Theatre Directing

Turkish theatre, deeply rooted in a rich tradition of oral storytelling, has historically influenced various modern theatrical forms such as epic theatre, folk theatre, political theatre, and theatre of the oppressed. This tradition was intricately linked with the cultural and societal narratives of the region. The establishment of the Republic of Turkey in 1923 marked a crucial turning point. The new government, influenced by Western modernism, prioritized psychological realism over traditional forms, leading to the marginalization of these practices. As a result, traditional theatrical methods were increasingly viewed as outdated compared to Western artistic standards, causing mainstream Turkish theatre to struggle in maintaining relevance and connection with wider audiences. This presentation explores the historical evolution of Turkish theatre and examines the impact of Westernization on its identity. It analyzes how the dominance of Western theatrical styles led to a disconnection from traditional practices and affected the cultural significance of Turkish theatre.

Στο Ε. Προύσαλη (Επιμ.), Παραστατικές Τέχνες στον 21ο αιώνα. Σύγχρονες Πρακτικές και Νέες Προοπτικές (σσ. 299-307). Αθήνα: Εκδόσεις Ευρασία. (Σύνδεσμος ανάκτησης: https://www.greektheatrecritics.gr/?p=1574).
Πρακτικά συνεδρίου με θέμα: Θέατρο και παραστατικές τέχνες τον 21ο αιώνα: η αγωνία και ο αγώνας του επαναπροσδιορισμού (1-3 Οκτωβρίου 2021),  Ελληνική Ένωση Κριτικών Θεάτρου και Παραστατικών Τεχνών σε συνεργασία με το Τμήμα Θεατρικών Σπουδών και το Εργαστήρι «Λόγου και Τέχνης» του Τμήματος Δημοτικής Εκπαίδευσης του ΕΚΠΑ.

Attraverso un percorso disarticolato, anti-letterario e reazionario, Edoardo Sanguineti ci restituisce un inferno non chiuso alla semplice contemplazione, ma come luogo reale nella sua finzione estrema, un carnevale vivo e demonico, che punta a un costante rovesciamento linguistico e formale in nome di una sottesa lotta all’ordine borghese e rappresentativo. Il linguaggio della commedia dell’arte si mescola a quello televisivo  perché portano in dote una visione del mondo esplicitamente decadente, anti-realista, decostruita: una visione non apocalittica ma infernale.

Estamos en el siglo XXI y asistimos a complejos cambios de paradigma sobre el cuerpo y sobre la formacion artistica: La ciencia avanza hacia una cosmovision integradora cuerpo-mente a la vez que la cotidianeidad nos impulsa a una vida mas sedentaria, virtual y de comunicacion mediatizada a traves de la distancia y los objetos electronicos. Los saberes artisticos se transmiten no solo en la tradicion de una experiencia directa maestro o profesor y estudiante-artista; sino que las escuelas de pensamiento y critica hicieron pie en la formacion artistica academica. Generando, de este modo, una sobrevaloracion de los juicios de valor transmitidos acerca del deber ser del artista y relegando los espacios de transmision tecnica para abordar el arte y el oficio. ?Como dialogar e interactuar con estos aspectos de la realidad en la formacion corporal del actor encuadrada en las gimnasias conscientes? Palabras clave: Tecnica corporal – Actuacion – Presencia escenica- Formacion artistica

Solidaritycompassiontendernessomission Reality can awaken noble feelings in us: solidarity, compassion, tenderness, and other emotions. The problem is that we live in "our world," while what happens and touches us remains outside... It had been two hours at the dentist. It's true that I had slept for most of the time. Finally leaving the center of Lorena, I decided to walk without a care. It was just after 4 p.m. On the horizon, towards the Serra do Mar, heavy clouds were foretelling an imminent storm. My body felt pleasantly sluggish. I was walking calmly along the sidewalks. The movement of people was not dense. I turned the corner in front of the Venetian mansion, and while walking near the Hepacaré River, my eyes rested on a lady rummaging through the garbage bins of the Salesian College, searching for recyclables, aluminum cans, and plastic bottles. She would have gone unnoticed in the landscape. She was just another waste picker, like so many others. She would have gone unnoticed... if not for the green gloves she wore to aid her work. The gloves... something exotic for a waste picker, but at least they showed a certain concern for hygiene, uncommon among waste pickers in these parts.

