The Role of Stakeholders in the Management of Cultural Organisations: The Case of Performing Arts Organisations in Spain

2009 ◽  
Vol 8 (1) ◽  
pp. 17-35 ◽  
Author(s):  
María José Quero ◽  
Rafael Ventura
Keyword(s):  
Performing Arts ◽  
Performing Arts Organisations

The use of acting techniques in career development

2021 ◽  
Author(s):  
Mariya Aleksandrovna Akimenkova
Keyword(s):  
Career Development ◽  
Performing Arts ◽  
Educational Institutions ◽  
Psychotherapeutic Interventions ◽  
The People ◽  
Circle Of Friends ◽  
Main Activity ◽  
The Voice ◽  
And Training

The article shows that in career development, the use of acting techniques opens up new opportunities. The author traces the development of the Russian acting school, created by K.S. Stanislavsky and later revised and supplemented by his students, in the modern socio-economic situation. The article demonstrates that despite the fact that for many years this school was aimed exclusively at educating and training people who want to connect their lives with the theater, it had a significant impact on amateurs as well. Passion for the performing arts was traced among people of a wide variety of professions, which contributed to the creation of numerous amateur theaters. This tendency was especially evident in educational institutions. Pupils and students under the guidance of an experienced director tried to take steps in the stage space, received grateful responses, but continued to be content with the role of an amateur actor, without encroaching on the laurels of a professional. Nevertheless, after that, their main activity, regardless of the direction, moved to a completely different level. Without any psychotherapeutic interventions, the attitude to oneself, to the people around, and to situations changed, the speech apparatus and the timbre of the voice were transformed, phobias and depressive tendencies disappeared. As a result, participants in amateur theaters acquired a new circle of friends and promotions, or they radically changed their field of activity, opening completely new prospects for themselves. The article examines these possibilities in the framework of the modern situation, when the entire range of theater and acting means may be in demand by representatives of other professions.

scholarly journals Ateng Japar: Sang Legenda Seni Pertunjukan Longser dan Peranannya di Kabupaten Bandung, Tahun 1975 – 2002

2016 ◽  
Vol 1 (1) ◽  
pp. 87
Author(s):  
Apriliani Hardiyanti Hariyono
Keyword(s):  
Performing Arts ◽  
Main Issue ◽  
Art Gallery ◽  
West Java ◽  
Historical Method ◽  
Modern Age ◽  
Key Word

