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Copyright of Polisemia is the property of Corporacion Universitaria Minuto de Dios 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.)

During the first two years of the Hamilton show on Broadway, the #Ham4Ham lottery system provided fans waiting outside the theater with live performances that included the show's original cast. These included Hamilton songs, covers of other musicals, and different performing arts. Seeking to reach a non-traditional theater audience, Marathon Digital, a digital agency specializing in Broadway shows, turned the performances into a viral campaign utilizing social media outlets to create proximity to the fans through content relevant to the audience. [ABSTRACT FROM AUTHOR]

Family Tradition Theater is the application of Integral Drama Based Pedagogy in community family education. Centered around the ancient wisdom of "Life of Harmony", i.e., delight in way of life and admiration of harmony, the Family Tradition Theater incorporates the five ideas of Chinese family culture into five relationships to find the obstacles in these relationships and the ways to communicate. Specifically, they start with five core values of family culture - harmony, filial piety, faith, righteousness and propriety - the Theater guides audiences to see or realize the "viruses" in daily life, i.e., prejudice, complaint, unrealistic comparison, control, and scheming; remove these "viruses" through facing, introspecting, understanding, mastering, practicing, sharing, and growing; shape five spiritual accomplishments emotion, responsibility, rules, rationality and trust; and construct three major mindsets - perspectives of internality, relationship, and growth;. [ABSTRACT FROM AUTHOR]

Arab stage plays took their time in the development and making their place in the world throughout ancient times. The article shines a light on the phases and struggles Arab theatre went through in making such majestic art and performances that are a source of entertainment for people from all over the world. Mainly the struggles were because of religious issues that initiated many other issues like censorship and not having enough popularity in the Arab states that put up a limit to the theatre establishments forcing the artists to make journeys to seek their audience as many things did not sit well in the mindsets of the religious Arabs. However, later on, the theatre started stretching its roots in the hearts of the audience. Performances like Shadow Puppetry and Passion plays took over many viewers and became an important part of the Arab culture. One of the most important eras in the history of Arabic drama development was that of the Egyptian era, which holds a reputation to this time and tells a lot of religious and historic stories through its innovative art play. The article also highlights the great contribution of Ibn Danyal Al-Khuzai to the plays through his three phenomenal theatre scripts that were enacted upon by many diverse cultures and ethnicities, furthermore, the influence Western drama culture made in Arab states and its impact that came with series of events. [ABSTRACT FROM AUTHOR]

This essay reads John Cage's early, pre-'chance' compositions, along with the music of Morton Feldman, through Gertrude Stein's landscape theatre poetics. Stein's account in her 1934 'Plays' lecture of the demands traditional theatre makes on audience members and her interest in a different, looser relation between audience and onstage action informs my discussion of Cage and Feldman. 'Landscape', in Stein's sense, identifies the continuing thread throughout this music: compositional time as a container for loosely related musical material, permitting multiple kinds of continuity and attention. Yet there is a significant tension between Stein's emphasis on the primacy of relation within a staged landscape and Cage's own writing about his music. I argue that listening to the music of these composers through Stein can usefully call into question an enduring reading of Cage 'at his word': namely, that his project (and that of his New York School contemporaries) was to free individual sounds of associations, meaning, and expressivity, allowing them to 'be themselves'. Listening to Feldman and early Cage alongside Stein's writing offers a different perspective, one that points towards subsequent experimental music practices explicitly engaged with the social and relational. [ABSTRACT FROM AUTHOR]

This article examines public performances of official national day celebrations in Ankara during the early period of the Republic. As studying only one actor within a single conceptual framework of national day celebrations would be insufficient to depict the complex nature of social practices, this study argues that national day celebrations inherently incorporate simultaneously and reciprocally performed layers within the public sphere. This study considers the celebration spaces, which are the physical theater of events, as being a part of a network of material and spiritual tools that are utilized to improve the celebration performance and increase the enjoyment of the audience, while also considering the socio-spatial codes that control the masses and the celebration of mise-en-scene. This article uses three intertwined themes: the mobilization of the masses; the promotion of technological development and technical exhibition; and the circulation of the founding images and narratives, to introduce and discuss public performance in Ankara. The study concludes by suggesting that the interaction of these themes with each other explains the consent culture, nation-building strategies, and performative forms of publicity, that occurred during national day performances of the early period of the Republic of Turkey. [ABSTRACT FROM AUTHOR]