Τέρατα, υβρίδια και ερείπια. Η ριζοσπαστική κουίρ τέχνη του Ευριπίδη Λασκαρίδη 1 Το έργο του σκηνοθέτη και περφόρμερ Ευριπίδη Λασκαρίδη κατέχει μια ιδιαίτερη θέση στη σύγχρονη ελληνική σκηνή, χάρη στην εγγενή πρωτοτυπία και την καινοτόμο επινοητικότητά του. Δεδομένου ότι πρόκειται για ολικό σκηνικό κονστρουκτιβισμό που

"Neke vas uloge obilježe, neke razore, neke nervi raju, neke biste najradije zaboravili, a neke se trajno usele u vas i mirno žive u vama", riječi su Branke Cvit ković, glumice koja je ulogom Vasse Železnove M. Gor koga u zagrebačkome HNK-u u ožujku ove godine obi lježila tridesetu obljetnicu glumačkoga rada. A Branka Cvitković je u svojoj plodnoj karijeri, kojoj, dakako, još

Crimă şi pedeapsă PARTEA ÎNTÂI ~ I ~ La începutul lui iulie, întro seară înăbuşitor de caldă, un tânăr ieşi din odăiţa lui subînchiriată de pe străduţa S. Şi, ajuns în stradă, se îndreptă încet, parcă nehotărât, spre podul K. Izbutise să se strecoare fără a se întâlni cu gazda pe scară. Odăiţa lui se afla la mansarda unei case înalte, cu patru caturi, şi aducea mai degrabă cu un dulap decât cu o cameră. Gazda de la care închiriase odăiţa asta, cu tot cu masă şi curăţenie, locuia întrun apartament separat, aflat cu câteva trepte mai jos, şi de câte ori ieşea, navea cum să nu treacă pe lângă bucătăria ei, a cărei uşă dinspre scară era aproape întotdeauna deschisă larg. De fiecare dată, trecând pe lângă ea, tânărul se simţea cuprins de o laşitate nefirească, de care se ruşina şi care îl făcea să se crispeze. Era dator vândut gazdei şi se temea să dea ochii cu ea. Nu că ar fi fost laş sau timid, chiar dimpotrivă, dar de la o vreme se afla întro stare de iritare şi de încordare vecină cu ipohondria. Atât de mult se închisese în el şi se izolase de toată lumea, încât îi era frică de orice întâlnire, nu numai de cea cu gazda. Sărăcia îl strivise. Însă în ultima vreme, nici măcar asta nul mai apăsa. Încetase cu totul săşi vadă de preocupările sale şi nu mai voia să studieze. De fapt, nu se temea de gazdă, oricear fi avut de gând cu el. Dar decât să se oprească pe scară, săi asculte toate neroziile despre nimicurile de zi cu zi, de care nui păsa nici cât negru sub unghie, toate sâcâielile cu plata chiriei, ameninţările, văicărelile şi să trebuiască să umble cu fofârlica, să se scuze, să mintă-nu, mai bine să se furişeze ca un cotoi pe scară şi să o zbughească nevăzut de nimeni. De altminteri, de astă dată, ajungând în stradă, se miră chiar el de frica lui de aşi întâlni creditoarea. "Când te gândeşti la ce treabă vreau să mă înham, şi mă tem de asemenea fleacuri! îşi spuse el, zâmbind ciudat. Hm… da… totui în mâinile omului şi el lasă totul săi treacă pe sub nas numai fiindcă e laş… astai deja o axiomă… Chiar, de ce sor teme oamenii cel mai tare? Să facă un nou pas, să spună ceva de la ei, de asta se tem cel mai tare. Dar văd că încep să bat câmpii.

