Metode Penulisan Naskah Kolektif: Di Balik Pertunjukan Teater “Tanah Ode Kampung Kami”

The creation of a play entitled “Tanah Ode Kampung Kami” have several stages, starting from determining the issue and the ideas, conducting research, implementing the method of collective writing text, and finally becomes a show. The research process is a way of organizing and understanding the main problem of a play, i.e. the land, so it would be able to be implemented as a drama script collectively in theatrical performances. Collective text aims to make actors and directors have the same perception of a predetermined theme. This study uses a qualitative research design with data collection methods in the form of observations and interviews. The conclusion of this study is that the collective text method used in the “Tanah Ode Kampung Kami” script is used to harmonize the ideas that were built together so that it becomes a complete text which is the result of collaborative thinking between the elements involved in the process of making the script.

The artistic perspective of V. Vynnychenko's creativity in the context of the stage solution of his literary works

The purpose of the article is to highlight different aspects of the interpretation of artistic experiments of theatrical performances based on the works of V. Vinnichenko, taking into account the general concept of their artistic and aesthetic specificity, genre and stylistic features, and the original artistic manner of the playwright. The research methodology consists in the application of the cultural-historical method to analyze the interpretation of V. Vinnichenko's dramatic works, peculiar key creative processes, director's interpretations of his plays as future stage forms; art history method for comprehending the artistic and creative activities of a playwright in the context of evolution and progressive ideas in the art of theater; a modeling method for analyzing the model-setting of a specific period of the playwright's work; a structural-functional method for the study of the main guidelines in the organization of the creative process over a stage work. The scientific novelty of the research lies in carrying out a figurative-stylistic, artistic compositional analysis of the evolutionary process of V. Vinnichenko's creativity as a modernist playwright of the early twentieth century. Conclusions. There is every reason to state that the appearance of the figure of V. Vynnychenko was an extraordinary event: his phenomenon also lies in the fact that he is one of the few in Ukrainian and world literature who became a classic during his lifetime. Based on a comparison of literary sources and performances, it can be noted that there was an experiment and a search for new stage forms. And the peculiarities of the interpretation of V. Vinnichenko's works in the Ukrainian theater lie in the fact that it was determined by different components of the stage performance, as well as the socio-historical and cultural contexts of the life of Ukraine, which determined the experiments, methods, and forms of interpretation of the literary basis. Keywords: V. Vinnichenko, playwright, theater, director, performance.

Senex sapiens et senex stupidus – wykorzystanie figury starca w alegorycznych kreacjach Sędziego, Lichwy i Alchemii w podręczniku Franza Langa SI „De actione scenica”, 1727

The article focuses on the analysis of the role and importance of the figure of an old man in the allegorical images of Judge (Iudex), Usury (Foeneratio) and Alchemy (Alchimia) proposed by the Jesuit lecturer, playwright, and author of theatrical performances and drama theatre theorist, Franz Lang in his very important (it marked an high point of theatrical outpoot) handbook of acting De actione scenica published in Munich in 1727.

Military Costume in Ukrainian Theaters Performances of the First Half of the XX Century

The purpose of the article is focused on the analysis of the distribution of military costumes in Ukrainian theatrical performances of the first half of the twentieth century. We consider the role and significance of military costumes as an important component of the construction of the mise-en-scène of the play and the means of creating its texture to be especially important here. Methodology. The methods used to achieve this goal are used in the sequence and interaction of the practice group and the theoretical group. First, based on a combination of cultural-historical and historical-comparative methods, it is important to trace the first examples of the appearance of characters in military costumes in the plot of the play and establish their meanings. Thus, historicism allows us to establish the main trends and traditions that emerged in the chronotypes of various performances. Given the need to superimpose images from the dramatic text on the images of characters and the composition of mise-en-scène, it is also necessary to use the hermeneutic method. The scientific novelty is due to the lack of academic works and publications on this topic, and therefore the article for the first time raises the question of the development of the typology of theatrical costume during the first half of the twentieth century. The conclusions obtained by the author during the analysis of the collected materials are based on the three most important points. Military costume in Ukrainian drama and performance was used in the XIX century as a marker of individual characters who particularly influenced the decision of the culminating events of the plot and were the bearers of special skills and abilities. The appearance of plots related to revolutionary events in the play makes the military costume on the stage popular. In the synthesis of the arts involved in the play, the military costume became the leading texture that formed the latest mythologies of characters and meanings in theatrical art. Key words: military costume, the mythology of a military character, soldier-magician, someone else's costume.

The place of the discipline “Fundamentals of Stage Movement: Historical Etiquette” in the professional training of a modern actor and its connection with the subjects of professional and practical cycle