Action Research is often used in theatre and performance to engage communities in acts of social change. Framed as theatre action research in applied theatre, practice as research or participatory enquiry, theatre becomes the central tool in generating knowledge. However, engaging with audiences experiences of theatre as an act of performance throughout my PhD means I was interested in how AR’s paradigmatic qualities apply to young people’s experience of theatre. Densely detailing my methodological approach, in this paper I examine how AR applied across my research and has subsequently become embedded in my methodological approach to analysing theatre and performance. [ABSTRACT FROM AUTHOR]

For left cultural activism, 'theatre' forms an important 'worksite of democracy' which allows theatre activists to provide creative intervention within the existing 'field of forces'. Cultural organizations and theatre groups of the Left – like the Delhi-based Jana Natya Manch (People's Theatre Forum) offer a critique of neo-liberalism through theatre. First performed in the year 2000, the street play Nahi Qubool (Unacceptable) was designed to expose neo-liberal policies undertaken by the Bharatiya Janata Party-led government. The play continued to be performed even after a change of government with suitable modifications for changed circumstances. This genealogy of performance demonstrates the contours of politics and activist performances in contemporary India. It reveals that theatre as a 'laboratory for democracy' can also perform a diagnostic role to enhance the effectiveness of political strategy. [ABSTRACT FROM AUTHOR]

Going to drive-ins became a popular pastime in Cape Town during the 1960s and 1970s, although most were restricted to white audiences. Towards the end of this period, however, the arrival of television and emerging cinemas in 'Coloured' areas pushed white cinema owners throughout the city to apply for permits for mixed-race audiences and to transform the white-only status of their venues. This article focuses on drive-ins, an overlooked dimension of South African cinema history, and proposes that these venues are an important lens through which to examine the racial politics of cinema during apartheid, particularly from the late 1970s. As spaces that contrasted with the homogeneity of walled cinemas and their urban audiences, the drive-in became both a symbol of segregation in the city and a placeholder for transition. The opening-up of all Cape Town's drive-ins in 1980 signalled new commercial horizons of non-racial audiences, making desegregation a popular buzzword and revealing the complex dynamics of racial integration before the end of apartheid. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Tikrit University for Humanities is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) 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.)

The early twentieth-century Broadway stages and US vaudeville circuits boasted numerous successful performers, costumiers, producers and directors who understood that their luxurious costumes were crucial to a production's success because they supported the show's narrative and the performer's personal brand. Costumes were themselves "actors" that performed via an actress's body to reflect the social, cultural and economic landscapes they inhabited, spinning tales of notoriety, extravagance and celebrity that proved potent to audiences. In some cases, however, Broadway and vaudeville costumes were unruly, behaving in unintended ways and telling audiences stories that differed from a show's narrative and highlighting social anxieties that audiences had come to the theater to escape. Drawing on theories of agency in costume and textile semantics, this article analyses early twentieth-century accounts of costumes behaving badly to argue that those reviled as disgusting by theater critics and audiences reflected classed fears of poverty and disease. [ABSTRACT FROM AUTHOR]