The value of personal storytelling in Afrikaans Home Language in the National Curriculum and Assessment Policy Statement Storytelling, in general, is used worldwide as a strategy in informal education. Telling one’s personal life story, a subdivision of the encompassing phenomenon, is a valuable educational tool. In this regard, storytelling on an individual level possesses important characteristics that can be used to enhance teaching strategies. McAdams (2001:101) found that life stories are
especially important in expressing an individual’s identity, thereby enabling them to make sense of their experiences. It is therefore very important that learners receive exposure to and training in telling life stories from an early age. This exposure guides learners in gradually confidently in sharing their life stories upon reaching the age when such activity may be
practiced successfully.
Given the fact that telling life stories is a subdivision of storytelling as a larger global phenomenon, it was important to have a closer look at the functions of storytelling in general.
Storytelling as a general educational tool supports the value of learning the art of telling one’s life story, especially when considering the influence of storytelling with regard to the neuro-development and associated processes and changes in learners. According to Gazzaniga
(2011:75), storytelling reflects a basic ability of the memory to organise, helping a person to present memory thoughts coherently. Particular attention was therefore paid to the Curriculum and Assessment Policy Statement (CAPS) to determine whether the CAPS underlines Gazzaniga’s findings on storytelling and memory functions. It is generally accepted that most people learn best by means of their own meaningful experiences that enable them to connect new knowledge to that which they already believe or understand (Killen 2019:3). The guidelines in the CAPS support the notion that storytelling represents the way in which people use spoken language (discourse) and written language (text) in coherent and meaningful ways (Department of Basic Education 2011:14).
It is necessary to determine whether enough time has been allocated in the CAPS to expose learners to storytelling from an early age. Since McAdams found that life stories can only be told successfully in early adolescence, it was necessary to determine whether this exposure to and training in storytelling skills accumulate until learners in early adolescence
have reached the point where they are able to participate spontaneously and with confidence in telling their life stories.
In this study, the CAPS documents were analysed by means of document analysis to see what kind of storytelling is encouraged, how much time is allocated to storytelling from Grade R to Grade 12 and which skills are acquired, according to the CAPS, for learners to be able to successfully participate in personal storytelling (listening and speaking). Findings in this article show that although learners are exposed to storytelling at a young age, the time allocated in the CAPS for storytelling is not enough to establish a storytelling culture. Also, the time spent on storytelling in class decreases as learners grow older, instead of increases, as would be expected. It is recommended that a partnership be established between the school and the community to address this issue. Teachers do not have enough time in the classroom for personal storytelling to take place, and therefore such a partnership will make a positive contribution in this regard. Moreover, the class situation is not always a safe environment in
which to engage in personal storytelling – a problem that can, however, also be addressed by means of a partnership. When storytelling is learnt in the community, it should not be a strange concept for the individual when he or she encounters it in class. In this way, storytelling should
facilitate the teacher’s task in the classroom.
It is important that trustworthiness be established in a partnership in order for it to become the medium through which the participants may safely expose their identity, thereby also assisting others in engaging in a similar activity. In this way such a partnership will be mutually beneficial to all the role players.