The actor’s flexibility and stretching expressiveness is one of the most important skills in acquiring professional knowledge, which is taken into account in the structure of the pedagogical process of theatrical performances, where a significant role is given to the disciplines of the flexibility and stretching cycle, in particular the basics of stage movement, one of the components of which is historical etiquette, which develops the psychophysical apparatus of the actor in the way necessary for stage activities, trains a sense of beauty and elegance of movement, form and style. However, for today the specific character of mastering stylistic behaviour requires careful scientific review in order to create a modern study of the role of historical etiquette in the flexibility and stretching culture of the actor and the place of discipline in the cycle of professional and practical training, which determines the relevance of this article. The purpose of the paper is to substantiate the importance of mastering stylistic behaviour by a future professional actor in the context of the discipline “Fundamentals of Stage Movement” and general professional training. The methodology. In this article we applied the methods of abstraction and structuring, analytical and comparative methods within the pedagogical approach. The results. The subject “Fundamentals of Stage Movement: Historical Etiquette” is an important component of the system of modern professional training of the future actor, which meets the requirements of modern theatrical art that tends to flexibility and stretching means of expression and nonverbal language. By mastering the specific features of stylistic behaviour and flexibility and stretching of different historical epochs, the future actor acquires appropriate professional competencies and is able not only to accurately embody any historical image, but also to improve the unity of interior and exterior technology, increase the overall level of flexibility and stretching culture, expand the range techniques, to acquire skills of creating flexibility and stretching characteristic features of contemporary images, to reveal creative potential and to realize it more widely while mastering related disciplines (“Actor’s Skill”, “Dance”, “Stage Fight”, “Fencing”, “Stage Language”, “Vocal”) , which will make it in demand in further professional activities in both theatre and film industries. The scientific novelty. The paper is the first attempt for substantiating the necessity of studying the stylistic behaviour and historical etiquette by future actors in the context of further realization of their creative potential in professional activity. The practical significance. The materials of the article can be used in the practical activities of teachers of stage movement and in creating further research in this area.

Are the Performances Broadcast Online Theatrical Performances? (Once Again on the Structural Differences Between the Stage and the Screen)

This article is an attempt to bring principled clarity to the recent disputes over the nature of theatrical art on the occasion of the general closure of the theatres after March 2020 (as an anti-epidemic measure in the COVID-19 crisis) and the alternative broadcasts of online performances. For a number of theoretical and practical reasons, and based on various examples, we maintain the understanding that with each shooting and broadcasting of a theatrical production a process of approaching the cinema begins – the erasure of its own theatrical quality occurs at the beginning of the process.

RESEARCH OF ARCHITECTURE FORMATION LANDSCAPE THEATERS IN UKRAINE

The article is devoted to the problems of landscape theaters architecture formation on the territory of Ukraine in the realities which have developed in the course of typology development and an arrangement of the cultural data and entertaining and leisure establishments in modern conditions. The article examines the specifics of the landscape theaters location depending on the functional purpose, capacity of the auditorium and attendance level of various theatrical performances in the open air in Ukraine. Based on the results of professional questionnaires and analysis of statistical data on the theater and concert network in Ukraine, the author proposes 15 factors that shape the modern architecture of Ukrainian landscape theaters. The author investigates how these factors modify the spectator environment and shows the tools and techniques that allow you to create a harmonious space of the theater. The list of the above factors influencing the formation of the landscape theaters architecture in Ukraine should include such factors as: the capacity of the auditorium; functional purpose of the building; location of the theater; the mode of the auditorium openness and stage; special conditions of the open-air theater location zone. In addition, the author investigates the following factors in the formation of landscape theaters architecture, such as: organizational schemes of the stage; the configuration of the amphitheater in relation to the stage; ways to evacuate visitors from the auditorium in case of emergencies; determination of the optimal angle of the auditorium; architectural and constructive solution of the theater location (on a natural or anthropogenic basis). The author analyzes the influence on the formation of the landscape theaters architecture due to the system of the stage layout and arrangement; when using special technological techniques and technical means; by considering the mobility of the theater; under the conditions of synthesis at the location of the stage relative to the spectator amphitheater; using the means of green architecture and design solutions in the organization of theater space.

Indigenous Cosmopolitanisms of Music in Sámi Theatre

Which kinds of Sáminess are expressed and engaged with music in Sámi theatre? Through descriptions of the kinds of musical genres and sounds presented, the article argue that the music of Sámi theatre can typically be described as cosmopolitan. As the musical expressions and engagements convey what is Sáminess, they present cosmopolitan versions of Sáminess. The author interprets performance moments as presenting types of Indigenous cosmopolitanism, in other words, Indigenous cosmopolitanisms. The article approaches music as musicking, which refers to all of the social interactions that go into creating a musical experience. Because this is theatre, this includes the social processes of staging other theatre values that relate with the music during theatrical performances. Other theatre values include costumes, set design, props, lighting, sound effects beyond music and movement such as dance and blocking. Overall, the productions perform a dynamic and fluid Sáminess that incorporates sounds, sights and movements from around the world, while often being “rooted” in what it is to be Sámi today and historically. Although most productions include identifiably Sámi music genres such as joik, it is worthwhile to note that some don’t. In these productions, the author identifies specific varieties of cosmopolitanism, such as vernacular cosmopolitanism, different forms of rooted cosmopolitanism and pan-Indigenous cosmopolitanism. The article examines case studies from Sámi theatre companies in Norway, Beaivváš Sámi Našunálateáhter and Åarjelhsaemien Teatere. The cases, among other productions, are the joik operas The Frost Haired and the Dream Seer and Allaq; the dance theatre productions Eatnemen Vuelieh and Gïeje; and the stage plays Silbajárviand Almmiriika.

El cardenal Espinosa y Mateo Vázquez de Leca: su influencia en la actividad teatral de Miguel de Cervantes

When Cervantes returned from his captivity in Algiers, he began a prolific period as a theatrical playwright. It was then, between 1581 and 1591, that he wrote numerous comedies, tragedies, and sacramental autos. Cervantes’s theatrical training, however, is a mystery. He only remembers his youthful attendance of theatrical performances by Lope de Rueda, but he does not write anything about the Italian Commedia dell’arte, for example. In this article, I propose to study the influence of the ‘confessional’ politics of Cardinal Espinosa and Mateo Vázquez (1565-1591) on the theatrical conception of Miguel de Cervantes, as well as the influence of Juan López de Hoyos and Alonso Getino de Guzmán on his theatrical apprenticeship.