The Study on the Concept of Metaphor, Metonymy, and Body and Its Use in Theatrical Play

2021 ◽  
Vol 13 (2) ◽  
pp. 181-197
Author(s):  
Sang Gyo Sim ◽  
Keyword(s):  
Theatrical Play

‘...Insured against the tyranny of time’.Knut Hamsun’s last play and an unknown Russian film script

2018 ◽  
pp. 76-102
Author(s):  
T P. Lonngren
Keyword(s):  
Film Adaptation ◽  
State Archive ◽  
Short Summary ◽  
Russian State ◽  
History Of ◽  
Theatrical Play ◽  
Russian Film

After a short summary of the story behind K. Hamsun’s play In the Grip of Life [Livet i Vold], its plot and stage history in Russia, the article proceeds to tell about an unknown film script. Cinematic adaptations of Hamsun’s books have always dominated Norwegian literature, while none of his dramatic pieces have made it to the screen. However, a film script was uncovered, an adaptation of In the Grip of Life: a play specially written for a Russian theatre. The script was found in the Russian State Archive of Literature and Arts, among the documents of Evgeny Sergeevich Khokhlov. Based on the history of filmmaking and relevant filmography, Khokhlov’s film script is not just the only attempt at film adaptation of a Hamsun play, but the first ever project based on a theatrical play in Russian cinematic history. Written almost 100 years ago, the script is far from perfect in the modern understanding of filmmaking; nonetheless, it has certain merits in the eyes of contemporaries. The very attempt to interpret the play by means of a nascent artistic genre may be considered a proof of its relevance to Russian audiences at the time.

Metamorphosis and Resurrection of Henrietta Lacks

2019 ◽  
Vol 20 (3) ◽  
pp. 251-260
Author(s):  
Dana Compton McCullough
Keyword(s):  
Research Subject ◽  
Biology Students ◽  
Theatrical Play ◽  
And Performance

In this article, I explore the unique affordances of narrative and performance in creating opportunities to linger with Henrietta Lacks. I first unpack the complexity of the story, as we know it, and tease out some of the significant themes. I focus on the metamorphic nature of Henrietta’s narrative and discuss her life, death, extinction and ressurection situated in racism. Without her knowledge, Henrietta Lacks became a research subject. Scientists erased her identity, wishing to conceal their own improprieties in taking her cells without permission. Although her identity was erased, Henrietta’s cells gained immortality before her physical death, and her story is now reiterated in the work of Skloot and other literature, as though the narrative performed a kind of resurrection. I discuss how cell science thrived in part through leveraging different kinds of erasure and resurrection. Then, drawing on my experiences as an educator exploring Lack’s story with grade 9 biology students, I present a theatrical play that weaves together students’ retelling of the story. I hope this article provides opportunities to linger and contemplate the power of science and its role in metamorphic nature-cultures.

scholarly journals Ukrainian Dance – Global Hallmark (Dedicated to the Anniversary of the National Honoured Dance Ensemble of Pavlo Virsky)

2018 ◽  
pp. 757-766
Author(s):  
Dmytro Vernyhor
Keyword(s):  
Young People ◽  
Cultural Diplomacy ◽  
Great Success ◽  
Folk Dance ◽  
Successful Performance ◽  
Ballet Dancers ◽  
The World ◽  
National Opera ◽  
Theatrical Play ◽  
International Academy