Afrikaans Jackal and Wolf trickster stories: Patterning in the structure and general content This article explores characteristic or repetitive pattern formations in the structure and general content of selected Afrikaans Jackal and Wolf trickster stories. By using a specific methodology,
a corpus of stories was first selected, followed by a comparative analysis of the different stories.
An analysis of repetitive patterns necessitates both syntagmatic and paradigmatic readings of the stories, as demonstrated in both Bremond’s (1977) model, dealing with the action in stories and Greimas’s (1966) actantial model focusing on different functions of characters.
By utilising these analytic models, the methods of storytelling and foregrounding, as well as the meaning of these relationships and of the stories as a whole could be discerned. Pre-existing structural readings of the folk tale, the trickster tale and Jackal and Wolf stories also added
value to the research.
Some examples from the corpus of stories are provided to illustrate and substantiate findings. The corpus consisted of sound recordings by a project team led by Du Plessis (1987:8-14), recordings made by the researcher in the Murraysburg district in June 2010, Jackal and Wolf stories told by Dana Niehaus (2011), and stories from the volumes Die Kaskenades van Jakkals en Wolf (Rousseau, 2011), Die Mooiste  Afrikaanse Sprokies (Grobbelaar & Verster, 2007), and Jakkals en Wolf (Grobbelaar & Verster, 2011).
Both Bremond’s action logic and Greimas’s actantial model proved valuable in describing the structure of the stories and the unique formations of patterns that emerged from the analysis.
For example, the actantial roles (Greimas) in Jackal and Wolf stories represented indications of an underlying deep structure informing countless re-telling of the different stories. Regarding the structure of events (Bremond), it was noticeable that in some of the stories, the episodes followed one another successively, while in others the episodes were embedded in previous episodes.
A comparative reading of the Jackal and Wolf trickster stories revealed significant relationships between the structural elements of the different stories. For example, the stories all take place in a universal past; there are usually three characters in these stories, but usually it is only Wolf that is defeated. The characters are mostly male, and the few female characters
present in the stories remain in the background. The characters constantly find themselves in a space that fluctuates between a domesticated and an undomesticated world. The stories are mainly told by an external narrator-focaliser who narrates and observes and who is not limited to a particular position. These stories are most often told by male storytellers. Many of the storytellers are highly attuned to the audience and they often adapt the stories to suit their target audience (South African children). Many of the storytellers engage the audience by making use of ingenious techniques; for example, by directly involving the audience in dialogue or offering moral lessons.
It clearly emerged that the identity of the hero in these stories depends on the perspective from which the events are considered. The investigated corpus shows that the stories can be described as trickster tales in more ways than one, and that they follow the general patterns of trickster tales. It is also clear that the identified structures remain dynamic.

The relative paucity of research on directing reflects the way in which the practice of directing occursbehind closed-doors (Trousdell 1992). Despite the power afforded to directors, the literature is often comparatively silent on how a director leads a production. Whilst delineating the role of the director can be problematic, the training of directors is a minefield. Unlike actor training where a myriad of theories and methods guide us, the dearth of pedagogical frameworks for teaching directors has resulted in an ad hoc approach at best. Two case studies, conducted by the authors, within the context of conservatoire actor training, formed the basis for research exploring how leadership and creative collaboration could influence directorial practice. This article argues that a significant, and often overlooked aspect of director training is leadership and explores ways in which it can inform director training curriculum. Global #movements over the past five years have forced universities and conservatoires to consider the voices of marginalised and excluded students. By embedding leadership pedagogy into director training there is the potential to create a 'brave new world' where actor efficacy and creative collaboration are the vanguard that take directors into a post pandemic world.

The proliferation of media technologies has redefined theatre performance in contemporary times. This modification which includes mixed-media and mediatization; interactive media; social media; aesthetic communication and spectacle have resulted in a high level of change. As audiences visit the theatre with an increased level of aesthetic taste and newer lens to view performance, theatre directors and designers struggle to find newer methods to tell the dramatic story and create performances to meet the high demand. Sadly, for Christian theatres, especially in Nigeria, the handful of theatre directors and designers actually embracing these new developments have barely scratched the surface of the ongoing renaissance in theatre performance. And this is due to a dearth of documentation on the modus operandi necessary for the creation of these contemporary Christian theatre performances. Sight & Sound Theatres (USA), is a faith-based Christian Theatre in the league of Broadway Theatre with several biblical stories presented on sophisticated stages. This paper engages Ole Thyssen's 'Aesthetic Communication theory' as theoretical framework. It is a descriptive study which engages a content analysis of Sight & Sound's performance of "Joseph", and documents the technical details of creating contemporary Christian performances with the example of "Joseph". Observably, Sight & Sound Theatres prioritizes the inclusion of media and technical elements into performance to enhance performance quality and ensure effective communication of the dramatic story. Hence, by documenting these elements, Sight & Sound Theatres provide a template for the creation of performance in contemporary times, indeed, Christian theatrical productions around the globe.

