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This chapter aims to unpack the game of masks involved in the stagecraft of the far-right populist communicative performance while building an image and messaging from the margins of the conventional political establishment to seek legitimization and integration in it. Indeed, an analysis ranging from the ground-laying phase of the Chega party to being established as the third political force in the country’s parliament reveals Ventura matching most of, if not all, far-right’s populist multidimensional content framing and indicators of communicative style. The repertoire of communicative performance also offers critical evidence of the chameleonic nature of both the ideational and performative populisms across different national contexts.

If Macbeth is Shakespeare's play of equivocation and doubleness, Rupert Goold's and Gregory Doran's productions were informed by like concerns, even having double performance lives on stage and on film. Doran's production followed along the lines of Trevor Nunn's 1976 staging, which highlighted the interiority of the Macbeths in the intimate space of The Other Place. Besides creating a sense of intimacy on the Swan's stage, Doran underscored the play's political relevance. Goold's mise-en-scène, also performed in an intimate space, pushed further Doran's militaristic staging. Jan Kott's reading of Macbeth as a ‘nightmare’ also offers a yardstick for production choices.

The United Kingdom’s integrated defense and security review put “grey zone” or “hybrid” challenges at the center of national security and defense strategy. The United Kingdom is not alone: The security and defense policies of NATO, the European Union, and several other countries (including the United States, France, Germany, and Australia) have taken a hybrid-turn in recent years. This article attempts to move the hybrid debate toward more fertile ground for international policymakers and scholars by advocating a simple distinction between threats and warfare. The United Kingdom’s attempts to grapple with its own hybrid policy offer a national case study in closing the gap between rhetoric and practice, or stagecraft and statecraft, before an avenue of moving forward is proposed—informally, through a series of questions, puzzles, and lessons from the British experience—to help international policy and research communities align their efforts to address their own stagecraft-statecraft dichotomies.

The article proposes a review of Gordon Craig’s Scene project, an invention patented in 1910 and developed until 1922. Craig himself kept an ambiguous position whether it was an unfulfilled project or not. His son and biographer Edward Craig sustained that Craig’s original aims were never achieved because of technical limitation, and most of the scholars who examined the matter followed this position. Departing from the actual screen models saved in the Bibliothèque Nationale de France, Craig’s original notebooks, and a short film from 1963, I defend that the patented project and the essay published in 1923 mean,indeed, the materialisation of the dreamed device of the thousand scenes in one scene., L’article a pour but de faire une révision du projet Scene, de Gordon Craig, une invention brevetée en 1910 et développée jusqu’en 1922. Craig lui-même a soutenu une position ambiguë s’il s’agissait ou non d’un projet irréalisé. Son fils et biographe, Edward Craig a défendu que les aspirations originales de Craig n’aient jamais été atteintes à cause des limitations techniques et la plupart des chercheurs qui ont examiné la question ont suivi cette position. Je pars des écrans modèles gardés à la Bibliothèque Nationale de France, des cahiers d’annotations originaux de Craig et d’un court métrage datant de 1963, pour défendre que le projet breveté et l’essai publié en 1923 représentent la vraie concrétisation du dispositif rêvé des milles scènes en une scène., O artigo propõe uma revisão do projeto Scene, de Gordon Craig, uma invenção patenteada em 1910 e desenvolvida até 1922. O próprio Craig manteve uma posição ambígua sobre se foi ou não um projeto irrealizado. Seu filho e biógrafo Edward Craig sustentou que as aspirações originais de Craig nunca foram alcançadas devido a limitações técnicas, e a maioria dos estudiosos que examinaram o assunto seguiram essa posição. Partindo das telas modelos guardadas na Biblioteca Nacional da França, dos cadernos de anotação originais de Craig e de um curta-metragem de 1963, eu defendo que o projeto patenteado e o ensaio publicado em 1923 representam, de fato, a concretização do sonhado dispositivo das mil cenas em uma cena.

