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Copyright of International Journal of Arts Management is the property of International Journal of Arts Management and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In her performance My Name is Ape or the Little Tree Theatre that took place in a birch, Austrian artist Johanna Kirsch changed position in a double sense: she used a tree as a stage scene, and played with the idea of degeneration, or, how it would be to behave like an ape. She was also posing three important questions: how to inhabit the world, how to get along with others and how to get beyond the neve-ending performance culture V predstavi My Name is Ape or the Little Tree Theatre (Ime mi je opica ali Mali teater na drevesu), ki se je odvijala na brezi, je avstrijska umetnica Johanna Kirsch spremenila svoj položaj v dveh smislih: drevo je uporabila kot odrsko sceno in se hkrati poigrala z idejo o izrojenosti oziroma o tem, kako bi bilo biti opica. V njej je zastavila tri vprašanja: kako živeti v svetu, kako sobivati z drugimi in kako preseči večno kulturo performansa [ABSTRACT FROM AUTHOR]

The article discusses the fire incident of the Paris Opera in 1781 and the paintings of Hubert Robert. The author mentions that the painting of Robert, who is known for his Roman ruin style, depicts the Paris Opera in flames from various perspectives. He also looks into the issues surrounding the painting in an age before photography.

The article focuses on the eleven specific examples of theatres being reduced to ashes by fire. The author records both the accidental and premediated destructive force of fire within theatre, from technical mishap to arson and from innocent mistake to political intent. The theaters that were tackled include the Circus Maximus of Ancient Rome and the El Teatro del Picadero in Buenos Aires, Argentina.

As a performing art theater has a feature of forming and generalizing a conscious. Through this feature it has been used to socialized some political views in both Western and Eastern societies many times in history. Turkish theatre in modernization period that arised with a mission to form and shape a new identity of society in the Ottoman Empire in the nineteenth century failed in this effort. In the modernization period, the effort of forming and generalizing a conscious in the theatre was limited with government section in the Ottoman Empire. It changed in to an effort of giving an identity to the society in Turkish Republic, but resulted in failure. On this occasion, we tried to base our hypothesis by dealing with the modernization of Turkish theatre in the Ottoman Empire and the new topics of it and by connecting with the continuity and the rupture after the structure of Turkish Republic. [ABSTRACT FROM AUTHOR]

This contribution describes a shift presented at Camillo 2.0, entitled ‘The Signa Store: Nomadic Maneuvers in Ruby Town’. The Signa Store was conceived as a form of actively remembering the subject of its presentation: the performance ‘The Ruby Town Oracle’ by the Danish/Austrian collective Signa. ‘Ruby Town’ entailed a nine days nonstop performance (Berlin 2008) in which performers resided in a real-and-fictional village. The installation consisted of twenty-two houses and military quarters, inhabited by performers for the entire length of the performance. Simultaneously, these houses provided a grid and ‘script’ for a fictional story about a community of outsiders worshipping their common ancestor Martha Rubin. The Signa Store shift started from understanding Signa's installation as a contemporary variant of Camillo's memory theatre, placing the spectator onstage, in the centre of intellectual activity and imagination. In addition, Signa's real-and-fictional village creates a collective and rhizomatic memory theatre, in which the actions, gestures and resistances of both performers and spectators are necessary to access and perform its contents, where past folds into and is transformed by lived space. Conceiving the shift itself as yet another memory theatre, the Signa Store was modeled upon the idea of an interactive storage room. Based on the confluence of two readings of the word ‘store’, namely the archive and the shop, the Signa Store provided a participatory approach to Signa's stages of living memory. This contribution describes part of the Store's inventory, and by displaying the Store's contents it portrays various ways of performing memory, listing re-enactment, tracing material archives, performative cartography and documenting-as-performance. [ABSTRACT FROM AUTHOR]

The article presents the first part of the author's planned four- or five-part series on the history of theater in Spain featuring the Teatro Cervantes in Alcala de Henares. It traces the origins of commercial theater in medieval Europe in the mid-sixteenth century with the birth of the Corral de la Cruz and the Corral del Principe in Madrid, Spain. It explores the four-hundred-year evolution of theatrical activity and the structure of the commercial theater in the continent.

