Interactive Multimedia Solutions Developed for the Opening of the New Stage of the Alexandrinsky Theatre

This paper focuses on teamwork by the National Research University of Information Technologies, Mechanics and Optics (NRU ITMO) and the Aleksandrinsky Theatre in preparation of opening of the New Stage of the Alexandrinsky Theatre. The Russian State Pushkin Academy Drama Theatre, also known as the Alexandrinsky Theatre, is the oldest national theatre in Russia. Many famous Russian actors performed on the Alexandrinsky’s stage and many great directors. May 2013 marked the opening of the New Stage of the Alexandrinsky Theatre. The theatre complex comprises three buildings: the new stages building, a media center, and the building housing a center of theatre education. Several plays shown simultaneously on multiple stages within the new complex’s buildings constituted the opening gala of the New Stage of the Alexandrinsky Theatre. The works of Fyodor Dostoyevsky were the plays’ unifying theme. NRU ITMO employees developed several interactive theatre project solutions implemented for the opening of the Alexandrinsky Theatre’s New Stage.

Open innovation in the performing arts. Examples from contemporary dance and theatre production

Scholarship on open innovation examines the different shades of opening up the innovation process of firms, where the most important feature is sourcing in knowledge. In this paper I examine the implications of adapting open innovation frames to a field where it was not investigated before: performing arts (contemporary dance and theatre). I draw on case studies and demonstrate that open innovation strategies are viable for artistic production. Independent companies purposefully mining out external knowledge in production, and commercializing on the spillovers of their body of knowledge, put themselves on the shelf of firms adopting and adapting to open innovation.

Student Independent Projects 2009: Embedding Sustainability: Hiking Trail Proposal to Steady Brook via Massey Drive

The construction and maintenance of a hiking trail to Steady Brook via Massey Drive would provide an opportunity for introducing proactive strategies toward sustainability. This will form a motive for further ecotourism development as Massey Drive becomes recognized as a tourist destination. For Massey Drive to embrace hiking trail development with the intention of developing further tourism initiatives, educating the community members about sustainability in tourism is essential to provide the community with the knowledge necessary to develop tourism through a long-term vision.

Performing "Up The Shore": a stylistic analysis of Newfoundland Irish English vowels in the Ferryland dinner theatre

This study is a variationist sociolinguistic analysis of two speech styles, performance and interview, of a dinner theatre troupe in Ferryland on the Southern Shore of Newfoundland. Five actors and ten of their characters are analyzed to test if their vowels change across styles. The study adopts a variationist framework with a Community of Practice model, drawing on Bell’s audience and referee design to argue that the performers’ stage conventions and identity construction are influenced by a third person referee: the Idealized Authentic Newfoundlander (IAN). Under this view the goal of the performer is to both communicate with and entertain the audience, which requires different tactics when speaking. These tactics manifest phonetically and are discussed in a quantitative, statistical analysis of the acoustic measurements of the vowel tokens [variables FACE, KIT, LOT/PALM and GOAT lexical sets with Newfoundland Irish English (NIE) variants] and a qualitative discussion.

'Those Organnons by which it Mooves’ : Shakespearean Theatre and the Romish Cult of the Dead

Postprint

Theatre Poster (subway movie poster)

General note: Title and date provided by Bettye Lane.

Women actors demonstrate against theatre school

General note: Title and date provided by Bettye Lane.

Women demonstrate against sexual harassment in the arts and theatre

General note: Title and date provided by Bettye Lane.

Gay demonstration at Manhattan I theatre press preview of "Cruising"

General note: Title and date provided by Bettye Lane.

Influences and advice of theatrical consumption. A study about the effect of the theatre critics and other instances of evaluation in the habits of theatre attendance

This article analyses the influence that different criticism stages of proceedings exert in the habits of theatre attendance. The study is based on the survey carried out specifically for this research in which 210 people, who attended a theatrical representation, were interviewed in three different theatres in the city of Valencia. The study has revealed the mouth to mouth importance in the decision of attending the theatre and its stronger influence on the audiences who less frequently go to theatrical representations. The results obtained have also made clear the existence of a narrow relation between the advice effect of the theatre critics and the patterns of attendance to the theatre, just like its bigger influence between theatres with commercial orientation and those which are addressed to the broad audiences.

Pyramus and Thisbe 4 You or a "Wondrous Strange" Tale of Contemporary Romanian Theatre

Like its title, Pyramus and Thisbe 4 You, Alexandru Dabija’s production at the Odeon Theatre, Bucharest, was a tongue-in-cheek invitation to the audience that at once aimed to tease past and recent Romanian endeavours and to tease out the stage potential a Shakespeare play holds today. My examination of the production re-constructs the local cultural contexts the production plays with and against, referring to the Romanian ways of making Shakespeare this production enters into dialogue with. Take 1, an all-female version casting the mature stars of the Odeon, I read against both Elizabethan all-male stage practice and Andrei Serban’s all-female Lear at the Bulandra (2008). Take 2, “an old device” (V.1.50): a teacher-student “devising” session at the Academy of Theatre and Cinema, I read against critics’ “more strange than true” (V.1.2) parlance on “theories of perception and reception” and against hi-tech Shakespeare dominating the Romanian stages in the first decade of the third millennium. Take 3, local political banter on ethnic discrimination, I read as “satire keen and critical” (V.1.54) on both communist censorship and the recent rise of nationalism in Romania. Take 4, a “cold” reading-cum-improvisation performed by the technical crew – this production’s mechanicals – I read as “palpable-gross play” (V.1.376) on both acting and spectating practices. What I argue in this article is that Dabija’s production goes beyond its local context and mores, and proposes a re-assessment of Shakespeare’s cultural currency in (European) Romania and Europe at large by exposing current tyrannies in Shakespeare studies: from translation and adaptation, through directing and acting, to viewing and reviewing.

Theatre History and Historiography Ethics, Evidence and Truth

This collection of essays is the first time a group of theatre historians have come together to consider the challenge of applying ethical thinking to attempts to truthfully represent the past. Topics include the life of the celebrated Restoration actor Thomas Betterton, the little-known records of hitherto forgotten women involved in Victorian theatre, amateur theatricals enjoyed by the British army in colonial India, the loss of a pioneering arts centre for African and Caribbean culture, performance art in Wales and present-day community arts in Northern Ireland. While confronting such difficult issues as the instability of evidence and the unreliability of memory, the contributors offer fresh perspectives and innovative strategies for fulfilling their ethical responsibility to the lived experience of the past.