The Weyward Sisters: towards a Feminist Staging of ‘Macbeth’

1992 ◽  
Vol 8 (30) ◽  
pp. 167-177
Author(s):  
Lorraine Helms
Keyword(s):  
Twentieth Century ◽  
Renaissance Drama ◽  
Theatre Arts ◽  
Cornell University ◽  
New Ideas ◽  
And Performance ◽  
The Moment

Shakespeare's plays have long been subject to deconstruction and reconstruction – some would argue, since the moment the words left his pen and entered the arena of theatrical intervention; some, more conservatively, dating the process to the attempts during the Restoration to rewrite him according to new tastes and old ‘rules’. More recently, of course, the long search for an almost platonic ideal of ‘authority’ has been giving way not only before new ideas of what this constitutes in theatrical terms, but through conscious attempts to subvert a play's meaning – not necessarily as ‘intended’ by Shakespeare, but as received in the prevailing culture. Feminist directors and critics have of course been prominent in this process – but the following study of the role of the witches in Macbeth is distinctive not so much for applying twentieth-century ideologies to Renaisssance plays, but for its exploration of the ‘problem’ of the witches in the light of conventions which, still current in Shakespeare's times, are hard to recover in the practical theatre of our own. The author, Lorraine Helms, is currently Mellon Fellow in Theatre Arts at Cornell University. She has published several articles on renaissance drama, and is working on studies of gender and performance in both contemporary and historical interpretations of Shakespeare.

Mutual aid for the arts in nineteenth- and twentieth-century Milan: The ‘Pio Istituto Teatrale’

2019 ◽  
Vol 25 (4) ◽  
pp. 602-624
Author(s):  
Mariarita Pierotti ◽  
Alessandro Capocchi ◽  
Paola Orlandini
Keyword(s):  
Twentieth Century ◽  
Social Role ◽  
Accounting System ◽  
Mutual Aid ◽  
Dual Nature ◽  
Theatre Arts ◽  
The Arts ◽  
The Social ◽  
The World

In the nineteenth century, when the theatre arts were at their peak, Milan was considered the intellectual and artistic capital of Italy. This article explores the objectives and the functioning of an important mutual aid company based in Milan – the Pio Istituto Teatrale – through its accounting system. These accounting documents clearly convey the dual nature of this organization, which was dedicated to protecting both social welfare and the arts. This study confirms the social role of accounting and its implications. In recent years, the attention paid to accounting in artistic institutions has been increasing. However, while many studies have explored Italian mutual aid societies in general, few have considered those in the artistic field specifically. This article attempts to rectify this oversight by examining a mutual aid society functioning in the world of theatre via its accounting records.

scholarly journals Granville Barker's Ensemble as a Model of Fabian Theatre

2012 ◽  
Vol 28 (4) ◽  
pp. 307-324 ◽  
Author(s):  
Philippa Burt
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Popular Culture ◽  
Early Twentieth Century ◽  
Dialogical Relationship ◽  
And Performance ◽  
The University ◽  
Fabian Society

While the dialogical relationship between the early twentieth-century British theatre and the rise of socialism is well documented, analysis has tended to focus on the role of the playwright in the dissemination of socialist ideas. As a contrast, in this article Philippa Burt examines the directorial work of Harley Granville Barker, arguing that his plans for a permanent ensemble company were rooted in his position as a member of the Fabian Society. With reference to Pierre Bourdieu's concept of habitus and Maria Shevtsova's development of it in reference to the theatre, this article identifies a correlation between Barker's political and artistic approaches through extrapolating the central tenets of his theory on ensemble theatre and analyzing them alongside the central tenets of Fabianism. Philippa Burt is currently completing her PhD in the Department of Theatre and Performance at Goldsmiths, University of London. This article is developed from a paper presented at the conference on ‘Politics, Performance, and Popular Culture in Nineteenth-Century Britain’ at the University of Lancaster in July 2011.

scholarly journals Ternopil branch of the Musical Institute named after Mykola Lysenko as a cultural and educational center of Ternopil (1st half of XX century)