<p><strong><em>ABSTRAKSI: </em></strong><em>Penelitian ini bertujuan untuk menjelaskan peranan seorang seniman bernama Ateng Japar dalam mengembangkan seni pertunjukan Longser di Kabupaten Bandung, Jawa Barat, Indonesia, dari tahun 1975-2002. Masalah utama yang dibahas adalah bagaimana dinamika perkembangan seni pertunjukan Longser pada masa Ateng Japar, 1975-2002. Metode yang digunakan dalam penelitian ini yaitu metode historis. Hasil penelitian menunjukkan bahwa Longser merupakan seni teater rakyat yang hidup di daerah Priangan, khususnya di Kabupaten Bandung. Longser seringkali disebut sebagai seni sandiwara rakyat yang banyak menampilkan tarian-tarian berpasangan dan memberikan kesempatan kepada para penonton untuk menari bersama dengan penarinya. Pada tahun 1939, Ateng Japar mendirikan kelompok Longser yang diberi nama “Pancawarna”. Awalnya, kelompok ini melakukan pertunjukan dengan cara mengamen, namun memasuki tahun 1970-an terjadi peralihan tempat pertunjukan, yakni kedalam gedung kesenian. Pada tahun 2002, sang seniman Ateng Japar diberitakan wafat dan hal ini berdampak pada perkembangan Longser yang semakin meredup. Selain itu, masuknya pengaruh globalisasi yang diikuti oleh perubahan zaman yang semakin maju dan modern, pada akhirnya membuat seni pertunjukan Longser yang masih bertahan hingga saat ini kurang mendapat tempat di hati masyarakat luas. Eksistensi Longser semakin diperparah ketika sebagian masyarakat, terutama dari kalangan generasi muda, masih banyak yang belum mengetahui tentang seni pertunjukan Longser. </em></p><p><strong><em>KATA KUNCI:</em></strong><em> Longser, teater rakyat, Ateng Japar, perubahan zaman, dan pengaruh globalisasi.</em><em> </em></p><p><strong><em>ABSTRACT: </em></strong><em>“Ateng Japar: The Legend of Longser Performing Arts and His Roles in Bandung Regency, 1975 - 2002”.<strong> </strong>This study aims to explain the role of an artist named Ateng Japar in developing the performing arts of Longser in Bandung regency, West Java, Indonesia, in the period of 1975-2002. The main issue discussed is the development of Longser performing arts organized by Ateng Japar from 1975-2002. The method used in this research is the historical method. The results showed that Longser is the art of theater folks who live in the Priangan region, especially in Bandung regency. Longser, often referred to as a theatrical art, displays many folk dances in pairs and provide an opportunity for the audience to dance along with the dancers. In 1939, Ateng Japar established a Longser group named “Pancawarna” (five colours). Initially, this group performed by singing, but by the 1970s, there was a shift in the venue into an art gallery. In 2002, the artist Ateng Japar passed away, and his death negatively affected the development of Longser. Besides, the influence of globalization followed by a change of more advanced and modern age, eventually, makes the performing arts of Longser, although still survives today, less appreciated by the wider community. The existence of Longser is threatened when most people, especially the younger generations, do not know about the Longser.</em></p><p><strong><em>KEY WORD:</em></strong><em> Longser, people theater, Ateng Japar, change of time, and influence of globalization.</em></p><p><img src="/public/site/images/wirta/08.april_.upi_.ok_.jpg" alt="" /></p><p><strong><em>About the Author:</em></strong> <strong>Apriliani Hardiyanti Hariyono, S.Pd.</strong> adalah Alumni Departemen Pendidikan Sejarah FPIPS UPI (Fakultas Pendidikan Ilmu Pengetahuan Sosial, Universitas Pendidikan Indonesia), Jalan Dr. Setiabudhi No.229 Bandung 40154, Jawa Barat, Indonesia. Alamat emel: <a href="mailto:[email protected]">[email protected]</a></p><p><strong><em>How to cite this article?</em></strong> Hariyono, Apriliani Hardiyanti. (2016). “Ateng Japar: Sang Legenda Seni Pertunjukan <em>Longser </em>dan Peranannya di Kabupaten Bandung, Tahun 1975 – 2002” in <em>MIMBAR PENDIDIKAN: Jurnal Indonesia untuk Kajian Pendidikan</em>, Vol.1(1) Maret, pp.87-100. Bandung, Indonesia: UPI Press. <strong></strong></p><p><em><strong><em>Chronicle of the article:</em></strong> </em>Accepted (December 24, 2015); Revised (January 29, 2016); and Published (March 11, 2016).<em><br /></em></p>

scholarly journals Kidungan Jula-juli in East Java: Media of Criticism and Propaganda (From The Japanese Occupation Era to The Reform Order in Indonesia)

2021 ◽  
Vol 21 (1) ◽  
pp. 79-90
Author(s):  
Aris Setiawan
Keyword(s):  
Political Parties ◽  
Performing Arts ◽  
Political Support ◽  
New Order ◽  
Japanese Occupation ◽  
Detailed Understanding ◽  
Independence Movement ◽  
The Reformation ◽  
Historical Issues

This research aims to determine the historical construction of criticism and propaganda formed in Kidungan Jula-juli performance in each era. Kidungan is a song in the Gending Jula-juli in East Java. The musical text presented in the song seems to be open (blak-blakan [openness]), assertive, and emotionally becomes the power of criticism. Historical issues concerning the function of Kidungan Jula-juli are interesting enough to be known, thus encouraging this study to get a basic and detailed understanding of the historical stages of the role of Kidungan Jula-juli from the Japanese era to the reformation era. This study using a historical approach and emphasizes the problem of music function. The analysis was carried out by looking at the ideas, concepts, and cultural references that accompanied the performance of Kidungan Jula-juli. The results of this study indicate the dynamics of the function of criticism and propaganda in Kidungan Jula-juli. During the Japanese occupation era, Kidungan Jula-juli was very sharp in its role as an instrument of the independence movement; from 1950 to 1965, Kidungan Jula-juli was used by political parties to strengthen political support and propaganda. In the New Order Era, kidungan lost the function of criticism.  The state controlled it for the sake of propaganda and the legitimacy of power.  Kidungan Jula-juli is more open and present on a stage with other performing arts in the era of the reform order.