This article examines the debate between honoring the agency of the teller of personal stories and honoring the stories themselves as legitimate objects of critical inquiry. It takes an autoethnographic monologue of a woman who has recently experienced homelessness from zAmya Theatre Project’s community-based play Housed and Homeless (From the Very Same Cup) as an extended case study and employs multiple existing models of analyzing autoethnographic performance, critiquing each model in turn, and assessing these methods in relationship to the desire to ethically analyze autoethnography. [ABSTRACT FROM AUTHOR]

Historical memories are often weak, and must be kept alive by media, schools, and government. The disaster of 9/11 is one of those unusual and unsettling events that call for recognition. But memories are already fading in people's minds after just ten years. Unpleasant, contested events require commemoration but we tend to honor more upbeat history. Nevertheless, government and media, but especially teachers can implement a variety of creative strategies to keep 9/11 and other events a lively part of the theater of U.S. history. [ABSTRACT FROM AUTHOR]

This essay explores historical and cultural features that have contributed to increases in use of Shakespeare by both Asian performers and Western artists who have been deeply affected by Asian theatre models, using the examples of Ninart Boonphothong's Bangkokbased Naked Masks Group, Larry Reed's San Francisco - based Shadowlight Company, and Nomura Mansai's Tokyo-based Setagaya Pubic Theatre. [ABSTRACT FROM AUTHOR]

What was the interplay between plumbing and the routines of audience behaviour at London's eighteenth-century opera house? A simple question, perhaps, but it proves to be a subject with scarce evidence, and even scarcer commentary. This article sets out to document as far as possible the developments in plumbing in the London theatres, moving from the chamber pot to the privy to the installation of the first water-closets, addressing questions of the audience's general behaviour, the beginnings in London of a ‘listening’ audience, and the performance of music between the acts. It concludes that the bills were performed without intervals, and that in an evening that frequently ran to four hours in length, audience members moved around the auditorium, and came and went much as they pleased (to the pot, privy or WC), demonstrating that singers would have had to contend throughout their performances with a large quantity of low-level noise. [ABSTRACT FROM PUBLISHER]

The study explores students' and lecturers' experiences of group work assessment in a performing arts department that includes undergraduate studies in theatre, dance and film. Working from the perspective that assessment is a socially situated practice informed by, and mediated through, the socio-political context within which it occurs, this research takes the form of an inquiry that employs qualitative approaches to data collection using interviews and focus groups. The aim of the study was to elicit students' and lecturers' views concerning the assessment of process (also known as contribution), conceptions of fairness and the management of free-loading students. The tensions that reside in group work projects where students are marked for process as well as product are explored. The analysis shows that students navigate complex trajectories where they collaborate and fight for their marks. Reflective journals are often used as a tool to assess process in group work projects. This analysis challenges the popular view that reflective journals offer an unproblematic representation of process. Whilst this study is situated within the performing arts, the findings are relevant to any group work project where lecturers seek to design assessment approaches that disentangle group and individual contribution. [ABSTRACT FROM AUTHOR]

Copyright of Journal of the Cukurova University Institute of Social Sciences is the property of Cukurova University Institute of Social Sciences and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In this paper we demonstrate how universal design theory and the research available on museum-based touch tours can be used to develop a touch tour for blind and low-vision theatregoers. We discuss these theoretical and practical approaches with reference to data collected and experience gained from the creation and execution of a touch tour for Hart House Theatre's production of Hamlet at the University of Toronto. Finally, we offer up the possibility of using universal design theory to create a touch tour that would be attractive to all theatregoers. [ABSTRACT FROM AUTHOR]

The article offers information on the development of the Hunter Hills Theatre in Tennessee. The authors state that the theatre is built in 1955 for Chucky Jack, an outdoor drama about the first governor of Tennessee. The theatre has been built to keep tourists on the west side of the Smokies. The University of Tennessee has staged 32 productions during the 12 years of operating Hunter Hills Theatre.

This article aims at showing the links between theatre and painting in Baudelaire's esthetical thought. According to him, the interpretation of these two arts can only be made by means of perpetual exchange of values and analogies. The first section elaborates a reflection on the pictorial "theatricality", as one can discover it in the author's Salons and critical studies. The second section discusses the axiological criteria implied in the baudelairian judgment: the critic often describes the beautiful paintings as good plays, the ugly paintings as bad plays, and the painter in front of his canvas as an actor on scene. Finally, the third section takes into account the two elements which permit the symbolical passage between painting and theatre: the décor and the portrait (or character). The text finishes with some paragraphs on photography, a dangerous industry which threatens both theatre and painting. [ABSTRACT FROM AUTHOR]

The article discusses excavations underway at the antique theater of Patara, Turkey, dating from the Hellenistic era, but remodeled in Roman times in the second century, during the reigns of Hadrian and Antonius Pius. Large sections of the nearly intact complex are described, including the auditorium and the stage building and decorated facade fragments.