The presence of the director in African traditional theatre has long been a contentious issue among scholars of theatre. While some argue for the existence of directors in this context, others, particularly advocates of Euro-American theatre, vehemently oppose this view. Their stance rests on the assertion that African traditional performances lack sufficient theatrical elements to be classified as theatre. However, this study supports the assertion that African theatre indeed exists and endeavors to identify the role of the director within African traditional performances. Moreover, the study explores the essence of African theatre, its merits and drawbacks, and delves into the aesthetics of directing and its implications on the African stage. This exploration aims to equip directors seeking to direct or reinterpret African traditional performances with essential insights and guidance. Employing qualitative research methods such as case studies and content analysis, this research seeks to achieve its objectives. The research notes the scarcity of studies focusing on the art of directing in African traditional theatre, highlighting a significant knowledge gap that warrants further investigation in this area.

This work studies the affective dimension on group processes of artistic creation and analyses, particularly, the case of Argentine independent theatre groups in the city of Córdoba. The study-whose methodology included ethnographic interviews and discourse analysis-is based on the question regarding the way in which groupalities are formed and the role played by theatre direction in them. The objective of this paper is to understand how affects contribute to the formation of groups with artistic creation purposes. For that, I first recall my conceptualization, which is based on groupality. Secondly, I review theoretical contributions from Sara Ahmed and others in order to analyse the relationships between groups and affects. Lastly, I systematise four affective dimensions experienced by theatre direction, which intervene in the conformation of theatrical groups. The conclusion of this paper values the emotional dimension as a power for the artistic work itself.

Στον απόηχο της ιταλικής παράστασης Aspettando Godot (Περιμένοντας τον Γκοντό), σε σκηνοθεσία του Θεόδωρου Τερζόπουλου, που παρουσιάστηκε στη Στέγη Γραμμάτων και Τεχνών στις 15-20 Μαΐου, μια συμπαραγωγή του Emilia Romagna Teatro, η Πηνελόπη Χατζηδημητρίου προσθέτει τις δικές της σκέψεις στην πλούσια κριτική αποτίμηση που προκάλεσε η παράσταση. Έχει κατά νου ότι η σκέψη του διεθνούς έλληνα σκηνοθέτη είναι διαποτισμένη με τα αποφθέγματα του Ηράκλειτου, και ότι ο Μπέκετ, ο πιο φιλοσοφικός θεατρικός συγγραφέας του περασμένου αιώνα, σαν τους φιλόσοφους, αγαπούσε τα παλιά, μεγάλα ερωτήματα: τί είναι ο άνθρωπος, ο χρόνος, ο πόνος, η ελπίδα. Έτσι και ο Θεόδωρος Τερζόπουλος.

Günümüz Türk Tiyatrosu'nu besleyen iki kaynaktan biri "Batı Tiyatrosu", diğeri de "Geleneksel Türk Tiyatrosu"dur. Cumhuriyet' in ilk yıllarından günümüze, Türk Tiyatrosu'nun özgünleşmesi yolunda, pek çok uzman, salt Batı Tarzı Tiyatro'ya öykünmenin doğru çözümler getirmediğini, yerine gelenekselden çağdaşa uzanan bize özgü yöntemler bulunması gerektiğini ısrarla dile getirmişlerdir. Böylece, gerek kuramsal, gerekse uygulama alanında çeşitli tartışmalar, girişimler ve araştırmaların yoğunlaştığı yeni bir dönem başlamıştır. Bu dönemde, Batı Tiyatrosu'yla Geleneksel Türk Tiyatrosu'nun ortak ve çağa uygun özelliklerini sentezleyen pek çok oyun yazılmıştır. Bu oyunlardan ikisi, Haldun Taner'in Eşeğin Gölgesi, diğeri de Ferhan Şensoy'un Şahları da Vururlar adlı oyunlarıdır. Geleneksel Türk Tiyatrosu'yla Açık Biçim-Göstermeci Tiyatro'nun ortak özelliklerinden yola çıkılarak oluşturulan bu çağdaş oyunlarda, toplumun ekonomik-politik-sosyal panoraması sergilenirken, yönetenler ve yönetilenler bağlamında, sistemin aksayan yönleri, toplumsal yergi yoluyla eleştirilir.