[ES] La tecnología del Stagecraft usada en The Mandalorian ha supuesto la revolución de una técnica cinematográfica usada desde los inicios del cine. Conocida como retroproyección, consiste en proyectar imágenes de fondo, en tiempo real, mientras la acción se produce delante de la pantalla de proyección, filmando así, todo en conjunto. La retroproyección se ha usado en películas icónicas a lo largo de la historia del cine, hasta el auge del chroma key, que sustituyó gran parte de esta práctica y permitió más agilidad y variedad de planos. Sin embargo, la técnica del Stagecraft ideada por ILM para The Mandalorian, usando el motor gráfico Unreal Engine, ofrece un entorno muy inclusivo, como retroproyecciones envolventes, que a su vez iluminan el set y permite hacer cambios en tiempo real, sin ensuciar la imagen como sucede con el croma. En este trabajo final de máster analizaremos la evolución de las diferentes técnicas de incrustación y creación de fondos, para finalmente llevar a cabo un caso práctico para simular la aplicación de fondo en tiempo real. La tecnologia del Stagecraft usada en The Mandalorian ha suposat la revolució d'una tècnica cinematogràfica usada des dels inicis del cinema. Coneguda com retroproyecció, consisteix a projectar imatges de fons, en temps real, mentre l'acció es produeix davant de la pantalla de projecció, filmant així, tot en conjunt. La retroproyecció s'ha usat en pel·lícules icòniques al llarg de la història del cinema, fins a l'auge del chroma key, que va substituir gran part d'aquesta pràctica i va permetre més agilitat i varietat de plans. No obstant això, la tècnica del Stagecraft ideada per ILM per a The Mandalorian, usant el motor gràfic Unreal Engine, ofereix un entorn molt inclusiu, com retroproyeccions envolupants, que al seu torn il·luminen el set i permet fer canvis en temps real, sense embrutar la imatge com succeeix amb el croma. En aquest treball final de màster analitzarem l'evolució de les diferents tècniques d'incrustació i creació de fons, per a finalment dur a terme un cas pràctic per a simular l'aplicació de fons en temps real., [EN] The Stagecraft technology used in The Mandalorian has revolutionized a cinematographic technique used since the early days of cinema. Known as rear-projection, it consists of projecting background images, in real time, while the action takes place in front of the screen, filming everything together. Rear-projection has been used in iconic films throughout the history of cinema, until the rise of chroma key, which replaced much of this practice and allowed for more agility and variety of shots. However, the Stagecraft technique devised by ILM for The Mandalorian, using the Unreal Engine, offers a very inclusive environment, such as immersive rear-projections, that at the same time illuminate the set and allow changes to be made in real time, without messing up the image. as with the chroma. In this final master degree work we will analyze the evolution of the different embedding and background creation techniques, to finally carry out a practical case to simulate the background application in real time.

The First British New Left (NL) (1956–1962) formed around two journals, The New Reasoner (NR) edited by E.P.Thompson and John Saville, and the Universities and Left Review (ULR) edited by Stuart Ha...

A physics professor (DS) and a theater technical instructor (BC) came together in 2018 to plan a general education course on the Physics of Theater Stagecraft. This is less surprising than it sounds, because theatrical lighting design had been Smith’s hobby for almost 30 years, and he has always felt that his understanding of physics helped him better implement the art of stage lighting. In 2019, Guilford College launched a new instructional calendar, and we worked together to offer this interdisciplinary general education course for the first three-week class session. We agreed that our priority was that the students would learn by doing, rather than reading and homework. We spent mornings in the physics lab and afternoons in the theater. There was no final exam—the practical task of creating a design for an actual performance was students’ opportunity to show what they had learned.

Demonization is a widespread aspect of political discourse. We are familiar with the demonization of Brussels bureaucrats as a tool for pursuing the British exit from the European Union, and we take stories about the compulsory straightening of bananas with a pinch of salt, however frustrating it might be that some disaffected voters choose to accept these canards as true. But somehow, stories about the demonic in Africa have been accorded much greater ontological respect, not only by colonial powers keen to boost their own legitimacy through claims to a civilizing mission, but also by anthropologists anxious to understand their informants’ imaginative concerns, perhaps without fully appreciating the political craft or guile with which these discourses are invested. In seeking to void the charge of delusion, an empathetic reading of demonization risks missing the strategic significance of mythic interventions intended to extract political advantage. This article examines an instance of mythic creativity in the politics of late nineteenth-century interior Sierra Leone as an example of the stagecraft sometimes implicit in African public authority. The case is that of the human leopard, an avatar of commercially compromised chieftaincy. The article asks whether the alleged activities of these leopards were the straight bananas of a certain form of anti-colonial political resistance. In a concluding discussion, some consequences for understanding current forms and practices of local public authority are inferred.

From the early sixteenth century, stage sets in the Italian theatre were constructed in accelerated perspective. The stage and scenery were shallow, but the sets give illusions of much deeper spaces—typically piazzas and receding streets surrounded by buildings. The best-known example is Sebastiano Serlio’s temporary theatre of 1539 described in his second book on Architecture. This paper argues that the accelerated perspective scene was first introduced by Serlio’s master Baldassare Peruzzi for productions of the comedy La Calandria in 1514 and 1520, and then for Le Bacchidi by Plautus in Rome in 1531. Detailed working drawings survive for the set of Le Bacchidi and are used here for the first time to explain Peruzzi’s method by constructing a scale model, giving a vivid sense of how the illusion worked and would have appeared to the audience. It is suggested that Peruzzi was inspired in part by the architectural backgrounds of a number of fifteenth-century paintings. His invention had a profound influence on stage design for the next two centuries, as shown by surviving sets and handbooks of stagecraft.

