scholarly journals The Concept of NEO Theater Performances: Appreciation for Acting

2019 ◽  
Vol 1 (2) ◽  
Author(s):  
Tatang Abdullah
Keyword(s):  
Theater History ◽  
Historical Approach ◽  
Creativity Development ◽  
Theater Production ◽  
Theater Performances

This research investigates NEO Theatre (NT) by using historical approach. Ithas several significances; i.e. firstly, NT is one of modern theater groups thatinfluences modern theater development in Bandung; secondly, though it is stillrelatively new, the creativity of NT cannot be separated from the history ofFathul A. Husein’s creativity development as its director. By applying methodof history through several stages from heuristics, critics, interpretation, tohistoriography; NT’s creativity pattern can be constructed; it is in accordancewith the aim of this research, to achieve the historical illustration of NT’screativity pattern in realizing the prototype of theater performance entitledTritik Segaris Putih. Fathul A. Husein, as the NT leader, was one of the foundersof theater Actors Unlimited (AUL) established in mid 1990s. Having it ended,Fathul A. Husein, who acted more as a director, founded NT on 18 April 2012.Based on the works Fathul directed since his time in AUL, the creative processof NT shows similar creativity with the Studiklub Theater Bandung (STB). Animportant fact to support this statement is that as a modern theater observerand critic, Fathul had ever joined in some productions of STB during the timeof Suyatna Anirun (RIP) before he decided to join in the founding of AUL. Thus,it can be said that the model of STB theater creativity pattern is also reflectedon the creativity pattern of NT in each of its theater production.Keywords: theater history; theater production; NEO Theater

Laborers of the Nineteenth-Century Theater: The Economies of Gender and Industrial Organization

1994 ◽  
Vol 33 (1) ◽  
pp. 32-53 ◽  
Author(s):  
Tracy C. Davis
Keyword(s):  
Nineteenth Century ◽  
Industrial Organization ◽  
Theater History ◽  
Ancient Greek ◽  
Sociopolitical Organization ◽  
The Public ◽  
Theater Production ◽  
Chain Of Command ◽  
Contemporary Theater

In the purview of theater history, as on the theatrical stage itself, performers' and writers' command on attention is almost complete. Ancient Greek gave a word to its mask builders (skeuopoio), but apart from distinct vocabulary, history leaves few traces of theatrical laborers. A glance through any number of theatrical books, periodicals, bibliographies, biographical guides, and encyclopedias reveals the predominance of performers in the public eye, though managers, directors, designers, and critics occasionally attract scholarly studies. Even among novels, journalism, and theatrical guidebooks—genres that venture behind the scenes—the personnel that dress, light, paint, and build shows are rarely present. Their identity and labor is marginalized in the annals because it is marginalized in the conceptualization of what is important in theater production. Susan Todd takes unusual measures to challenge this tradition by documenting the experience of women stage managers in the contemporary theater, but in the historical realm this has not been attempted. Writers devote attention to how the stage actually worked (how stage effects were achieved and how the creative chain of command functioned), but to date no one has examined the structures and traditions of backstage labor by asking basic questions about the sociopolitical organization of the work.Only in highly esoteric treatises or the lightest of literature do theatrica jewelers, armorers, weavers, hosiers, basket makers, shoemakers, furnishers, cosmeticians, perruquiers, costumiers, seamsters, dressers, property makers, carpenters, gas fitters, printers, or ticket takers usually appear. These are all specialized trades and occupations indispensable to the building and running of nineteenth-century theatrical entertainment.

ISLAM PADA MASA KESULTANAN BANTEN

ALQALAM ◽  
2015 ◽  
Vol 32 (1) ◽  
pp. 83
Author(s):  
Maftuh Maftuh
Keyword(s):  
Social Life ◽  
Religious Orientation ◽  
Time Span ◽  
Religious Community ◽  
Historical Approach ◽  
Islamic Studies ◽  
The Social ◽  
Long Time ◽  
Islamic Militancy ◽  
Religious Understanding

For many observers, Banten is well known as an area where the population has a strict religious understanding onislamic law. Colonial officials and experts in Islamic studies such as Snouck Hurgronje and GF Pijper, testified that compared to other Muslims across Java , Muslim in Banten and Cirebon were stricter in practicing Islam . The phenomenon of the social life of the religious community in Banten is necessarily formed within a very long time span. This paper traces the root of the formation of public religious understanding ojMuslim in Banten. Using a socio-historical approach, this paper then leads to the conclusion that the sultan of Banten issued policies that had a greater emphasis to the adherence to the Shari'a rather than Sufism. Religious orientation on the fiqh-oriented can explain the Islamic militancy Banten community, as witnessed by the colonial officials, and even still can be seen up to this present moment.Key words: Jslamization, Sultanate, Banten

Approaches to Dance (2): Influences

2011 ◽  
Vol 29 (2) ◽  
pp. 246-250 ◽  
Author(s):  
Marion Kant
Keyword(s):  
The Political ◽  
Dance Studies ◽  
Historical Approach ◽  
Comic Opera ◽  
Artistic Activity ◽  
Humboldt University ◽  
East German ◽  
And Performance ◽  
Weimar Culture ◽  
Intellectual Formation

This statement is an attempt to reflect on my intellectual formation and how certain influences, both from home (a place suspended between Germany with the remnants of its Weimar culture and Britain as the place of exile) and from subsequent experiences, led me to adopt an historical approach to dance studies and to emphasise the context in which artistic activity unfolds. My education at Berlin's Humboldt University and the Comic Opera shaped my perspectives on theatre and performance. The East German milieu in general forced me to confront the immediate past and think about the political and ideological legacies of the cultures in which I grew up.