El escrito profundiza en las concepciones directoriales que se corresponden con formas de crear puestas en escena contemporáneas. Analizamos entrevistas a directoras y directores del teatro independiente y contemporáneo argentino en la ciudad de Córdoba para comprender nociones que les orientan a actuar. Distinguimos tres pares opuestos: el primero está en la disyuntiva de entender las obras como productos o como problemas; el segundo sostiene el dilema de concebir las escenificaciones como acontecimientos o bien como dispositivos, y el tercero, como composiciones de materiales o de significados. Dichas nociones se ponen en diálogo con espectáculos elaborados por estos directores y directoras. Al finalizar considero aspectos de la singularidad del ámbi-to de producción del teatro independiente.

En el trabajo analizamos puestas en escena de directores argentinos de la ciudad de Córdoba: de Gonzalo Marull la obra Clase, escrita por Guillermo Calderón y de Daniela Martin, Recetaria. Estados en ebullición, de dramaturgia colectiva. El propósito del trabajo es analizar las prácticas directoriales en los procesos de creación y las concepciones que guían el quehacer. La particularidad de los casos reside, para el primero, en la presencia del texto dramático al inicio del proceso y, para el segundo, el trabajo desde la ausencia de una escritura fijada. Ambas propuestas pueden entenderse a la luz del concepto de puesta en sense, o puesta en sentido disensual, de Peter Boenisch.

much alive. Cooperating so fully with Westcott on this biography is a strategy that should be considered alongside, for instance, Abramović's re-performance of her own work and that of others in Seven Easy Pieces at the Guggenheim in 2005, or the recent establishment of her institute for the preservation of performance art in Hudson, New York. Moreover, it is not simply that, as Westcott notes in his Epilogue, having reached her sixties, 'Abramović is managing her legacy in advance' (p. 309). The story he tells is of a woman who has always carefully constructed, documented and refined her life/career for public consumption. For example, very early in the first chapter-which establishes Abramović's childhood sense of neglect by her war-hero parents in Yugoslavia-Westcott notes that she often conflates the histories of her great-uncle and grandfather in order to position the latter as a martyred patriarch of the Serbian Orthodox Church. It is also significant that the majority of the photographs, even of her family, in this nicely illustrated book are published courtesy of the 'Abramović archive' rather than the artist herself. Westcott discusses how the iconic video of Art Must Be Beautiful/Artist Must Be Beautiful (1975) was made without an audience, immediately after its original public performance (which had also been filmed) at a festival in Copenhagen. Abramović was unhappy with the lack of precision of the original footage and repeated the savage performance in full and straight away, in future using the second version 'exclusively to represent the performance' (p. 95). Interestingly, Westcott warns against 'orthodox feminist' readings of this piece which position both its title and action as primarily ironic, noting that Abramović rarely identifies with 'Western-style feminism' and that her art occasionally does work through her own lack of self-esteem. The boundaries between 'performance' and 'life' are hazy for Abramović and it is no surprise that this biography comprises detailed and illuminating descriptions of her works as an artist. Indeed, Westcott believes that it is only in performance, in public, that she 'can access the authentic Marina Abramović' (p. 307). He quotes the curator Klaus Biesenbach (p. 307) as saying, 'I think she saw herself as an institution from the very beginning. I think she doesn't see herself that much as a person'. If there is a weakness in this meticulously researched book, it is that occasionally interpretations and opinions are not attributed and are presented as 'fact', thus making it unclear on whose authority and understandings they are based. Still, Westcott has almost certainly produced what will be considered Abramović's definitive biography, at least of her first sixty-five years. There is likely much more to come.

Το γίγνεσθαι Μήδεια μεταστρέφεται εν μέσω της πολλαπλότητας των κυριαρχημένων ρόλων που έχει εσωτερικεύσει και καταφέρνει να διαπεράσει το όριο της υποταγής της. Από αντικείμενο προς χρήση μεταστρέφεται στο υποκείμενο της φυγής. Το Υλικό Μήδειας σε σκηνοθεσία Άτζελας Μπρούσκου φαίνεται πως ανοίγει μια διαπραστασιακή συνομιλία με τη Μήδεια του Frank Castorf.