2021 ◽  
Author(s):  
Olena Spolska
Keyword(s):  
Twentieth Century ◽  
Music Education ◽  
Decisive Role ◽  
Piano Performance ◽  
Initial Stage ◽  
Western Ukraine ◽  
Late Nineteenth ◽  
And Performance ◽  
Historical Comparative

The purpose of the article is to analyze the historical and cultural background and the main aspects of the formation of professional piano performance in Ternopil in the late nineteenth - first half of the twentieth century on the example of VMIL branch activity. Methodology. The methodological basis of the publication is historical-stylistic and comparative approaches, methods of historical-cultural discourse (according to V. Cherkasov). The formation of professional piano performance is considered in terms of musicological and stylistic approaches in broader cultural, educational, and musical-pedagogical contexts. The problem of studying the regionalism of music and performance centers and schools as a dynamic historical and cultural phenomenon is actualized. A thorough study of the history of regional piano educational centers and performing schools has been the subject of a number of musicological studies. In particular, the works of N. Kashkadamova, T. Starukh, L. Mazepa, and others are dedicated to the piano art of Lviv, its artistic education, and cultural institutions. Scientific Novelty. Based on the study of scientific and archival sources, we can see that the educational and pedagogical traditions of the Higher Music Institute named after M. Lysenko as the first Ukrainian professional center and its branches in Eastern Galicia have continued in the activities of pianists, teachers, and performers in Ukraine and abroad, mainly Western Of Ukraine. Attention is focused on the opening and initial stage of the branch of the Lysenko Higher Music Institute (VMIL) in Ternopil, in particular, on the activities of piano teachers. Based on historical, comparative, and individual approaches, the role of individual performers, composers, and teachers as the founders of piano performance in the region is highlighted. Thus, the novelty of the article is to trace the initial stage of the formation of piano performance in Ternopil in the late nineteenth - first third of the twentieth century. as a process of transition from the amateur period to academic performance and professional music education. Conclusions are made about the decisive role of the branch of the Higher Music Institute named after M. Lysenko (VMIL) in Ternopil and its founders, in particular, Iryna Krykh (Lyubchakova) and Yuri Krykh, in the development of music education and performance in the region. Keywords: musical culture of Western Ukraine, end of XIX – first half of XX century, piano performance, Higher Music Institute M. Lysenko (VMIL), pianists, performers and lecturers of Ternopil.

scholarly journals Piping Sung: Women, Canntaireachd and the Role of the Tradition-Bearer

2013 ◽  
Vol 36 ◽  
pp. 45
Author(s):  
Joshua Dickson
Keyword(s):  
Twentieth Century ◽  
19Th Century ◽  
Performance Practice ◽  
Flexible Tool ◽  
Performance Style ◽  
Field Recordings ◽  
And Performance ◽  
The 19Th Century

Canntaireachd (pronounced ‘counter-achk’), Gaelic for ‘chanting’, is a complex oral notation used by Scottish pipers for centuries to teach repertoire and performance style in the courtly, ceremonial ceòl mór idiom. Its popular historiography since the 19th century suggests it was fixed and highly formulaic in structure and therefore formal (as befitting its connection to ceòl mór), its use the preserve of the studied elite. However, field recordings of pipers and other tradition-bearers collected and archived since the 1950s in the School of Scottish Studies present a vast trove of evidence suggesting that canntaireachd as a living, vocal medium was (and remains) a dynamic and flexible tool, adapted and refined to personal tastes by each musician; and that it was (is) widely used as well in the transmission of the vernacular ceòl beag idiom - pipe music for dancing and marching. In this paper, I offer some remarks on the nature of canntaireachd, followed by a review of the role of women in the transmission and performance of Highland, and specifically Hebridean, bagpipe music, including the use of canntaireachd as a surrogate performance practice. There follows a case study of Mary Morrison, a woman of twentieth century Barra upbringing, who specialised in performing canntaireachd; concluding with a discussion on what her singing of pipe music has to say about her knowledge of piping and the nature of her role as, arguably, a piping tradition-bearer.