scholarly journals STRUKTUR DRAMATIK PERTUNJUKAN DRAMA KLASIK SANGGAR TEATER MINI LAKON DEWA RUCI KAJIAN BENTUK DAN FUNGSI

WIDYANATYA ◽  
2019 ◽  
Vol 1 (1) ◽  
pp. 51-59
Author(s):  
I Made Rudita ◽  
Ni Luh Putu Wiwin Astari
Keyword(s):  
Character Education ◽  
Performing Arts ◽  
Cultural Transformation ◽  
Aesthetic Theory ◽  
Functional Theory ◽  
Classical Drama ◽  
Dramatic Structure ◽  
Depth Study ◽  
And Function

ABSTRAK   Pada dasarnya nilai pendidikan karakter mempunyai tiga bagian yang saling bekaitan, yaitu pengetahuan moral, penghayatan moral dan perilaku moral. Oleh karena itu seseorang dengan karakter yang baik, mengetahui, menginginkan, dan melakukan yang baik. Ketiganya merupakan syarat untuk menuntun hidup yang bermoral dan membangun kematangan moral. Dalam melakukan pendidikan karakter tidak harus dengan menambah program tersendiri, melainkan bisa melalui transformasi budaya, salah satunya nilai-nilai pendidikan karakter bisa disampaikan melalui seni pertunjukan drama, khususnya pertunjukan drama klasik. Untuk menjawab masalah di atas, dalam hal mengetahui nilai  pendidikan karakter melalui transformasi budaya Bali berupa pertunjukan drama klasik Sanggar Teater Mini, perlu dibuat suatu penelitian mengenai nilai pendidikan karakter dalam pertunjukan drama klasik Sanggar Teater  Mini dengan lakon Dewa Ruci. Penelitian ini berjudul “Struktur Dramatik  Pada Pertunjukan Drama Klasik Sanggar Teater Mini lakon Dewa Ruci”.Kajian  (Bentuk dan Fungsi)” adalah hasil studi yang mendalam struktur dramatik pada pertunjukan drama klasik. Penelitian ini mengangkat dua pokok masalah yaitu : 1) untuk mengetahui dan menganalisis bentuk struktur dramatik pertunjukan drama klasik Sanggar Teater Mini lakon Dewa Ruci ;  2) untuk mengetahui dan menganalisis fungsi pertunjukan drama klasik Sanggar Teater Mini lakon Dewa Ruci. Secara umum, penelitian ini bertujuan untuk mengetahui keberadaan dan peranan penting dari nilai-nilai pendidikan karakter dalam pertunjukan pertunjukan drama klasik Sanggar Teater Mini lakon Dewa Ruci . Secara khusus, penelitian ini bertujuan untuk menjelaskan bentuk struktur dramatik dan fungsi pertunjukan drama klasik Sanggar Teater Mini lakon Dewa Ruci. Penelitian ini dirancang sebagai penelitian kualitatif dengan menggunakan dua teori : teori estetika dan teori fungsional struktural. Metode-metode pengumpulan data yang digunakan meliputi observasi, wawancara, dokumentasi dan kepustakaan.Seluruh data diolah menggunakan tehnik deskriptif interpretatif. Hasil dari penelitian ini adalah sebagai berikut ; Bentuk struktur dramatik pertunjukan drama klasik Sanggar Teater Mini lakon Dewa Ruci  adalah sebagai berikut   : (1) tema, (2) alur,  (3) latar, (4) penokohan, (5) insiden dan (6) amanat. Sedangkan fungsi drama klasik Sanggar Teater Mini lakon Dewa Ruci  adalah sebagai  berikut : (1) fungsi ekonomi,   (2) fungsi hiburan, (3) fungsi promosi  dan (4) fungsi komunikasi.  ABSTRACT Basically, the value of character education has three interrelated parts, namely moral knowledge, moral appreciation and moral behavior. Therefore someone with good character, knows, wants, and does good. All three are conditions for guiding a moral life and building moral maturity. In doing character education does not have to add a separate program, but it can be through cultural transformation, one of which is the values ​​of character education can be conveyed through drama performing arts, especially classical drama performances. To answer the above problem, in terms of knowing the value of character education through the transformation of Balinese culture in the form of a classic Mini Theater studio performance, it is necessary to make a study of the value of character education in the performance of the Sanggar Teater Mini classic drama with Dewa Ruci play. This research entitled "Dramatic Structure of the Classical Drama Performance of Teater Mini lakon Dewa Ruci". Studies (Forms and Functions) "are the results of an in-depth study of the dramatic structure of classical drama performances. This research raises two main issues, namely: 1) to find out and analyze the dramatic structural forms of the Sanggar Teater Mini classical drama performance Dewa Ruci play; 2) to find out and analyze the function of the Sanggar Teater Mini lakon Dewa Ruci performance. In general, this study aims to find out the existence and important role of character education values ​​in the performance of the classic Sanggar Teater Mini lakon Dewa Ruci performance. Specifically, this study aims to explain the dramatic structure and function of the classical drama performances of Sanggar Teater Mini Dewa Ruci play. This research was designed as qualitative research using two theories: aesthetic theory and structural functional theory. Data collection methods used include observation, interviews, documentation and literature. All data are processed using interpretive descriptive techniques. The results of this study are as follows; The form of the dramatic structure of the Sanggar Teater Mini classical drama performances by Dewa Ruci are as follows: (1) theme, (2) plot, (3) background, (4) characterization, (5) incident and (6) mandate. While the function of the classical drama Sanggar Teater Mini lakon Dewa Ruci is as follows: (1) economic function, (2) entertainment function, (3) promotion function and (4) communication function.