The article is concerned with life and creative path of P. Virskyi and the ensemble he leads in the context of cultural diplomacy. The author analyses that the aspiration to create realistic and folk plays by nature has influenced the artist in his exploring and further developing the folk dance. Therefore, applying the experience of folk talents, Virskyi was committed to create characters of Ukrainian stage dance, expanded and enriched its expressiveness. Pavlo Virskyi directed some choreographic performances already in the first days of his activity as choreographer, but his actual work on the formation of the Ukrainian stage dance started in 1936, particularly following successful performance of the outstanding theatrical play “Zaporozhets za Dunaiem” (Eng. A Zaporizhian (Cossack) Beyond the Danube).In 1937, Virskyi and Bolotov organized the first ever in Ukraine folk dance ensemble and quit Taras Shevchenko National Opera and Ballet Theatre of Ukraine, where they headed a ballet group. The choreographers involved in the ensemble skilled young people as well as a team of experienced ballet dancers, among whom was M. Ivashchenko − their old friend and companion, brilliant performer of folk dances. Later B. Tairov and I. Kurylov engaged in choreographic process. The ensemble captured people’s attention, successfully performing at the VI World Festival of Youth and Students in Moscow in the summer of 1957. The group of youngsters of the ensemble attained the title of winners of the VI World Festival and was awarded gold medals and the first-place diploma (soloists V. Kotliar, L. Zastrozhnova, H. Chapkis, N. Birka, L. Sarafanov, B. Mokrov, V. Holyk). Artists of the dance ensemble of the Ukrainian SSR performed for the audience from many countries of the world: Poland, Czechoslovakia, China, Vietnam, Cuba, Angola, France, Austria, Portugal, Spain, Belgium, USA, Canada, Mexico, Argentina, Brazil, Peru, Chile, Colombia, Venezuela. All of the countries equally acknowledged the ensemble. The troupe performances abroad not only were a great success, but also sparked a massive political resonance. The national press continuously wrote about the unsurpassed art created by renowned Ukrainian choreographer P. Virskyi and his invaluable contribution to the development of Ukrainian folk dance choreography. V. Korniichuk, Honoured Journalist of Ukraine, author of the article “To pioneer of Ukrainian folk dance” noticed the festive concert dedicated to the 90-annivarsary of P. Virskyi’s birth. In his speech before the concert, Y. Stanishevskyi, Doctor of Arts, Honoured Art Worker of Ukraine, member of the International Academy of Dance, declared, “P. Virskyi is a distinguished master of choreography, director and pioneer of Ukrainian folk dance, who not only formed a unique dance group, but also glorified Ukraine on all continents by the high art.” Keywords: cultural diplomacy, Ukrainian folk dance, art, artistic view, Virskyi.

scholarly journals Does theatrical play promote social skills development in students with autism? A systematic review of the methods and measures employed in the literature

2018 ◽  
Vol 6 (2) ◽  
pp. 96
Author(s):  
Maria Mpella ◽  
Christina Evaggelinou
Keyword(s):  
Systematic Review ◽  
Social Skills ◽  
Autism Spectrum ◽  
Skills Development ◽  
Social Skill Development ◽  
Pedagogical Strategies ◽  
Theatrical Play ◽  
Students With Autism ◽  
Spectrum Disorders

This systematic review cites a number of programs and critically analyzes methods and measures used to develop social skills in young students with Autism Spectrum Disorders (ASD). Social skills are interpreted through a ToM theory lens, emphasizing interactions such as understanding, explaining, predicting, and manipulating the behavior of themselves and the others. The aim of this review is to study the role of the theatrical play programs and its effect on social interactions and social skills on students with ASD. An online search through Proquest and First Search resulted in twelve studies of diverse methodologies. All these studies support the value of theatrical play as a means of social skill development. More specifically, the qualitative, as well as the quantitative data, indicate the benefits of these programs on ASD students’ social skills such as cooperation, communication, and social awareness. More longitudinal studies are needed to develop and test pedagogical strategies for social skills development of ASD students in light of theatrical play activities. In addition, studies should be geared towards the teacher’s ability to teach theatrical play and thus promote social interaction between students with and without ASD in integrated school environments. Synchronizing theory with art and cooperative play seems to be the key to answer such assumptions positively.

Chechen Refugees in Poland on ‘Tolerated Stay’: Different Perspectives of Hospitality in the Context of Theatrical Action in a Private Apartment

2019 ◽  
Author(s):  
Karolina Izdebska
Keyword(s):  
Qualitative Methods ◽  
Research Methods ◽  
Social Problems ◽  
Learning Processes ◽  
Starting Point ◽  
Art Based Research ◽  
History Of ◽  
Theatrical Play ◽  
Ways Of Thinking

Abstract Many researchers show that the medium of the theatre can be an effective tool for collecting and analysing data and designing learning processes, especially when it comes to issues relevant to communities. Art-based research methods offer different ways of thinking, perceiving and researching social problems. The analysed theatrical play, ‘Tolerated Stay’, addresses the issues of hospitality in the context of refugees. The starting point is the history of a Chechen family with whom the artists worked and who stayed in Poland under a tolerated-stay permit. The play was realized in a private apartment. The convention of a meeting at a table opens the field for debate on the themes of the emigration and hospitality. In the analysis, three perspectives of hospitality were distinguished (of refugees, artists and participants). Following the principle of triangulation, different methods from theatre activity were supplemented by qualitative methods.