Violence in Islamic Thought from the Qur'an to the Mongols

2015 ◽  
Keyword(s):  
Comparative Perspective ◽  
Human History ◽  
Historical Approach ◽  
Islamic Thought

The topic of Legitimate and Illegitimate Violence in Islamic Thought (LIVIT) calls for an interdisciplinary, comparative and historical approach. This has been the underlying methodological assumption within the project which bore this name. Amongst the products of that three-year project is a series of collected studies by established and emerging scholars in the field, examining how Muslim thinkers have conceptualised violence and categorised (morally and legally) acts of violence. In this opening chapter, István Kristó-Nagy first explores how violence in Islamic thought can be set against a wider consideration of violence in human history. It is this comparative perspective which contextualises not only this volume, but also the two subsequent volumes in the LIVIT series. In the second half of this chapter, Robert Gleave explains how this volume is structured, addressing the different approaches used by the contributors, and examines the different ways in which violence can be categorised.

CAPRICCIOʼS GENRE IN MANDOLIN MUSIC AT THE END OF THE 19th – THE EARLY OF THE 20th CENTURIES (for example of the concert pieces by С. Munier)

2019 ◽  
pp. 60-71
Author(s):  
N. V. Bashmakova ◽  
K. V. Kravchenko
Keyword(s):  
19Th Century ◽  
Analytical Methods ◽  
17Th Century ◽  
Point Of View ◽  
Historical Approach ◽  
The Creation ◽  
Characteristic Features ◽  
Concert Works ◽  
In The Beginning ◽  
The 19Th Century

The purpose of this article is process of analyzing in reference to concert capriccio by C. Munier for mandolin with piano («Bizzarria», op. 201, Spanish сapriccio, op. 276) from the point of view of their genre specificity. Methodology. The research is based on the historical approach, which determines the specifics of the genre of Capriccio in the music of the late 19th and early 20th centuries and in the work of C. Munier; the computational and analytical methods used to identify the peculiarities of the formulation and the performing interpretation of the original concert pianos for mandolins with piano that, according to the genre orientation (according to the composerʼs remarks), are defined as capriccio. Scientific novelty. The creation of Florentine composer,61mandolinist-vertuoso and pedagog C. Munier, which made about 300 compositions, is exponential for represented scientific vector. Concert works by C. Munier for mandolin and piano, created in the capriccio genre, were not yet considered in the art of the outdoors, as the creativity and composer’s style of the famous mandolinist. Conclusions. Thus, appealing to capriccio by С. Munier, which created only two works, embodied in them virtually all the evolutionary stages of the development of genre. In his opus of this genre there are a vocal, inherent in capriccio of the 17th century solo presentation, virtuosity, originality, which were embodied in the works of 17th – 18th centuries and the national color of the 19th century is clearly expressed. Thus, the Spanish capriccio is a kind of «musical encyclopedia» of national dance, which features are characteristic features of bolero, tarantella, habanera, and so forth. The originality of opus number 201 – «Bizzarria», is embodied in the parameters of shaping (expanded cadence of the soloist in the beginning) and emphasized virtuosity, which is realized in a wide register range, a variety of technical elements.

MENYANTUNI SEJARAH DALAM IJTIHAD: Telaah Kritis Kaidah “Al-‘Ibrah bi ‘Umūm al-Lafzi Lā Bi Khusūs al-Sabab”

1970 ◽  
Vol 9 (2) ◽  
pp. 179-358
Author(s):  
Heriyanto Heriyanto
Keyword(s):  
Historical Approach

Fokus kajian ini paling tidak akan membahas problem historical approach dalam kajian hukum Islam, yang mana penulis lihat dari perspektif kaidah usul fikih “al-‘ibrah bi ‘umūm al-lafzi lā bi khusūs al-sabab”. Asumsinya, kaidah tersebut telah mendorong pemahaman keagamaan yang bersifat text oriented, sehingga pendekatan sejarah yang digagas oleh beberapa pemikir hukum Islam kontemporer belum juga menuai signifikansinya dalam kajian yang dilakukan. Bahkan pemberlakuan kaidah ini secara rigit akan menegasikan asbāb al-nuzūl dari kajian ilmu-ilmu al-Qur’an. Dalam kajian ini penulis menilai kaidah tersebut lebih dipahami sebagai dogma teologis dari pada sebagai langkah metodologis dalam kajian hukum Islam. Sehingga eksplorasi aspek historisitas wahyu menjadi terabaikan.

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