scholarly journals ПРОБЛЕМИ ІСТОРИКО-МИСТЕЦТВОЗНАВЧИХ ДОСЛІДЖЕНЬ ПРОСТОРОВИХ І ТЕХНОЛОГІЧНИХ ЗАСОБІВ ТВОРЕННЯ СЦЕНІЧНОЇ ОБРАЗНОСТІ

2020 ◽  
Author(s):  
Admink Admink
Keyword(s):  
Cultural Studies ◽  
Performing Arts ◽  
Analytical Study ◽  
Cultural Research ◽  
The Creation ◽  
Systematic Selection ◽  
Technological Means ◽  
System Approaches

Мета статті – аналіз та структуризація історіографії основних історико-культурологічних досліджень, що вивчають просторово-образні та технологічні засоби виразності у сценічному мистецтві. Наукова новизна дослідження полягає у вперше здійсненому комплексному міждисциплінарному системному відборі та аналітичному опрацюванні джерел з проблем ролі просторових і технологічних засобів виразності у створенні сценічної образності. Шляхом застосування мультимодального та транссистемного підходів, авторка доходить висновку, що проблеми просторово-образних й технологічних засобів виразності у сценічному мистецтві фрагментарно і з різних ракурсів вивчали як науковці, так і практики театру. Однак на сьогоднівітчизняній науці бракує цілісного культурологічного дослідження з проблем створення сценічної образності просторовими та технологічними засобами виразності.Ключові слова: історіографія, сценічна образність, сценічний простір, технологічні засоби. The purpose of the article is to analyze and structure the historiography of the basic historical and cultural studies that study the spatial-figurative and technological means of expression in the performing arts. The scientific novelty of the research is the first complex interdisciplinary systematic selection and analytical study of sources on the role of spatial and technological means of expressiveness in the creation of stage imagery. Through the use ofmultimodal and trans-system approaches, the author concludes that the problems of space-visual and technological means of expressiveness in the performing arts have been fragmented and studied from different angles by both scholars and theater practitioners. Today, however, there is a lack of comprehensive cultural research on the problems of creating stage imagery by spatial and technological means of expression.Key words: historiography, stage imagery, stage space, technological means.