In Helena Pimenta's production of Lope de Vega's El castigo sin venganza (1631) with the Compania Nacional de Teatro Clasico (CNTC, 2018–19), a massive mirror presided literally in the created palace space on stage, implicating all the characters and even the audience. This mirror was responsive as a dramatic character, as it were, constituting the central axis—a main protagonist—of this mise-en-scene. It functioned technically and iconographically to effect an admonitory representation of the Duke of Ferrara's aberrations that were, ironically, a living portrait of his son's. This path leads naturally into the painterly domain of geometry and perspective, for which Diego de Velazquez's Las Meninas will serve as a point of reference. The notion that the reflective surface was not at the geometric center of the staging but at its pictorial center will be considered vis-a-vis certain technical aspects of the court painter's quintessential work. Given that the mirror provided an illustrative portrait of the Duke's imperfections, we also turn to the genre of advice literature known as specula principum to explore the iconographic meaning of the onstage glass reflector in Pimenta's mise-en-scene.

The proposal to look at the topic of melodrama through the prism of dance seems to be not only cognitively interesting, but also justified in terms of academic research. This theatre performance, established in the 18th century, becoming a new genre of popular art, clearly emphasized the close relationship between word, music and dance. The creators of melodramatic works tried to use all means of stagecraft, focusing on eye-catching forms of expression (stage machinery, scenery, costumes) or special effects framing the show’s spectacularity – including dance. We can find melodramatic themes in ballet performances (for example, referring to well-known novels: Leo Tolstoy, Anna Karenina, or by Alexander Dumas (son), The Lady with the Camellias). Dance plays an important role in Bollywood productions (the most common combination used by filmmakers is the musical and melodrama combination). We can already talk about a specific canon of film melodramas in which the main theme is dance (Dirty Dancing, 1987 starring Patrick Swayze; a role unforgettable for of today’s 40-year-olds). Following tracks of popular culture, we can also refer to the form of music videos, often in their narrative, close to the form of melodrama.

[ ]the act of remembering is not contained to a nostalgic notion of the past, but instead is linked to the awakening of political action regarding a current refugee crisis following the 2017 Marawi Siege that displaced hundreds of thousands from the ancestral land of the Maranao, with no clear timetable for when they can return While these plot threads may seem disparate and unrelated, they are united by the production's suggestion that the strength to keep fighting for a return to the Maranao ancestral homeland—devastated by indiscriminate bombings during a conflict between Philippine government forces and pro–Islamic State militants—lies in the act of remembering both the tragedies and conflicts of the recent past and the cultural heritage that gives hope, unity, and identity to the Maranao people There were several magical moments of stagecraft, ranging from two women dragging a large, light-colored cloth between sticks of bamboo in an act that seemed to symbolize the flow of a river, to an elegant dance featuring a chorus of performers spinning colorfully patterned umbrellas, to martial arts sequences among combatants wielding wooden sticks

This essay deals with the performances of the staged combat against Islam, its Iberian origins and medieval records, its spread around the world (America, Africa, Asia) and the distinctive manifestations of its present-day survival, particularly in Mexico and Ihla do Principe. My analysis focuses on the salient spectacular aspects of two traditional festivals: Los doce pares de Francia, which I witnessed in 2013 in Tlalnepantla (Morelos, Mexico), and the Auto de Floripes de Santo Antonio (Sao Tome and Principe), which Alexandra Gouvea Dumas studied in 2009. I explore the genetic link between the aspects in question and the type of drama that originated and flourished in the Iberian Peninsula in the late Middle Ages. My discussion evolves into a two-pronged argumentation: stage direction and acting, costumes and props. It delves into the issues that have to do with authorship, text, audience, and social context. I intend to identify in the two festivals in question the significant common theatrical features that characterize popular dramaturgy and stagecraft.

This paper seeks to argue that Edward Hopper’s Early Sunday Morning (1930), Girlie Show (1941), and Two Comedians (1966) all show interest in the ephemerality of stage art. These paintings, I argue, depend upon innovations and fashions in lighting and set design from Hopper’ era. These influences, I further contend, extend beyond the mechanical to the thematic; if these paintings resemble the stage, it is significant that the stages he depicts are vacant of actors or signify either a scene which is about to occur or one which has ended. By evoking the empty stage, Hopper’s work, I seek to demonstrate, invites meditations on the impermanence of stagecraft.