This article empirically examines the effects of vertical integration and horizontal control on the exhibition of films at competing theaters in a market in which some theater owners are integrated into film distribution and others are not. It analyzes the duration of the exhibition runs of movies released by distributors who owned no theaters in Singapore during 2002 and 2003 through a survival model. The estimation shows that films released by these distributors are exhibited for shorter periods in distributor-owned theaters than in independently owned (i.e., unintegrated) theaters, and in theaters that belong to large theater chains than in the theaters of small theater chains. A spatial aspect of competition among theaters with different owners is revealed in the finding that a film is more likely to stay on at the theater at a given time when an adjacent rival theater still runs the same title. The increase in the probability of screen survival due to the spatial rivalry is greater the nearer the competing theater. These results are found when both film and theater-specific variations are controlled for. [ABSTRACT FROM AUTHOR]

This article examines the characteristic features of the blockbuster in terms of its importance to the Hollywood economy and its proven ability to reduce the factors of uncertainty regarding performance in the theatres. The saturation strategy is analysed as the typical release pattern of blockbusters, illustrating the strategic role of the opening weekend and how it has deeply revolutionized the film industry's production, release and screening stages. [ABSTRACT FROM AUTHOR]

The article offers information on several cities and towns in Minnesota, where the Hymn Society's annual conference "A Little Child Shall Lead Them" will take place from July 12 to 16, 2009. Cities and towns, including Northfield, the Twin Cities, and Minneapolis, are said to offer great attractions to visitors and local citizens, such as forests, lakes, and other man-made structures like museums, churches, theaters, and colleges.

The article explores the basic approach in bringing to appearance the forms of productivity and creativity which are inherent in human activity. It searches interests on contemporary theatre and the distinctive spirit of a culture or an era that brings to appearance the forms of productivity in a performance. It analyzes the central concern of the author's work particularly with the structures of theatrical persuasion which are both within and beyond the professional theatre.

This project report describes the way PickleHerring Theatre approaches community music-making with 'junk' materials. The report has an emphasis on the group experience, the participants' creativity, and their play. In conclusion a case is presented for the efficacy of junk music-making as a dynamic form of community music. [ABSTRACT FROM AUTHOR]

This article discusses topics related to "The Castrato's Tale: Artaxerxes and the Feminization of Virtuosity." It states that Metastasio's "Artaserse," which is the most famous Italian opera of the 18th century, is now unknown, even in the age of baroque revival. According to the article, the opera has been ignored almost entirely by literary and theater historians. However, it states that "Artaserse" was a widely known theatrical text in Georgina Britain, wherein both Italian and English version was staged over 260 times between 1730 and 1800 to at least nine different scores.

This article probes the ethics of one of the more controversial as well as exciting forms of adult education—the mode of theatre of the oppressed called 'invisible theatre'. Looking at claims made by practitioners—Augusto Boal's especially—and drawing on concrete theatre pieces, the author asks: What are invisible theatre's claims to ethicality? How valid are the claims? Are the claims and practices compatible with adult education principles? And how might invisible theatre be conducted more ethically? The article demonstrates that despite invisible theatre's highly ethical mandate, Boal's defences of invisible theatre are wanting, the levels of deception and danger are problematic, and the standard practices and claims are incompatible with certain adult education principles and commitments, including the Freirian commitment to non-manipulation. At the same time, it is shown, there is potential for invisible theatre praxis which is both effective and ethical, albeit changes are called for. Suggestions for improved practice include: invisible theatre troupes committing themselves to becoming ethically reflective practitioners, making minimal deception the new norm, reining in the level of conflict, exploring the 'opaque', and no longer taking as a given that invisible theatre should never be 'outed'. [ABSTRACT FROM AUTHOR]

An article is presented on the early modern theaters in London, England, the Shoreditch, and the south bank of Thames River. It offers the history of areas including the renowned playhouses there. According to the author, Clerkenwell and Smithfield have a history of association with different kinds of shows and spectacles.

This article describes the Prato theater in Lille, France. The author describes the district in which the theater is located as being a district of the people. It is noted that many factories were built in that area in the 19th century and many of its inhabitants are still a part of the working class. The Prato theater opened in one of these old factories in 1986. The theater specializes in burlesque style entertainment.

