all our friends and colleagues in Theater Without Borders, most especially
Intracultural theatrical dispersion Ana Stojanoska
I could have entitled this text "On the Ideal Theatre of the 21 st Century", which would have been more simple. However, by defining the theatre as ideal, I would have had to consider it from a superior position, which is not my objective. Therefore, I remain within the framework of the above title, and I will refer to the ideal theatre later, as part of the logical solution of the equation Intracultural theatre or a model of the theatre for the new millennium. In the beginning, I should explain why I use the phrase intracultural theatrical dispersion or, more precisely, the concept of dispersion, a term adopted from physics, to which I ascribe theoretically referential semantics. Starting from the idea of intraculturalism as an idea for the identification/recognition of sameness between cultures and the need not to allow its 'globalisation', I propose its dispersion/diffusion everywhere, and especially by the theatre, whose intraculturalism is powerful, visible and recognizable. In order not to turn this concept into a lifeless and dull admixture of more cultures, I would like to focus in this text on its dispersion and explore it further within the framework of a global constellation and contextualisation.
Baleia na Rede, 2012
The article focuses on the possible relationships between cultural history and theater. In order to do so, it alludes to the different meanings that this art had in the West, especially from the point of view of the opposition between the dramatic text and the staging. A complex semiotic object, the theatrical phenomenon also encompasses the audience, which means that its historical narrative must encompass both sides of the scene. As a referral and exemplification of possible historiographical paths, three important titles by international playwrights, focused on questions of interpretive method, are examined: Marco
MIGRATION IN FRENCH THEATER HISTORY: TRACES OF A THEATRICALITY IN EXPANSION. 1
Textura - ULBRA, 2021
The study focuses on the theater that was practiced by migrant workers in the 1960s and 1970s, and an actualization of this discussion from the recents studies about decolonial representation in french arts. We highlight the political role of the migrants' native language and culture, emphasizing the role of the playwright Kateb Yacine as an avant-garde representation of decolonial engagement in theater. In the pedagogical context, the investigation describes the interventions made by Augusto Boal and CETITADE during the 70s and 80s, as an expansion of a new look about the immigration theme, where the migrant protagonism was the center of the artistic process.