It is known that Cervantes wanted, above all things, to be successful on the Golden Age stage and to become a famous playwright. Due in part to the rising popularity of Lope de Vega and the comedia nueva, Cervantes gave up his aspirations to the stage and focussed on his prose. However, unlike any author during this period, Cervantes continued to breathe theatricality into that prose. Structures, themes, characters, and settings shift constantly between distinct genres, unveiling details about Cervantes’s life and worldview. Moreover, at times, the line between theatre and prose seems to mix or blur, demonstrating the dramatic imagination in Cervantes’s works. Additionally, the fact that Cervantes’s writing emphasizes dialogue is of no surprise, as it is infused with a profound humanism, often of Erasmian roots. This chapter explores the significance of this new type of comedy in the works of Miguel de Cervantes.

A través de este trabajo de investigación trataremos de recorrer la historia de los VFX desde sus inicios, observando la evolución producida a partir de las industrias del cine y los videojuegos. Todo ello para sentar unas bases y llegar hasta la aparición de la técnica ‘Stagecraft’, que surge con la serie The Mandalorian. Ahondaremos entonces en el punto de inflexión marcado a partir de la realización de la serie, basada en el universo de Star Wars, en la que la utilización de este método, que pretende sustituir el uso del chroma, ha dado un paso más allá y ha sentado un fuerte precedente de cara a las futuras utilizaciones de esta técnica que comparte elementos propios de los VFX utilizados en los videojuegos y el cine Through this research work we will try to go through the history of VFX since its inception, observing the evolution produced from the film and video game industries. All this to lay a foundation and reach the appearance of the ‘Stagecraft’ technique, which emerged with the series The Mandalorian. We will then delve into the inflection point marked from the realization of the series, based on the Star Wars universe, in which the use of this method, which aims to replace the use of chroma, has taken a step further and has setting a strong precedent for future uses of this technique that shares elements of the VFX used in video games and movies

Durante los últimos años y a través de numerosos avances tecnológicos de los que venimos siendo testigos desde la llegada de la revolución digital, la conocida como producción virtual está cambiando la forma de hacer cine. Este proceso –relativamente nuevo– de realización de películas, series y videojuegos en realidad lleva desarrollándose desde hace tiempo, pero con los avances introducidos gracias a diferentes plataformas de desarrollo de videojuegos en tiempo real como Unreal Engine y una avanzada tecnología de procesamiento de gráficos, esta forma de producción está alcanzando su máxima expresión día, permitiendo filmar historias de una manera mucho más pura y creativa que haciendo uso única y exclusivamente de una pantalla verde. Mientras que el proceso tradicional de producción de una película que cuente con efectos digitales como el CGI y herramientas como el croma verde puede llegar a limitar desde un principio tanto a los actores como a las propias ideas de sus creadores, la producción virtual permite la interacción directa de componentes como los escenarios y la iluminación ambiental en una práctica más inmersiva, haciendo que dichos efectos –que en un principio pertenecerían a la fase de postproducción– formen parte de la acción en vivo. Universidad de Sevilla. Grado en Comunicación Audiovisual

This article discusses previously unpublished material from the S. N. Behrman Papers that marks S. N. Behrman’s first encounter with live theater. This material is thus a significant contribution to the biographical record on Behrman. A theater memoir submitted to but rejected by The New Yorker sheds light on Behrman’s early experiment in vaudeville, and records his early encounter with high comedy in the work of Somerset Maugham and his early fascination with actors, a primary focus of his theatrical career. The unpublished material discussed here was intended as part of his New Yorker series about growing up in a Jewish neighborhood in central Massachusetts, reminiscences seen as a resource for information about Behrman’s adolescence and early adulthood. Since Behrman’s book The Worcester Account (1954) offers only passing mention of the author’s eventual career in drama, the material covered here illuminates his choice of a vocation in the world of theater.

This article reconfigures the lines of the author's pen and the artist's brush in Eugene O'Neill's formative career as a playwright. Visual artists in Provincetown and New York, returning to America from Paris, sought to recreate a collaborative com-munity. In this interarts matrix, three women, sources of inspiration, include Agnes Boulton, Christine Ell, and Dorothy Day. Commonly con-sidered as models for composite characters in Eugene O'Neill's plays, they are also associated with significant visual artists' works. O'Neill is viewed in a broader context of his relationships with visual artists and their common women muses. To explore this relation between the playwright's and the visual artist's imagination, especially regarding women as subject and object of the male gaze, I explore the impact of figures of the Ashcan School in O'Neill's milieu. The intertextual discussion is extended through allusions to cognitive psychology and neuroscience. I draw analogies between the playwright's imaginative working process and that of a major artist, Marsden Hartley, as both seek peace of mind. Both a painting and a play require a viewing audience to be complete, different spectators seeing differently. O'Neill develops a visual style of playwriting in his stage directions and character descriptions. I reinterpret the work of those artists active in stagecraft at the Wharf Theater and the Provincetown Theater in New York in association with O'Neill who implemented the detailed stage directions in O'Neill's scripts and interacted with him, acted in the plays, and, together with O'Neill, formed a creative gestalt that enhanced each other's creative consciousness and process.