In this essay, drawing on the case study of Kolkata-based blind theatre groups Blind Opera (est. 1995) and Anyadesh (lit. 'a different country', est. 2006), I argue that performance can effectively provide embodied care to oppressed individuals and their communities in the Global South— united by poverty, lack of state support, infrastructural inaccessibility and other intersectional factors. Blind Opera, and Anyadesh have done pioneering work in exploring theatre as medium for care for the visually impaired. The essay looks at the work of these two groups as one instance among many in the Indian context, where in recent years, theatre or performance has emerged as a major site for dispensing care in marginal communities afflicted by systemic neglect, exploitation, oppression or conflict. Focusing particularly on the practice that has evolved at Blind Opera and Anyadesh, I try to untangle some of the core principles. I identify and explore two key vernacular conceptual categories Ashray and Shushrusha (care/willingness to listen) that have been central to embodied care-practice in the two groups. Discussing Blind Opera and Anyadesh's work as an instance of marginal embodied care practice in the Global South, I argue, provides a critical counter weight to prevalent Eurocentric and universalist discourse around applied theatre or performative care practices. It is an equally important intervention within discourse around disability and performance which has hitherto focused mostly on examples from Anglo-American or European context. [ABSTRACT FROM AUTHOR]

Spain developed a commercial theater with female actors as members of professional troupes, whereas England's theaters continued to rely on male troupes - albeit greatly influenced by the continent's plays. Some seventy years later, Shakespeare brought the trauma of his refugee story back to shipwrecks and storms in I Twelfth Night i , which owes so much to I Gl'Ingannati i and to Plautus. As Ethyl Eichelberger brought trans and drag performance to Shakespeare in the 1980s, explorations of a transvestite theater expanded audiences' emotive experiences of these cross-dressed plays. [Extracted from the article]

The Gateshead International Festival of Theatre (GIFT) has been running since 2011. It is an annual opportunity for audiences and artists to gather and share experimental work with a strong focus on collaboration and conversation. As noted in my interview with the Festival's Director, Kate Craddock (which is also published in this special issue of CTR), it went online for 2020 and 2021. 2022 marked its return to in-person activity. I attended almost all of the events in the programme, which stretched across three days from Friday 30 April to Sunday 2 May 2022. [ABSTRACT FROM AUTHOR]

Geddy Aniksdal has been a core member of Grenland Friteater, Norway, since the early 1980s. She is an actress, director, and writer and runs the annual Stedsans (Sense of Place) Festival and, along with other company members, the Porsgrunn International Theater Festival. She is also a founder member of the Magdalena Project. In this contemplative essay, Aniksdal reflects poetically on what COVID-induced theatre and festival closure has meant for her as an artist and curator, whose everyday practice normally involves working on the international festival circuit, making performances, and running her own festival in Norway. [ABSTRACT FROM AUTHOR]

The article focuses on the Canadian plays which are diverse in terms of topics, theatrical styles, and intended audience. It mentions that Jordi Mand's "Brontë: The World Without", a play about the three Brontë sisters, whose father was a curate in Haworth in West Yorkshire. It also mentions "Amaryllis" and "Little Witch" two contemporary fairy tales for young audiences written by Pascal Brullemans and translated from French by Alexis Diamond.

By pairing roughly contemporary comedies by two of the Irish Revival's leading playwrights, this article sets up a case study for comparison, demonstrating how various forms of comedy were received by Dublin audiences during the Revival, and illustrating the ways in which comedy produced, and unsettled, political myths in the context of the nascent Irish theatre. Attending to plays by J. M. Synge and Lady Gregory, alongside the manifestos and political manoeuvring of the directors of the Abbey Theatre and its earlier iterations, the article suggests that, through comedic misrule, the comedies of the Revival challenged the 'misrule' of forms of imperialism, capitalism and modernization, clearing the way for new narratives and myths to take shape. In the fraught conditions of the opening decade of the twentieth century, comedy is the genre through which we can most acutely see the parameters of Irishness being tested on stage. [ABSTRACT FROM AUTHOR]

