There Will Be Trouble

It is perhaps more relevant now than ever before to prepare the ground for a pedagogical discussion on theater curation. Theater festivals have recently become prominent in India. It is true that India has cherished a ubiquitous tradition of festivals—utsavs and mahotsavs—for hundreds of years. Take, for example, the staging of Kudiyattam at ancient Sanskrit koothambalams, which would last several weeks in a festival atmosphere; the touring circuit of Assam mobile theater, which has created festival-like events since the 1950s; or the Marathi (political) theater, which has an active culture of more than a century of traveling and festival-like events. These are not the kind of festivals I am interested in for the purpose of this article—they have a “traditional” logic built into their purpose—but the kind that have emerged along secular lines in post-independent and urban India. These “new” theater festivals are primarily sponsored by the state, are supported by public funds at the regional and national level, and are therefore open to public participation and scrutiny. These festivals, wherever they are held, commonly include a multilingual and multicultural itinerary of plays. The intent behind the selection is largely driven by the post-colonial project, which is to “put together” an idea of modern India by including plays that have a critical outlook—these could be contemporary scripts, modern adaptations of classical plays, and works that explore contemporary vocabularies of performance (body-based, post-dramatic, experimental, etc.). Currently, India has over a dozen of these new theater festivals of varying scale; each running annually, each claiming to show the best of contemporary theater. In the absence of a touring circuit, these festivals provide artists with the opportunity to travel, to seek new audiences, to mingle with peers and masters, to be written about, and to woo award committees. Festivals are now doing for theater what exhibitions have done for visual art; they are highly visible events that offer immense resources and the promise of further influence. Festivals seem to bestow legitimacy on artistic work of a kind not seen before.

Hacia una risa posthumana y decolonial: Construyendo una risistencia feminista monstruosa en la payasaria

En las dos últimas décadas, diversas payasas vienen desarrollando un movimiento de visibilización de este tipo cómico, tanto en el circo como en el teatro. Festivales, talleres e investigaciones vienen contribuyendo para escribir la historia doblemente excéntrica de las payasas. Este honorable movimiento, sin embargo, aun parece seguir la misma lógica arquetípica del payaso moderno, heredero de la Ilustración. Este trabajo pone en valor la payasa en tanto cuerpa política fundamental, con el potencial de crear risistencias plurales que puedan deconstruir la figura del payaso moderno y la risa humanista encarnada en su arquetipo. Reconoce la importancia histórica de la payasa, e invita a seguir avanzando en sus políticas artísticas del cuerpo, ahora a partir de una perspectiva feminista posthumanista y decolonial, proponiendo políticas de coaliciones artística y teórica en pro de una democracia de la risa. A través de la creación de figuraciones feministas móviles monstruosas, el proyecto tiene como objetivo animar un movimiento de risistencia a la risa moderna, ilustrada, colonial, humanista y patriarcal. In the last two decades, various female clowns have been developing a movement of visibility of this comic type, both in the circus and in the theater. Festivals, workshops and research have been contributing to write the doubly eccentric herstories of women in clowning. This honorable movement, however, still seems to follow the same archetypal logic of the modern clown, heir to the Enlightenment. This work values the female clown as a fundamental political body, with the potential to create plural laughters that can deconstruct the figure of the modern clown and the humanistic laugh embodied in its archetype. It recognizes the historical importance of female clowns, and invites a step forward in its artistic body politics, now from a feminist post-humanist and decolonial perspective, proposing artistic and theoretical coalitions in favor of a democracy of laughter. Through the creation of monstrous mobile feminist figurations, the project aims to encourage a movement of laughteresistance at modern, enlightened, colonial, humanistic, and patriarchal laughter.

