Epilogue—How Cathleen Became Mrs. Monihan

The Epilogue follows Sara Allgood’s history of performance and contributions to theatrical texts from her early days in Inghinidhe through her film work until her death in Hollywood in1950. What appears again and again in her American film work is an aging actress from Ireland translating stillness in the face of extremity in ways that strengthen even the smallest, sometimes nameless characters against the stereotype of the emotive Irish immigrant. From her earliest days in Inghinidhe, Allgood was part of a project to provide steadying images of Ireland against British melodrama and cartoons; her film work in America continued this work in nearly one hundred film roles. From her unpublished “Memories” and her surviving films, Sara Allgood emerges as a woman focused on creating theater and film, not simply taking direction. Her contribution to both mediums, a refusal to overact, and a gravity and stillness, educates the audience about what to expect of an Irish woman. Tracing the afterlife of her street theater and Abbey career into her later film work may restore some attention to a performer who developed the Abbey Stare for particular ends, revising established readings of both gender and nation in Ireland and America.

Dinâmicas e fluxos da teatralidade do interior: as características folkmidiáticas da Companhia Teatral Arte Viva de Santa Cruz/RN

Analisam-se as práticas, narrativas e aspectos culturais da Companhia Teatral Arte Viva (Santa Cruz, Rio Grande do Norte, Brasil) no âmbito comunicacional e midiático. O relato ressalta as suas características representativas e a interação social entre a companhia e o público, bem como evidencia a observação de um fenômeno original: a expressão e resistência dos teatristas em associação à sua contextualização folkmidiática ao abordar a teatralidade que ocupa o espaço público e demonstra, em sua essência, a vocação. Folkcomunicação; Teatro de Rua; Companhia Teatral Arte Viva. The practices, narratives and cultural aspects of Companhia Teatral Arte Viva (Santa Cruz, Rio Grande do Norte, Brazil) are analyzed in the communicational and media scope. The report highlights its representative characteristics and the social interaction between the company and the public, as well as evidencing the observation of an original phenomenon: the expression and resistance of the theaters in association with their folkmidiática contextualization when addressing the theatricality that occupies the public space and it demonstrates, in its essence, the vocation. Folk-comunication; Street Theater; Arte Viva theater company. Las prácticas, narrativas y aspectos culturales de la Companhia Teatral Arte Viva (Santa Cruz, Rio Grande do Norte, Brasil) se analizan en el ámbito comunicacional y mediático. El informe destaca sus características representativas y la interacción social entre la empresa y el público, además de evidenciar la observación de un fenómeno original: la expresión y resistencia de las teatrales en asociación con su contextualización folkmidiática al abordar la teatralidad que ocupa el espacio público y demuestra, en su esencia, la vocación. Folkcomunicación; Teatro de Calle; Companhia de Teatro Arte Viva.

Buffoonery and foolishness to those being as a phenomenon of Russian culture in the context of urban street theater

This paper is devoted to understanding the essence of the phenomenon of such an exceptional phenomenon of Russian culture as a street theater fools and jesters in the history of the Russian state.

The Rhetoric of Family in the U.S. Immigration Movement

This reflection describes the author’s experiences organizing with the National Queer Asian Pacific Islander Alliance (NQAPIA) to build deeper solidarities between marginalized queer and trans Asian/Pacific Islanders and Black Lives Matter agendas. The author details a series of actions and campaigns to draw attention to shared experiences of policing, surveillance, and profiling. These actions involved storytelling, guerrilla street theater, and political education.

Os movimentos artísticos independentes que podem transformar a sociedade brasileira

