The School: The First Quarter of a Centruy of the National Theatre School of Canada. Stanké, 1985

1986 ◽  
Vol 7 (2) ◽  
pp. 239-240
Author(s):  
J. A. Euringer
Keyword(s):  
National Theatre

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.

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

scholarly journals Ninety-Five Years of National Theatre in Sofia

2000 ◽  
Vol 25 (2) ◽  
pp. 129-132
Author(s):  
Vassil Stefanov
Keyword(s):  
National Theatre

Costume at the National Theatre, with introductions by Dr Aoife Monks, Foreword by Rufus Norris (2019)

2020 ◽  
Vol 5 (2) ◽  
pp. 273-275
Author(s):  
Patricia Lennox
Keyword(s):  
National Theatre

Review of: Costume at the National Theatre, with introductions by Dr Aoife Monks, Foreword by Rufus Norris (2019) London: National Theatre in association with Oberon Books Ltd, 207 pp., ISBN 978-1-78682-975-7, p/bk, £25/$29.95

‘Communal Hellenism’ and ancient tragedy performances in Greece (1975–95): The ritual quest

2021 ◽  
Vol 7 (1) ◽  
pp. 69-103 ◽  
Author(s):  
Efthymios Kaltsounas ◽  
Tonia Karaoglou ◽  
Natalie Minioti ◽  
Eleni Papazoglou
Keyword(s):  
Audience Reception ◽  
Collective Consciousness ◽  
National Theatre ◽  
Modern Greek ◽  
The Press ◽  
Cultural Movements ◽  
Definition Of ◽  
Folk Ritual ◽  
Ancient Drama ◽  
Of Greece

For the better part of the twentieth century, the quest for a ‘Greek’ continuity in the so-called revival of ancient drama in Greece was inextricably linked to what is termed and studied in this paper as a Ritual Quest. Rituality was understood in two forms: one was aesthetic and neoclassicist in its hermeneutic and performative codes, which were established and recycled – and as such: ritualized – in ancient tragedy productions of the National Theatre of Greece from the 1930s to the 1970s; the other, cultivated mainly during the 1980s, was cultural and centred around the idea that continuity can be traced and explored through the direct employment of Byzantine and folk ritual elements. Both aimed at eliciting the cohesive collective response of their spectators: their turning into a liminal ritual community. This was a community tied together under an ethnocentric identity, that of Greeks participating in a Greek (theatrical) phenomenon. At first through neoclassicism, then through folklore, this artistic phenomenon was seen as documenting a diachronic and essentially political modern Greek desideratum: continuity with the ancient past. Such developments were in tune with broader cultural movements in the period under study, which were reflected on the common imaginings of Antiquity in the modern Greek collective – consciousness – a sort of ‘Communal Hellenism’. The press reception of performances, apart from being a productive vehicle for the study of the productions as such, provides indispensable indexes to audience reception. Through the study of theatre reviews, we propose to explore the crucial shifts registered in the definition of Greekness and its dynamic connections to Antiquity.

Which Fiddler Calls the Tune? The Playboy Riots and the Politics of Nationalist Theatre Spectatorship

1998 ◽  
Vol 39 (2) ◽  
pp. 39-52 ◽  
Author(s):  
Mary Trotter
Keyword(s):  
William Butler Yeats ◽  
Nationalist Movement ◽  
National Theatre ◽  
Irish Drama

In October of 1903, The United Irishman, a leading newspaper of the Irish nationalist movement, published an essay by William Butler Yeats entitled “The Irish National Theatre and Three Sorts of Ignorance.” Yeats wrote this essay after an infuriated nationalist community protested the Irish National Theatre Society's production of John Millington Synge's play, In the Shadow of the Glen. In response to Yeats's admonishment of the nationalist movement for putting politics over aesthetics in their creation and judgment of Irish drama, Arthur Griffith, the editor of the newspaper, added some remarks of his own:Mr. Yeats does not give any reason why if the Irish National Theatre has no propaganda save that of good art it should continue to call itself either Irish or National. If the Theatre be solely an Art Theatre, then its plays can be fairly criticized from the standpoint of art. But whilst it calls itself Irish National its productions must be considered and criticised as Irish National productions.

scholarly journals Lithuanian nationhood theatre through post-colonial gaze

Menotyra ◽  
2019 ◽  
Vol 26 (2) ◽  
Author(s):  
Rasa Vasinauskaitė
Keyword(s):  
Cultural Influences ◽  
Theatre History ◽  
History And Criticism ◽  
Post Colonial ◽  
National Theatre ◽  
Constant Friction ◽  
Amateur Theatre ◽  
The Russian Empire ◽  
Professional Artists ◽  
The 19Th Century

In the development of Lithuanian theatre, we find a number of facts and phenomena that can only be understood from a post-colonial perspective. Especially during the first independence, Soviet and even early post-Soviet periods, the discourse of theatre history and criticism felt a constant friction between “alien” and “own” aesthetic and ideological doctrines, between cosmopolitan and national [theatre] narratives. In this article, the origins of the national theatre are associated with the movement of national liberation from the Russian Empire at the end of the 19th century and the movement of amateur theatre (the Lithuanian evenings) as a process of ethnic, linguistic and cultural decolonization. Amateur theatre movement united cultural and secular intelligentsia and strengthened its role in shaping the idea of historical, cultural and linguistic identity, later realized in the national theatre model. However, the National/State Theatre, established in 1920/1922 as a representative institution of the statehood and cultural identity of independent Lithuania, seemed to be “stuck” from different cultural influences, schools, aesthetic currents and spoke badly Lithuanian. Sporadically created by amateurs and more or less professional artists who left Russian theatrical schools, the national Lithuanian theatre has formed from the beginning as a complex body combining imperial and popular models. Imperial – because with the experience and impressions of such theatre and with such understanding of its social and artistic value, its future directors returned to Lithuania from Moscow and St. Petersburg, and popular, democratic – because intended for various social and ethnic groups, but speaking Lithuanian, it had to develop both aesthetic and patriotic feelings of its audience. The politicization of the State Theatre as a representative institution (especially after the introduction of the authoritarian Antanas Smetona power in 1926 and the influence of the Nationalist Party in all areas of culture) influenced the “crucial collision” of these two models in both the performances and their public/ critical reception. At the same time, these two models and their friction can be understood as one of the specific features of the young Lithuanian national/nationhood theatre: the stage reflected a long, but unrealized, acculturation and assimilation of the nation, while the often infertile search for national scenic expression reflected not only an attempt to liberate from the colonial/imperial past, but also the complexity and contradiction of this process.

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