Motivation trajectory of attending performing arts: the role of knowledge

2018 ◽  
Vol 8 (1) ◽  
pp. 5-18
Author(s):  
Zakia Obaidalahe ◽  
Nadia Steils
Keyword(s):  
Performing Arts ◽  
Design Methodology ◽  
General Knowledge ◽  
Cultural Education ◽  
Specific Knowledge ◽  
Content Type ◽  
Cultural Service ◽  
Level Of Knowledge ◽  
Depth Interviews

Purpose This study concerns the attendance motivations for cultural services based on the audience’s level of knowledge. The purpose of this paper is to define the role played by general knowledge (e.g. cultural education) and specific knowledge (e.g. communication around a cultural product) in the attendance motivation trajectory of a cultural service. Design/methodology/approach The study uses in-depth interviews with 20 visitors to two public theatres, one in Belgium and one in France. Findings The results identify a tripartite motivation in the decision to attend a performance, corresponding to four visitor segments defined according to their level of general and specific knowledge. Originality/value The recommendations arising from the study are that potential audience members be targeted according to their particular profile and that their cultural tastes be developed by raising their level of general knowledge, an element that goes beyond the suggested motivation trajectory.

Bungei Kyōkai

2018 ◽  
Author(s):  
Guohe Zheng
Keyword(s):  
Performing Arts ◽  
Early Period ◽  
Merchant Of Venice ◽  
Original Script ◽  
The Merchant Of Venice ◽  
Financial Difficulties ◽  
Training And Research ◽  
A Doll's House ◽  
Second Period

Launched in February 1906 out of a drama club of Waseda University students, Bungei Kyōkai was one of the two pioneering organizations of the modernist movement in Japanese theater, the other being Jiyū Gekijō. Bungei Kyōkai, particularly its second period, is considered the beginning of shingeki for its contributions to Modernism in establishing professional actors and actresses in modern Japanese theater, in its impact on society, and in its having elite intellectuals as its leaders. During its early period Bungei Kyōkai was more reformative in nature; while it produced selected acts of The Merchant of Venice and Hamlet, it also produced Tsubouchi Shōyō’s modern kabuki Kiri hitoha (A Paulownia Leaf), and the role of Portia in Merchant was played by an onnagata (male performer of female roles in kabuki). This led to these resignation of disappointed members and the beginning of its financial difficulties. To overcome these challenges, Shimamura Hōgetsu, Tsubouchi Shōyō’s disciple and the de facto manager of the organization, persuaded his teacher to take direct charge from February 1909. Shōyō started Bungei Kyōkai’s later period by building, on the site of his own residence, a theater academy, intended for both training and research. The two-year co-educational academy program was quite rigorous, with Hōgetsu and Shōyō among the instructors and using as textbooks the original script of The Merchant of Venice and the English translation of A Doll’s House. Later, however, elements of traditional Japanese performing arts, including kyōgen and stage fighting, were added to the curriculum, reflecting Shōyō’s vision of a national theater as the ultimate goal of Bungei Kyōkai.

scholarly journals Predicting success in the performing arts: Ballet and music

2020 ◽  
pp. 030573562091198
Author(s):  
Marija Jankovic ◽  
Stefan Bogaerts
Keyword(s):  
Personality Traits ◽  
School Performance ◽  
Big Five ◽  
Performing Arts ◽  
Spatial Abilities ◽  
Spatial Skills ◽  
Hierarchical Multiple Regression ◽  
Predicting Success ◽  
Perceptual Abilities

Besides innate dancing or musical predispositions, other factors contributing to success in these highly competitive domains are important to investigate. The present study examined the role of personality and intelligence in ballet and musical school performance. Data were obtained from 155 high school ballet ( n = 75) and music ( n = 80) students in Serbia (75% females, mean age = 16.12, SD = 1.14). Personality traits were assessed with the Big Five Inventory, and intelligence was assessed with the Cybernetic Intelligence Tests Battery, which measures perceptual, verbal, and spatial abilities. A hierarchical multiple regression was computed to investigate if ballet or musical success could be predicted by personality traits and intelligence. Personality traits and intelligence explained 26% of the variance in ballet success and 35% of the variance in musical success. Conscientiousness and general intelligence predicted both ballet and musical success. Low neuroticism and perceptual abilities contributed significantly to the prediction of a successful musical performance, whereas spatial skills had an important role in successful ballet achievement. This study adds to the understanding of the role of personality and intelligence in performing arts efficacy.

The role of cognitive appraisal, emotion and commitment in affecting resident support toward tourism performing arts development

2019 ◽  
Vol 27 (11) ◽  
pp. 1725-1744 ◽  
Author(s):  
Danni Zheng ◽  
Brent W. Ritchie ◽  
Pierre J. Benckendorff ◽  
Jigang Bao
Keyword(s):  
Performing Arts ◽  
Cognitive Appraisal
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