OS MOVIMENTOS ARTÍSTICOS QUE PODEM TRANSFORMAR A SOCIEDADE BRASILEIRAO presente trabalho aqui apresentado tem como objetivo apresentar as diversidades culturais existentes na sociedade muitas vezes não difusas. Muitas vezes os movimentos artísticos independentes transformam a sociedade de forma direta ou indireta. Os movimentos culturais independentes surgem na sociedade por ela mesma como uma consequência da falta de arte oferecida pelo estado, além de significar a expressão de uma população que tem a voz sufocada por maiores forças. As fotos que serão apresentadas a seguir teve o intuito de registrar momentos importantes para os grupos sociais em questão. A fotografia que significa ‘’escrita da luz’’ capta e repassa o tempo e o espaço paralisado por uma maquina tecnológica. Como fotógrafo documental e graduado em história, vi a trama política e social que estão incluídas nas diversas maneiras de se expressar artisticamente em grupo, especificamente por grupos marginalizados.Os movimentos artísticos independentes são aqueles que ocorrem sem iniciativa do estado – tão menos há ligação entre o povo e governo para a realização das atividades. Batalhas de rimas, recitais de poesias, shows abertos e teatro de rua são exemplos desses movimentos. A ideia principal é fomentar a arte e oferecer entretenimento à população, seja porque não há oferta de arte à sociedade ou porque a arte oferecida a esta não é libertadora. A arte tem de libertar e não aprisionar, tem que se posicionar perante à politica e à realidade social existente nas cidades. Os diversos governos ao longo da história utilizaram a arte como ferramenta de libertação ou repressão, da Grécia à Alemanha Nazista, do Império Romano aos dias de hoje – uns libertaram para a vida, outros deram circo para reprimir e outros caçavam artistas. O motivo é simples e coeso, a arte pode politizar e os donos do poder sabem disso. Porém, a população também é detentora deste conhecimento. Oferecer arte e cultura para populações marginalizadas que antes não tinham acesso à educação de forma prazerosa agora passa a ter. Letras de músicas, poesias sobre a vida e sociedade, teatro criticando a realidade, tende a transformar a sociedade. O papel da fotografia se torna essencial: captar a transformação ao longo dos diferentes momentos para registrar e ter as provas de que os movimentos aglomeram pessoas, as deixam felizes e fazem elas pensar.PALAVRAS-CHAVE: CULTURA. ARTE. SOCIEDADE. JUVENTUDE. TRANSFORMAÇÃO THE MOVEMENT ARTISTIC INDEPENDT THAT CAN TRANSFORM THE BRAZILIAN SOCIETYThe present work presented here aims to present the cultural diversities existing in society that are often non-diffuse. Independent artistic movements often transform society directly or indirectly. Independent cultural movements emerge in society by itself as a consequence of the lack of art offered by the state, besides signifying the expression of a population that has a voice suffocated by greater forces. The photos that will be presented below were intended to record important moments for the social groups in question. The photograph meaning ''writing of light'' captures and passes time and space paralyzed by a technological machine. As a documentary photographer and graduated in history, I saw the political and social fabric that are included in the various ways of expressing themselves artistically in groups, specifically by marginalized groups. Independent artistic movements are those that occur without state initiative – the less there is a connection between the people and government to carry out the activities. Battles of rhymes, poetry recitals, open shows and street theater are examples of these movements. The main idea is to promote art and offer entertainment to the population, either because there is no art offer to society or because the art offered to society is not liberating. Art must liberate and not imprison, it has to stand before the politics and social reality existing in cities. The various governments throughout history have used art as a tool of liberation or repression, from Greece to Nazi Germany, from the Roman Empire to the present day – some have freed for life, others have given circus to repress and others hunted artists. The reason is simple and cohesive, art can politicize and the owners of power know it. However, the population also has this knowledge. Offering art and culture to marginalized populations that previously did not have access to education in a pleasurable way now begins to have. Lyrics of songs, poetry about life and society, theater criticizing reality, tends to transform society. The role of photography becomes essential: capturing the transformation along the different moments to record and have the evidence that movements crowd people, make them happy and make them think.KEYWORDS: CULTURE. ART. SOCIETY. YOUTH. TRANSFORMATION.

Festivals and street theater as their integral part in aesthetic environment of modern culture of Europe and Russia

The paper is devoted to the major socio-cultural forms of modern culture festival in Europe and Russia, the preservation of historical and cultural heritage of modern cities.

Satanic Bake Sales

Many of The Satanic Temple’s campaigns invoke the idea that Satanists are perceived as evil and attempt to leverage this perception toward their political ends. This chapter analyzes three different strategies through which The Satanic Temple invokes and challenges conventional notions of evil. One strategy is performance art that seeks to reframe old debates about topics such as abortion through transgressive street theater. A second strategy involves demanding the same access in public schools and other government institutions that Christians enjoy. Often, the presence of Satanists in these spaces is so intolerable that Christians would rather forfeit their own access rather than share it with Satanists. A third strategy is engaging in philanthropy such as charity drives or adopting highways. The Satanic Temple’s critics seemed disturbed by Satanists doing charitable work precisely because such activity threatens traditional models of good and evil.

Jean-Honoré Fragonard’s Work and the Theatre Culture of the 18th Century

The article, for the first time, exami­nes the work of the master of the 18th century Jean-Honoré Fragonard (1732—1806) within the context of the theatre culture of that time. Being a student of François Boucher (1703—1770), who was working as a theater decorator for a long time, Fra­gonard from his youth had the opportunity to join the world of theater. The painter’s passion for the stage greatly influenced the thema­tic and figu­rative composition of his works. Early histo­rical pain­tings of Fragonard, such as “Jeroboam Sacrifi­cing to Idols” (1752, School of Fine Arts, Paris), were crea­ted under the influence of Baroque thea­ter and decorative art and opera productions. Undoubtedly, Fragonard’s familiarity with theatre was promoted by his long stay in Italy, where the famous families of theater decorators Bibiena and Galliari was wor­king at that time. The article pays special attention to the process of planning and execution of the painting “The High Priest Coresus Sacrificing Himself to Save Callirhoe” (1765, Louvre), made not without regard to the opera “Callirhoe”, popular in Paris in the 18th century. It was theater that inspired the master to create his famous costume series of “Fantasy Portraits”, one of which depicted Marie-Madeleine Guimard (1743—1816), who not only had posed for the artist, but also ordered him to design her own mansion conceived as a temple of Terpsichore, the Muse of dance. In addition, Fragonard was the author of several panoramic genre paintings conveying the atmosphere of the then popular street theater. Works of this brilliant master exem­plify the relationship of arts that determined the nature of the cultural environment of that era and requires constant attention from modern researchers.