Για τον τόμο "Σπύρος Α. Ευαγγελάτος", Επιστημονική επιμέλεια: Παναγιώτης Μιχαλόπουλος, Χριστιάννα Μαντζουράνη
Καλλιτεχνική επιμέλεια: Γιώργος Πάτσας, Μορφωτικό Ίδρυμα Εθνικής Τραπέζης / Σειρά: Θεατρική Βιβλιοθήκη Κληροδοτήματος Αλέξη Μινωτή εις μνήμην Κατίνας Παξινού, Αθήνα 2023

In contemporary times, the sophistication of media gadgets coupled with the development of the media-savvy audience has necessitated the theatre to devise alternative ways to sustain audience attention and interest. This has required theatre directors to revisit their approach to interpreting contemporary performance by engaging several elements of aesthetic communication to enhance the overall outlook of the performance and boost show business. Contemporary theatre directors, as the example of Olumide Oki (2023) illustrates, have identified this need by establishing a deliberate use of media elements and thus birthing techniques essential for the creation and interpretation of the contemporary performance. This paper engages Hans-Thies Lehmann's post-dramatic theatre as a theoretical framework. It is a descriptive study that secures its data through participant observation of the 2023 production of Night of Ijalo by the Zion Royal Theatre. Based on the perception that the media has become an intrinsic part of the daily routines of the contemporary audience, Oki prioritizes the need to create a media-intensive theatre experience for the media-savvy audience. Hence, he adopts a mixed-media technique to boost his directorial interpretation and provide a seamless connection with the audience's demand through the deliberate use of aesthetic communication, intermediality, sound prerecording, mediation and mediatisation, and spectacle. With the mixed-media technique which includes the use of several media elements, Oki presents the media as a quintessential part of the contemporary performance and recommends it to theatre directors as a valuable technique for enhancing directorial interpretation and creating a media-oriented theatre experience.

Ako romantika, u umetnosti i životu, znači predavanje bez ostatka, onda je glumac Sava Damjanović prototip teatarskog romantizma. Ovaj banatski krajišnik, robusne spolјašnosti i treperave duše, ispunio je svoju životnu i umetničku sudbinu skoro isklјučivo pozorištem i filmom. Zapravo, može se slobodno reći da je gluma bila njegova sudbina, jedini porok, san i java.

The proliferation of media technologies has redefined theatre performance in contemporary times. This modification which includes mixed-media and mediatization; interactive media; social media; aesthetic communication and spectacle have resulted in a high level of change. As audiences visit the theatre with an increased level of aesthetic taste and newer lens to view performance, theatre directors and designers struggle to find newer methods to tell the dramatic story and create performances to meet the high demand. Sadly, for Christian theatres, especially in Nigeria, the handful of theatre directors and designers actually embracing these new developments have barely scratched the surface of the ongoing renaissance in theatre performance. And this is due to a dearth of documentation on the modus operandi necessary for the creation of these contemporary Christian theatre performances. Sight & Sound Theatres (USA), is a faith-based Christian Theatre in the league of Broadway Theatre with several biblical stories presented on sophisticated stages. This paper engages Ole Thyssen's 'Aesthetic Communication theory' as theoretical framework. It is a descriptive study which engages a content analysis of Sight & Sound's performance of "Joseph", and documents the technical details of creating contemporary Christian performances with the example of "Joseph". Observably, Sight & Sound Theatres prioritizes the inclusion of media and technical elements into performance to enhance performance quality and ensure effective communication of the dramatic story. Hence, by documenting these elements, Sight & Sound Theatres provide a template for the creation of performance in contemporary times, indeed, Christian theatrical productions around the globe.

È imminente l'uscita di un libro dedicato a una traduzione anglosassone dell'apologo di Luigi Pirandello "L'uomo, la bestia e la virtù". La traduzione fu dovuta a un singolare personaggio femminile, la giornalista Alice Rohe, che trovandosi in Italia come corrispondente dell'agenzia United Press, assisté alla prima romana dell'opera nel 1922. Ne rimase affascinata e decise di tradurla.