The tragic story of the star-crossed lovers of Verona was first presented to Spanish theatergoers during the early decades of the nineteenth century. During this period Shakespeare was largely unknown to the general public. The article examines the early reception of Shakespeare in Spain focusing on one iconic play, Romeo and Juliet, and its earliest adaptations: Dionisio Solís's Julia y Romeo (1803) and Manuel Bernardino García Suelto's Romeo y Julieta (1817). At a time when the Spanish public was captivated by the allure displayed by adaptations of Othello, this article argues that the adaptations of Romeo and Juliet composed by Solís and García Suelto also enjoyed popularity, as evidenced by their several revivals and the prestige of some of the actors and actresses who intervened in the productions. The article examines the historical, political and sociocultural factors that contributed to the composition and popularity of Julia y Romeo and Romeo y Julieta. Historical contextualization is combined with an analysis of the sources and main features of each adaptation. The article also offers a detailed account of the reception and performance history of both plays on the Spanish stage from 1803 to 1836. These neoclassical versions remain -up to this day-largely unknown texts, but they deserve close attention since both plays strongly contributed to the gradual dissemination of Shakespeare and his work in Spain. [ABSTRACT FROM AUTHOR]

American dramatists arrived in the Spanish theaters rather late, in the 1950s. In the beginning they were generally represented by non-professional theater groups (exemplified here by Dido Pequeño Teatro) that aimed to challenge the obsolete plays produced on the mainstream stages during Franco's dictatorship (1939-1975). Thanks to these companies that were an alternative to the commercial theaters, Spanish audiences gradually discovered many contemporary playwrights whose plays were being staged in the rest of Europe at the time. This article focuses on three American authors who were the first significant ones to be staged in Spain: Eugene O'Neill, Tennessee Williams and the American-born T.S. Eliot, and were chosen by Dido Pequeño Teatro. This paper briefly presents the three authors and their theater, together with their success in the United States, in order to then concentrate on their first appearance in Spain. We highlight four plays that were produced by one of the most significant Spanish non-professional groups of that era, Dido Pequeño Teatro. The article then takes a closer look at how the plays were received by the critics and the general audience and analyze their success. [ABSTRACT FROM AUTHOR]

According to old physics theories, our universe might be the result of a black hole which generated the big-bang: the genesis of space, time and substance. The figurations of the theatre play Mais, Maman, ils nous racontent au deuxième acte ce qui s’est passé au premier / Look, mom, in the second part they tell us what happened in the first (2003) by Matéi Visniec (which presents a hole) and Ciels/ Skies (2009) by Wajdi Mouawad (very sympathetic of this hole) are against this law of universal gravity. That’s good. But, metonymically speaking, they are not without connection with the postmodern chaos that exists in the contemporary francophone theatre: birth of a hole which swallows everything and melts in a total ambiguity. They propose a manner of thinking this creation as being somewhere up at the top of an art whose rules can be reversed by the playwrights. These two plays bring a new light on the evolution of francophone theatre, which started with Aristotle rules, going forward to the new theatre and “theatre of the absurd” written by Eugen Ionescu, as well as the situational theatre of Jean-Paul Sartre, and, of course, Beckett. All this originates in the famous “bonnet rouge” of Hugo’s preface of the play Cromwell. Both the French-Romanian writer and the Lebanese-Canadian one appeal to the stage director, to character/ actors, to readers/spectators under the influence of a space situated at the intersection of arts and disciplines such as: mathematics, computer science, cryptanalysis and many others. [ABSTRACT FROM AUTHOR]

The extended belief of gay people being more creative and showing higher interest toward arts lacks robust empirical support. The pioneer study on this issue highlighted that LGB´s arts participation was mostly explained by demographic factors such as level of studies, residence and family situation, which suggests that differences due to sexual orientation tend to fade. In this paper, we put forward the hypothesis that sexual orientation influences motivations to participate, which emphasizes their role and heterogeneity. To do so, we conducted a survey on participants at an alternative performing arts festival collecting information on socio-demographics, including sexual orientation, motivations and other variables. Results show that being LGB increases the likelihood of attendance for emotional, social or political motives, and emphasize the heterogeneity that sexual orientation plays on cultural audiences. Particularly, we find evidence of gender differences in attendance goals within LGB performing arts consumers, supporting gender nonconformity. [ABSTRACT FROM AUTHOR]