Playing the invisible

Tekstualia ◽  
2013 ◽  
Vol 1 (32) ◽  
pp. 75-84
Author(s):  
Anna R. Burzyńska
Keyword(s):  
Narrative Text ◽  
John Steinbeck ◽  
Writing Strategies ◽  
Railway Station ◽  
Theatrical Play ◽  
Radio Play ◽  
The Invisible

The article investigates writing strategies employed by Stanisław Grochowiak as an author of radio plays. Burzyńska analyses two of his works: Zaczarowana stacja (Enchanted railway station) and Perła (The Pearl) based on the novella by John Steinbeck. The article focuses on tracing differences between a theatrical play, a narrative text and a radio play and describes various methods that enabled Grochowiak to turn apparent restrictions of radio (e.g. „invisibility” of radio plays) into artistic advantages.

scholarly journals « Words are not simple play things! » : L’hétérolinguisme théâtral chez Louis Patrick Leroux

2013 ◽  
Author(s):  
Nicole Nolette
Keyword(s):  
English Reader ◽  
Tower Of Babel ◽  
Theatrical Play ◽  
Performance Text

This article explores how, in the 1990s, Canadian playwright Patrick Leroux broke away from previously prevalent representations of bilingualism in minority Franco-Ontarian drama and made multilingualism and translation into theatrical “play things”. His most playful performance text, Le Rêve totalitaire de dieu l’amibe, features as many games as issues at stake for staging experimental minority theatre. Substractive ideologies around bilingualism are torn apart, heterolingualism is raised and deconstructed like a strange tower of Babel and translation becomes BabelFish-like. L’ombre du lecteur anglais (The shadow of the English reader) and an Anglophone commentator are added to a production that is constantly reworked, retranslated and surtitled. The trajectory of the production from Ottawa to Sudbury (in Ontario) and Saint-Lambert (in Quebec), and then on to Montreal and to Hull, delineates a playground for translation riddled with layers of address to spectators, depending on their level of comprehension of the languages spoken on (and off) stage.

scholarly journals Rājādhirāt: From the History to an Influential literature for Mon-accented Thai traditional Repertoires

2015 ◽  
Vol 2 (2) ◽  
pp. 23
Author(s):  
Jarun Kanchanapradit ◽  
Wanida Bhrammaputra
Keyword(s):  
Fine Arts ◽  
Music Analysis ◽  
Historical Evidence ◽  
Thai Language ◽  
Integral Process ◽  
Theatrical Play

This article aimed to study Mon-accented Thai traditional repertoires through Rājādhirāt literature, which owe its origin from the Chronicles of the Mon. It is the story about the battle between the king Rājādhirāt of Pegu and King Farang Mang Kong of Ava. The translated Thai language prose version was arranged by Chao Phraya Phra Khlang (Hon), a poet master during King Rama I. Later during King Rama V, the Rājādhirāt was adapted for theatrical play – Lakorn Pan Tang – leading to development in musical front in order to assign appropriate Mon-accented musical pieces for the characters, their expressions, and story. Anthropologically, Rājādhirāt Literature was not only an entertainment, but also a revival of Mon-accented Thai traditional repertoires which have been associated with the Thai society for so long. The repertoires served as a reminder of once-flourishing Mon history through literature, play, music. Analysis of historical evidence, concerned persons such as the translator of Rājādhirāt from Burmese to Thai language, experienced Thai musician who played and assigned the repertoires; and expressive interpretation of musical repertoires from Rājādhirāt play by the Fine Arts Department are the integral process that made this article present another perspectives of Mon-accented Thai traditional repertoires while featuring relationship between literature, play and music in Thailand.

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