scholarly journals HISTORY AS A SCHOOL SUBJECT IN THE “SECOND CHANCE” PROGRAMME FOR FUNCTIONAL BASIC EDUCATION OF ADULTS IN SERBIA

2016 ◽  
Vol 7 (2) ◽  
pp. 274-287
Author(s):  
Paulina Čović ◽  
Dragica Koljanin
Keyword(s):  
Twentieth Century ◽  
Adult Education ◽  
Basic Education ◽  
Development Path ◽  
The Past ◽  
Rapid Changes ◽  
The Moment ◽  
Project History ◽  
Second Chance

The implementation of comprehensive educational reforms which include adult education is taking place in Serbia. The bases for the reforms are new approaches to education and learning, because rapid changes in all spheres of life have opened up the need for lifelong learning and education. However, the moment when  society recognized the need for an institutional and organized form of adult education was preceded by a long development path in the second half of the twentieth century. This paper will examine the role of history as a subject in primary education of adults within the Second Chance project. History as a subject is undeniably important for development of one`s identity and understanding of the present in order to prepare to be a responsible part of society. Considering that Serbia has in the past been faced with the problem of illiteracy, there will be a brief overview of adult education in the second half of the twentieth century.

scholarly journals Activities of music societies of Eastern Galicia as a prerequisite for the development of professional performance (ist third of the XX century)

2021 ◽  
Author(s):  
Olena Spolska
Keyword(s):  
Twentieth Century ◽  
Professional Education ◽  
Cultural Context ◽  
Methodological Approach ◽  
Educational Institution ◽  
Musical Performance ◽  
Musical Culture ◽  
Late Nineteenth ◽  
And Performance

The purpose of the article is to present the activities of music societies in Eastern Galicia during the late nineteenth – first third of the twentieth century, which laid the foundations for the development of national professional music education and performance, including piano. The methodological basis of the publication is historical-stylistic and comparative approaches, methods of historical-cultural discourse (V. Cherkasov), fundamental historical-musicological positions (L. Korniy, L. Kianovska, etc.). Problems of musical culture, education, and performance were considered by Galician musicians of that time (S. Lyudkevych, V. Barvinsky, N. Nyzhankivsky, etc.) in the broader context of national and cultural life, cooperation of Ukrainian cultural and educational societies, the active position of composers, performers, and teachers, which contributed to the development of professional education and performance, music culture in general. This methodological approach was continued by modern musicologists (M. Zagaykevych, L. Kiyanovska, L. Korniy, L. Mazepa, M. Cherepanin, etc.), who interpret the cultural and artistic life of Galicia in the second half of the nineteenth - early twentieth century. as a turning point in the process of formation of professional musical culture, due to the adoption of the so-called "cultural autonomy" (1867). Scientific novelty. A significant role in this process was played by music centers founded by the Society for the Distribution of Music in Galicia, the Galician Music Society (hereinafter - the Polish Music Society), the GMT Conservatory (1854) as the main musical educational institution in Galicia in the second half of the nineteenth century. The role of Ukrainian music societies was important, most of all – the centers of "Boyan" and "Union of Boyans", Music Society M. Lysenko, which became the basis for the establishment of the Ukrainian professional music institution – Higher Music Institute (1903), then - Lysenko Higher Music Institute (VMIL), the activities of an extensive network of its branches in various cities of Galicia. Significant educational activities of cultural, educational, and musical societies have encouraged professional composers to create original musical works, arrangements of folk songs, compiling the appropriate professional repertoire. In turn, this necessitated the development of professional music criticism in the Ukrainian periodicals. Analyzing the socio-cultural context of music societies, we relied on the developed classifications of their activities (N. Kobrin). This allowed us to outline the role of numerous monographic and thematic concerts dedicated to Ukrainian and Western European composers, solo concerts of prominent Ukrainian vocalists, and instrumentalists in the growth of performing skills of Ukrainian artists of this period. Conclusions. Conclusions are made about the decisive role of the network of cultural, educational, and musical societies of Eastern Galicia in the late nineteenth - first third of the twentieth century. in the process of development in the region of musical performance and musical culture in general. Keywords: musical culture of Western Ukraine, end of XIX – first third of XX century, cultural-educational and musical societies, musical performance.