Camera as a technological tool, establishes a modern relationship with the world; transforms and visualizes every space and object by recording. First of all, in this article, what kind of a world camera creates and its relationship with modernity is discussed. Then, the development of camera movement abilities is examined and it is seen that it has a fixed point of view that overlapped with theater audience in the early stages of cinema history. However, over time, different points of view were obtained by moving the camera. Elimination of the Italian-style scene and perspective is also addressed in connection with the movement of the camera. Throughout this article, an object/means centered perspective is used, and camera is examined as a historical phenomenon, regardless of content. In response to object centered approach, mechanical eye seems to record every corner of physical world. Accompanied by these discussions, in the last part of the article, "Man with a Movie Camera" is examined in terms of the connection of cinematographic elements with the world. In film analysis, it is shown that different cinematographic elements such as close-up and long shots, camera's involvement in everyday life, the increase of point of views transform physical world. Throughout the article, technological determinism forms the conceptual and theoretical framework; historical and sociological analysis methods are also used together. [ABSTRACT FROM AUTHOR]

The prologue of Thomas Heywood's tragicomedy The English Traveller, which was first performed around 1627 and first printed in 1633, seeks to focus the minds of its audience on what is to follow on stage: A Strange Play you are like to haue, for know, We use no Drum, nor Trumpet, nor Dumbe shew; No Combate, Marriage, not so much to day, As Song, Dance, Masque, to bumbaste out a play: [...] (The English Traveller, n.p.) [ABSTRACT FROM AUTHOR]

In this essay, I question the pedagogical validity of the class field trip to the theater and suggest ways reaction videos might intervene to decenter the theater audience and the theater classroom. Building on Basil Bernstein's work on educational codes as well as the strategies of a postmodern education as outlined by Stanley Aronowitz and Henry Giroux, I argue that the traditional theater experience galvanizes an elitist hierarchy antithetical to the purported goals of education. Tracing the popularity of reaction videos online, I then propose an assignment that fits with Jill Bourne's idea of a "radical visible pedagogy" purposed to repopulate the theater audience and expand accessibility to Shakespeare's work. [ABSTRACT FROM AUTHOR]

This editorial introduces the articles in issues 40.1 and 40.2, noting recurrent concerns with issues presented by the Shakespearean text in production; an interest in the mediating strategies used by Shakespearean institutions to communicate with audiences; and challenges to received knowledge. The editorial also welcomes new members of the editorial team and thanks collaborators who have supported the journal's work over the last year. [ABSTRACT FROM AUTHOR]

Drama activities are reported to foster language learning, and may prepare learners for oral skills that mirror those used in real life. This year-long time series classroom-based quasi-experimental study followed a between-subjects design in which two classes of college EFL learners were exposed to two oral training conditions: (1) an experimental one in which drama-based training pedagogy was employed; and (2) the comparison one in which ordinary public speaking pedagogy was utilized. The experimental participants dramatized a picture book into a play, refined and rehearsed it for the classroom audience, and eventually performed it publicly as a theater production for community children. Diachronic comparisons of the participants' oral presentation skills under the two conditions showed that a significant between-group difference began to become pronounced only after the experimental participants started to present for real-life audiences other than their classmates. This finding suggests that drama-mediated pedagogy effectively enhanced the experimental participants' presentation performance and became more effective than the traditional approach only after a real-life audience was involved. In addition to the participants' performance data, survey and retrospective protocols were utilized to shed light on how drama-based tasks targeting both classroom and authentic audiences influence college EFL learners' presentation performance and their self-perceived oral presentation skills. Analysis of the survey and retrospective data indicated that the participants' attention to three presentation skills—structure, audience adaptation and content—was significantly raised after their presentation involved a real-life audience. Based on these findings, pedagogical implications for drama for FL oral presentation instruction are discussed. [ABSTRACT FROM AUTHOR]