3 Gallant Forty Twa: The National Theatre of Scotland’s Black Watch as Exemplary and Unintentional Political Theatre

2022 ◽  
Author(s):  
Shawn Renee Lent
Keyword(s):  
Political Theatre ◽  
National Theatre

scholarly journals Brexit on Stage: Two Verbatim Projects in Progress

Porównania ◽  
2021 ◽  
Vol 30 (3) ◽  
pp. 77-92
Author(s):  
Ewa Kębłowska-Ławniczak
Keyword(s):  
Political Theatre ◽  
National Theatre ◽  
National Organizations ◽  
British Experience ◽  
Complex Culture ◽  
The Guardian

The article deals with two post-Referendum projects launched by British national organizations, the National Theatre and the Guardian with Headlong, whose task was to reflect more accurately on a broader range of current British experience. The projects were written in response to questions on whether national artistic institutions, the subsidized “complex culture,” have not been out of touch with the rest of the country, notably the post-Referendum crisis. Both projects set out to research the crisis with documentary and quasi-documentary methods, to involve in an exercise in “listening” and to focus on polarisation, voter fatigue and lack of trust. The article concentrates on the two projects as variants of political theatre and on the ways they use the verbatim method in their attempts to diagnose and understand the crisis arguing, further on, that the effects differ, leading either to populism or to empathetic understanding and reconciliation.

scholarly journals Performing «Polishness»

2021 ◽  
Vol 70 (2) ◽  
pp. 165-169
Author(s):  
S.E. Wilmer
Keyword(s):  
National Identity ◽  
Political Theatre ◽  
National Theatre ◽  
Problematic Issue ◽  
And Performance

This article is a review of Dariusz Kosiński’s Performing Poland: Rethinking Histories and Theatres (Aberystwyth 2019). The author points out that the book is an attempt at introducing several centuries of Polish theatre and performance to an international reader. It is divided into five sections which overlap chronologically, altogether creating a comprehensive presentation of Polish theatre. These sections are: theatre of festivities, theatre of fundamental questions, national theatre, political theatre, and theatre of the cultural metropolis. The author, however, draws attention to a problematic issue in Kosiński’s approach. Throughout the book he emphasizes the role of theatre and performance in asserting Polish national identity while ignoring the complex, multi-faceted character of any national identity.  

Theatrology, the New Cultural Management School in Romania

2018 ◽  
Vol 8 (2) ◽  
pp. 255-273
Author(s):  
Ivona Tătar-Vîstraş
Keyword(s):  
Higher Education ◽  
Secondary School ◽  
Labour Market ◽  
Paradigm Shift ◽  
Cultural Management ◽  
National Theatre ◽  
New Directions ◽  
Management School

Abstract We are witnessing a paradigm shift regarding the theatrologist’s position in the Romanian theatre environment. While, until recently, theatrology meant cultural journalism, this definition is no longer sufficient or attractive for secondary school graduates. Romania’s higher education offer has changed increasingly in the last years, in the attempt to keep up with the requirements of the labour market; the solution was provided by the area of cultural management. Every last faculty in this sector covers the new direction of study and research. This article seeks to investigate the existing educational offers, which should allow an understanding and a new complete image of the theatrologist in Romania; in our opinion, this image will have an increasing impact on the national theatre community, shaped, of course, by the new directions of study.

Choric Theatre

2017 ◽  
Author(s):  
Erika Fischer-Lichte
Keyword(s):  
Participatory Democracy ◽  
Berlin Wall ◽  
Political Theatre ◽  
New Form ◽  
Important Form

The ninth chapter, ‘Choric Theatre. Between Tragic Experience and Participatory Democracy’, discusses a new form of theatre that grew out of Greek tragedy’s chorus. While Einar Schleef used the chorus in The Mothers (1986) in order to create a new tragic theatre, in the 1990s—that is, after the protest choruses of the Monday demonstrations in the GDR had led to the fall of the Berlin Wall—choric theatre became an important form of political theatre. Mostly, these choruses were composed of local citizens, as in Volker Lösch’s Oresteia in Dresden (2003) or in theatercombinat’s The Persians (2006–8), and often even of members of a minority, as in all of Volker Lösch’s later productions. Here choric theatre gave a voice to those who had been silenced and even anticipated a utopia of a truly participatory democracy.

Performing Protest and Protesting Performance: The International Circuits of Touring Political Theatre

2021 ◽  
Vol 46 (1) ◽  
pp. 53-69
Author(s):  
ELLIOT LEFFLER
Keyword(s):  
South Africa ◽  
Cape Town ◽  
Archival Research ◽  
Political Theatre ◽  
Waiting For Godot

From 1980 to 1981, the Baxter Theatre of Cape Town, South Africa, produced a multi-racial Waiting for Godot that garnered vastly different reactions in the various cities to which it toured. With a cast led by John Kani and Winston Ntshona, icons of anti-apartheid theatre, it was sometimes hailed as a scathing anti-apartheid polemic, sometimes admired for its ‘universality’, and in one case denounced and shut down by anti-apartheid activists as a piece of pro-apartheid propaganda. Based on both archival research and interviews, this essay investigates the artists’ intentions and the public's reception in order to illuminate how the international theatrical circuits dovetailed with international activist circuits, sometimes supporting one another, and occasionally tripping each other up.

‘Plays with Subjects that Matter’: Political Theatre and the Amateur Movement in the 1930s

2020 ◽  
Vol 36 (1) ◽  
pp. 42-55
Author(s):  
Don Watson
Keyword(s):  
Media Culture ◽  
Political Theatre ◽  
North East ◽  
British Drama ◽  
Amateur Theatre ◽  
Labour History

Thousands of amateur theatre groups performed regularly in Britain during the 1930s but their activities have generally been overlooked by historians. Important features of the amateur world were the regional and national festivals organized by the British Drama League and the Scottish Community Drama Association. In this article Don Watson examines how the festivals could provide opportunities for progressive drama by groups outside the organized Left, and considers the League in relation to the Left theatre movement of the time. It broadens our understanding of where politically engaged theatre took place in the 1930s and thus the appreciation of British amateur theatre as a whole. Don Watson is an independent historian and holds a PhD from Hull University. His theatre research has been published in Labour History Review, Media, Culture and Society, and North East Labour History.

scholarly journals The Development of the National Theatre in Chile to 1842

Hispania ◽  
1959 ◽  
Vol 42 (1) ◽  
pp. 141
Author(s):  
Frank Dauster ◽  
Margaret V. Campbell
Keyword(s):  
National Theatre
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