The aim of this study was to present results of Education to Theatricality (IT: Educazione alla Teatralità) as scientific research and innovative pedagogy in the sector of the education of the person. Education to Theatricality has a lot of purposes to contribute to the psycho-physic well-being of each person; particularly it wants to help everyone to realize himself, as human being and as social actor; it wants to give everybody the chance to reveal his own diversity and specificity, because everybody has a message to convey through his body and his voice. The Education to Theatricality wants to stimulate skills, it wants to develop a better awareness of interpersonal relationships; it wants also give space to the assignment meaning process, because it considers "doing" as important as thinking, which permits to develop awareness about personal acts. Education to Theatricality is a science that includes pedagogy, sociology, human sciences, psychology and performative art in general. The scientific nature of this discipline allows to apply it to the most part of the contexts and of the persons, because it has in the centre of its pedagogical process the human being, as such he is and not necessarily with any skill. The training of the actor-person is one of the most important principles of the Education to Theatricality: the most important purpose is the development of the creativity and the imagination through a work, based on scientific principles that the actor-person leads on himself. The ultimate aim of this science is not to transform the human in an actor-object, shaping him just for packed shows that can be easily sold, but to allow him to enhance his own qualities respecting his personality. The theatrical activity in the school and in the educational centers for children teenagers stimulates and protects the inventive skills of the students.

Tiyatro tarihimizde 1960 sonrası yoğunlaşan doğu-batı sentezi düşüncesi en
özgün biçimlerinden birini Ferhan Şensoy’un tiyatro anlayışı ve 1980 yılında
kurduğu Ortaoyuncular ekibinde bulmuştur. Kendini öncelikle bir yazar olarak
tanımlayan Ferhan Şensoy, ekibinin neredeyse tüm oyunlarında önemli roller
oynamış ve kendine özgü yaklaşımı ile metinlerinin yaşar hâle gelmesinde tüm
ekibine örnek olacak bir oyunculuk üslubu geliştirmiştir. Şensoy’un oyunculuk
üslubunu da belirleyen tiyatro düşüncesi, farklı çalışmalarda incelendiği gibi,
geleneksel Türk tiyatrosunun Orta Oyunu, Karagöz ve Meddah türlerinden,
Brechtyen yaklaşımdan, Fransa’da beraber çalıştığı Jerome Savary ve başka pek
çok isimden izler taşımakla birlikte bir yandan da özgün yazarlık tercihleri ve
seyirci ile kurulmasını hayal ettiği ilişki biçimi ekseninde şekillenmiştir.
Bu çalışmada, spesifik olarak ‘Ferhan Şensoy oyunculuğu’na odaklanılmış
ve kişisel tercihler gibi görünen ama genelde tüm tiyatrosunun üzerine kurulu
olduğu fikirsel düzlemden beslenen Ferhan Şensoy alışkanlıkları ve tercihleri
analiz edilmiştir. Bu tercih ve alışkanlıkların, gösterimlerdeki performanslarında
çözümlenmesi ve bunun tiyatro düşüncesi ve yazarlık anlayışı ile paralel ele
alınması ile ‘Ferhan Şensoy oyunculuğu’nun bir anatomisinin çıkarılması
hedeflenmiştir. Bu bakışla gösterim anındaki entonasyon kuruluşlarından,
zamanlama tercihlerine, seyirci ile kurduğu ilişkiden Ferhangi ‘lazzi’lerine
farklı başlıklarla tercih ve alışkanlıkları odağa alınmıştır. Ferhan Şensoy’un
kendine özgü yaklaşımı ile, hayat ve sanat görüşünün, seyirci ile kurduğu ve
kurulmasını istediği ilişki biçiminin sonucu olan ve belki de daha yazarken
hayal ettiği etkinin sahnelemede de yaratılmasını sağlamayı amaçlayan bir
oyunculuk üslubu yarattığı görülmüştür.
Anahtar Kelimeler: Oyunculuk, Ferhan Şensoy, Tiyatro, Ortaoyuncular