EVENT TOURISM DEVELOPMENT AND ITS INFLUENCE ON THE TERRITORY PROMOTION

Today, most European destinations consider the event tourism organization as a tool for socio-economic development. The tourism industry development contributes to the income sources diversification in the territories budget, which in combination with other sources can be a factor in shaping the socio-economic development of a particular territory. The event tourism development should be developed as a soft tourism form that is well adapted to local diversity. The purpose of the article is to study the event tourism development in Ukraine and its impact on the territory promotion. The article uses general scientific methods and content analysis. Despite the significant scientific achievements on this issue, in the Ukrainian tourism discourse, event tourism has not become the object of due attention. This fully applies to the significant reputational event tourism potential, its ability to act as a factor in shaping the tourist attractiveness of the territory. The structure of event tourism development in Ukraine by events types is investigated in the article. It is determined that the largest share is made up of music festivals and competitions. There are also a significant number of gastronomic festivals, national holidays and festivals, film and theater festivals and theatrical shows, which also attract a large number of visitors. According to the territorial distribution results of events by regions of Ukraine, the largest number of events takes place in the largest cities and regions of Ukraine – Kyiv and Kyiv region, Lviv region, Odessa region and Kharkiv region. The paper proposes the concept use of event marketing in tourism, which is due to the fact that in modern conditions it is becoming increasingly difficult to capture the attention of tourists; and as old marketing tools lose their effectiveness over time, destinations are forced to invent new concepts that fully meet the requirements of today's target audience. One of the tools that allows you to retain and attract visitors and investors is event marketing. Event marketing in tourism is the event use to promote a certain area and attract consumers who do not find a tourist destination attractive enough to visit it for no reason.

Theater Festivals - a Collective Archive

Theatre can also be viewed as a collective archive that we go to when we need to better understand the world around us, artistic movements and trends, the state of mankind. Each participant in a theatrical act, whether spectator or creator, loads it with emotions and, therefore, with memories. Theatre, in all its forms, strengthens communities, and theatre festivals are a very good opportunity to popularize theatrical productions, from the level of some small communities, to the macro level. Diversity is an essential ingredient for stimulating imagination and a better understanding of an area of interest. This is why a theatre festival with international coverage, such as the International Theatre Festival for Young Audiences in Iasi (FITPTI), should make for its audience as many referrals as possible to the context and artistic life of a community as a whole. In order to achieve such an objective, in addition to the scenic representations, theatrical exhibitions, book launches, interactive installations, theatrical critique seminars, residences for young playwrights, reading shows are more than necessary. If we refer to the collective memory enriched by theatre, we could say that theatre shows have a short life. But, most of the times, those that really have a major impact and their creators are also found in books. And, it is known, books have a much longer life. FITPTI organizers understood this from the beginning and gave the theatre book an important place in the event.

The interaction of theatrical journalism and theatrical criticism in the modern media