scholarly journals Oggetti Spaesati, Unhomely Belongings: Objects, Migrations and Cultural Apocalypses

2013 ◽  
Vol 19 (2) ◽  
Author(s):  
Ilaria Vanni
Keyword(s):  
Sense Of Belonging ◽  
First Person ◽  
Entire Life ◽  
And Performance ◽  
The Moment ◽  
The Web ◽  
Familiar Objects ◽  
At Home

This article analyses first person memories in relation to objects as documented in Belongings, an online exhibition curated through the NSW Migration Heritage Centre. It explores the role of objects in recreating domestic geographies in the process of migration, using the Italian anthropologist Ernesto De Martino’s notion of  ‘crisis of presence’ as the moment when familiar objects become unfamiliar or uncanny by losing their relation with the web of domestic uses, habits, sense of belonging, and cultural memories. In this crisis, objects acquire new layers of meaning entangled in the loss and re-creation of entire life-worlds, relational universes, senses of place, ‘homes’. Taking Belongings as its case study, this article argues that objects enable the telling and performance of displacement from one place and regrounding in another one as a continuum of affective, embodied and political experiences that question the separation between being at home and being a migrant.

scholarly journals Editorial: Knowing Theatre Inside Out

2011 ◽  
Vol 36 (3) ◽  
pp. 193-195
Author(s):  
ELAINE ASTON
Keyword(s):  
Critical Distance ◽  
Vantage Point ◽  
Theoretical Perspectives ◽  
And Performance ◽  
The Moment ◽  
Inside Out

Traditionally, the role of theatre and performance scholars is to examine theatre from critical and theoretical perspectives that adopt an outside-in approach. That is to say, our vantage point locates at some disembodied, critical distance from the process and the practice, from the making and the moment of showing. Increasingly, however, there are signs of inside-out approaches to theatre where avenues of theatre and performance enquiry are shaped by means of getting closer to practice. The first three articles brought together in this issue have their own, distinctive inside-out routes to theatre and performance knowledge.

“What’s in a Name?”

2018 ◽  
Author(s):  
Gene R. Garthwaite
Keyword(s):  
Twentieth Century ◽  
Eighteenth Century ◽  
Early Modern ◽  
Political Fragmentation ◽  
Vernacular Language ◽  
Early Twentieth Century ◽  
New Ideas ◽  
Modern Context ◽  
Political Geographies

This chapter focuses on framing and contexts for the eighteenth century as a period of history. While eighteenth-century Iran has been neglected, partly due to its political fragmentation, it can be fitted into an early modern context of Eurasia, one that was part of Iran’s post-Mongol legacy—and one that continued through the nineteenth- and early twentieth-century Qajar dynasty. Key changes here include new elites; the emergence of a vernacular language and populist religion; reshaping of political geographies, especially the role of pastoral nomadic tribal confederations; and the emergence of “simultaneous rulership,” in which the ruler’s persona embodied new ideas and constituencies.

Motivation and Job Design in the New World of Work

2009 ◽  
Author(s):  
Yitzhak Fried ◽  
Ariel S. Levi ◽  
Gregory Laurence
Keyword(s):  
Twentieth Century ◽  
Work Environment ◽  
Employee Motivation ◽  
Job Design ◽  
First Century ◽  
Individual Motivation ◽  
And Performance ◽  
And Behavior ◽  
Attitudes And Behavior

The area of job design has generated substantial theoretical and empirical interest in the twentieth century as a key contributor to individual motivation and performance at work. A key conclusion from the job design literature is the need to take into account the changing contingencies in the work environment, in order to more fully understand the effect of job design in this changing environment. Although job design has been shown to have an important effect on employee motivation, attitudes, and behavior, the rapid and dramatic changes in the work environment during the latter decades of the twentieth century raise a timely question about the role of job design in the twenty-first century, which this article discusses.

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