This article describes the Théâtre des Sources in Fontenay-aux-Roses, which houses a theater, Les Sources, and a cinema, Scarron. The author notes that it was opened in 1984 and was first managed by the town. The association of friends of the establishment is discussed. It was founded in 2000 with the goal of protecting and preserving the theater. Several of its initiatives for the year of 2007 are also presented.

The article discusses the integration stages of Latin American theater as viewed globally. It is suggested that the freshly exposure to Latin American theater by audiences around the world that have reveled in recent years. International theater collaborations including the Buenos Aires in Translation (BAit) and professional stagings of individual plays in places as Prague, Calgary, Madrid, Paris and Storrs in Connecticut, demonstrate a growing knowledge and admiration of the genre. It is inferred that the numerous academic conferences draw in scholars from Latin America theater circles and host public presentation by both well-known and not so popular artist.

The article presents information on several performing arts theaters in Washington, D.C. These include Arena Stage, John F. Kennedy Center for the Performing Arts, National Theatre, Shakespeare Theatre Company: at the Lansburgh Theatre and Sidney Harman Hall, Mammoth Theatre Company, and Folger Shakespeare Library.

This chapter presents a case study of collaboration between the Lawndale Christian Development Corporation and the Chicago Arts Partnerships in Education. [ABSTRACT FROM AUTHOR]

This chapter describes the methodology of the Theater of the Oppressed as developed by Augusto Boal along with examples of its application. [ABSTRACT FROM AUTHOR]

This chapter looks at the power of theater and literature programs to affect correctional facilities; it delves into how such programs can deepen connections to oneself, to others, to community, and to the larger world. [ABSTRACT FROM AUTHOR]

During the period 1972-1999, the number of Norwegian subsidized theatres was more than doubled, while attendance was largely unchanged. Mainly due to new institutions established during this period, the number of performances increased by about 45%. With about the same total attendance, this means that the attendance per performance decreased by about the same percentage. The number of employees (not counting engaged persons) increased by about 60%. All in all this led to an almost trebling of both costs and public support in real terms. This study deals with possible explanations of this distressing development. Contrary to what is commonly assumed, the new theatres, with cost-disadvantages of small scale, are only part of the explanation. We provide two main explanations: the crowding out of the subsidized theatres by AV-media and other performing art institutions, like private theatres and independent performing arts groups, and by other entertainment institutions. In addition, costs have increased substantially due to slow adjustment to reduction in demand, costly arrangements to counter the crowding out effects, and institutional sclerosis. The latter seems to be due to various cost-increasing arrangements commonly found in public institutions with soft budget constraints, as well as in private monopolies and private firms sheltered by regulations of various kinds. [ABSTRACT FROM AUTHOR]

When scholars of any nation become so proud of their mastery of alien concepts that they forget or suppress their own cultural identity, they willingly succumb to 'theoretical imperialism: The flip side is the arrogant and wholesale imposition by Western scholars of theories created in the crucible of one culture on other cultures, subcultures or historical eras with divergent philosophical foundations. This article introduces several key ]Japanese critical theories that modify or fuse ]Japanese and Western psychoanalytic and aesthetic concepts, arguing that they can be fruitfully applied by theatre and performance scholars to works originating either in Japan or elsewhere. The article proposes a "both/and' perspective that respects cultural differences without exoticizing the Other.

A large proportion of Thai films and of traditional and modern dramas are based on significant figures whose lives helped shape the trajectory of Thai history, but who are in the end overwhelmed by events. Some works are produced with obvious propaganda intent, reflecting the efforts of cultural reconstruction and historical reinterpretation. This paper suggests that the plays under discussion follow an epic and episodic form, depicting the full scope of the protagonist's life rather than focusing on a single dramatic event or examining a tragic destiny. This structure resembles the paradigmatic epic underwriting Thai royalty, the Ramakien, even while the role and nature of the king is being newly exemplified in annual spectacles.

This article asks how it is that performances of the work of the most important playwright in Israel - Hanoch Levin -fill auditoria, despite the fact that these plays are considered to be unpleasant, irritating and even repulsive. The article seeks thereby to identify the sources of pleasure in Levin's theatre. It is apparent that Levin has no wish to send his audience home cleansed and contented. Neither is he interested in providing intellectual affirmation of the world's rationality, regularity and order. Rather than balance, harmony and external affirmation, Levin 's plays offer a kind of pleasure bordering on what Roland Barthes calls jouissance, resulting in a new kind of catharsis in his audience.