Background. Topicality of the theme. With the advent of the Internet, Internet journalism has appeared. In relating to theater, in essence, it is theatrical criticism, which has only undergone major changes. In recent years, there have been lively discussions in professional circles about the state and prospects of theater criticism as a profession, about the nature of theater criticism, its self-identification in the modern information space. Round tables with the participation of leading theater critics are devoted to the issues of the current state of theater criticism, a number of relevant materials have been published in specialized publications, often with indicative headings: “Who needs theater critics?” [1], “Theater criticism: final or transformation?” [9]; interviews of theater critics, in which they uphold the positions of the profession and, at the same time, speak about urgent problems and the need to update it taking into account rapidly changing realities: with S. Vasilyev [2], N. Pivovarova [5], Ya. Partola [6]; discussion articles on the status and prospects of the profession by M. Harbuziuk [3], M. Dmitrevskaya [4], N. Pesochinsky [7], I. Chuzhynova [10], S. Schagina, E. Strogaleva, E. Gorokhovskaya [11]. Thus, there are several points of view on this topic: that theatrical journalism has replaced theatrical criticism; that theatrical critics of the old school did not have time to adapt to the changing world and use new tools in this profession, and young critics just occupy their niches in the youth media and on the Internet; that the profession of a critic does not go beyond the framework of participation in expert councils, jury membership, attendance at theater festivals, and writing reviews on request. The question, however, is still open. The main goal of this article is to determine the degree and main character of the interaction of journalism and theatrical criticism in modern media. Results of the study. Those who are seriously engaged in theater studies and academic theater criticism feel the need for specialized publications, the number of which in Ukraine is reduced to a minimum. Therefore, those who had the opportunity to publish reviews in the socio-political periodicals, have to combine three professional areas in one, becoming a theater journalist. Academically trained theater critics can write and often write good books, but, as a rule, do not know how to write for newspapers and magazines. But graduates of journalistic departments who write about the theater are not familiar with professional terminology, which is able to give a correct assessment of the premiere performance. The question arises: how to combine those and these, that the theater journalism was both fascinating and acute, and moderately scandalous, but at the same time accurate and high-quality? To grow such specialists is a matter of work, there can be no conveyor system here. Modern theater criticism, gradually becoming obsolete, rather survives from the common theatrical space. The theater critic cannot be a free artist, and live on the money from the results of his work, because in non-capital cities the number of journals in which the theater specialist would have had time to publish his works has decreased by several times. In cities such as Poltava, Sumy, Chernigov, the issues relating to theatrical premieres are not covered by critics (they are simply not there), but by journalists who write on various topics and rarely specialize in one. The substitution of theatrical critique by journalism is quite natural, for example, for cities where there is no professional training of theater critics, however in Kiev, Kharkiv and Lviv theater studies continue, and a certain number of graduates hope for the viability of this profession. Theatrical criticism and theatrical journalism are in their own way demanded in certain circles. Criticism is closer to theaters, journalism – to the audience. It is difficult to debate with this statement that new epoch came with the Internet. Now, the spoken word has a completely different value. For example, а word thrown on Facebook can have the same effect on public opinion as a big, built, hard fought text. This does not mean that you do not need to write large texts and publish them on paper. You just need to understand and accept the new reality, its advantages and disadvantages, its danger and its benefits. It is a very important problem of our consciousness and the problem of our theater. The Internet has given a new push to the development of new type of media-translations, actively working in social networks. Sites appear on the network where online remote screenings of performances are held. They provide Internet audiences with the opportunity to be acquainted with the history of national and world theater art; they are introduced to modern avant-garde performances. Of course, this also brings the theater closer to a wide, as a rule, young audience and opens up new opportunities for a different kind of theater journalism. Сonclusions. Thus, the Internet becomes an active means of influencing the minds in the modern media space. The Internet influences everyone and everything, changing attitudes towards theatrical art, as well as contemporary theater criticism and theater journalism. However in this case, it is essential to remember that not the Internet, but only professional theater criticism that has been and remains the breeding ground for the scientific work of theater critics and art historians, while creating the history of dramatic, opera and ballet theater.

The Role of the Literary Theatrical Project in the Development of the Sociocultural Competence on English Classes (Based on Work Experience)

In this article the author shares her experience on how to develop sociocultural competence by means of the literary and theatrical project on English classes. The Author´s need of appealing to the study of literature and theatreof the country which language is learned is caused by the nowadays increased necessity in cross-cultural communication and cooperation. The search for the solution led to the idea to organize the process of training English language on the basis of modern educational technologies allowing to improve educational process, to increase efficiency and quality of its organization. The method of projects became one of the primary ones. The author offers the creative project "Literary Drawing Room" with staging elements allowing to create the language environment, maintaining interest in studying of English and motivation for the new knowledge. The theatrical project became another integral part of the educational process organized by the author of this article. She refers to the prominent educatorswho proved the expediency of carrying out theatrical classes in general education process. The participation of the drama school headed by the author of this article in the International Theater Festivals in Russia and abroad, receiving Grants and recognition are a bright confirmation of the right choice of the literary and theatrical project as a way to polycultural personality formation prepared for cross-cultural communication.