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Which clippings match 'Street Theatre' keyword pg.1 of 1
23 JANUARY 2014

The emergence of living newspapers in the early twentieth century

"The roots of the 'living newspaper' in Europe can be traced to Italian futurism in the early decades of the twentieth century. It was in the young Soviet Union (and principally the Moscow Institute of Journalism), however, that it was developed into a recognisable form of agitprop theatre. Performed by small bands of propagandists, the scripts for zhivaya gazeta were often pasted together from materials found in newspapers–though a high degree of improvisation was also encouraged–and were designed to provide illiterate audiences (such as workers or Red Army recruits) with details of campaigns, battles or other newsworthy events (Casson, 2000). Plays were performed on street corners or in other public spaces, with the aid of a handful of props and simple yet highly symbolic costumes [2].

By the late 1920s, however, zhivaya gazeta were already being seen as passé by many dramatists in the Soviet Union, with all forms of 'revolutionary agitational art' becoming 'increasingly unwelcome', and official attention turning towards the development of more sophisticated forms of theatre in the lead up to the adoption of socialist realism as official state doctrine in 1932 (Frolova‐Walker, 2006: 185). Indeed, Stalin disbanded the Blue Blouse Group, the main exponent of zhivaya gazeta, in 1928 (Casson, 2000:109)."

(Jeremy Taylor. p.29)

[2] Top hats, for instance, were used with much frequency to mark out a particular character as being bourgeois (Tolstoy, 1998: 24).

Jeremy E.Taylor (2013). The Sinification of Soviet Agitational Theatre: 'Living Newspapers' in Mao's China, Journal of the British Association for Chinese Studies, Vol. 2 July 2013.

TAGS

agitational art • agitprop theatre • Blue Blouse Group • dramaturgyearly twentieth centuryFuturism (art movement) • huobaoju • illiterate audiences • improvisationinterventionist art • Jeremy Taylor • John Casson • Journal of the British Association for Chinese Studies • Leo Tolstoy • living newspaper • Marina Frolova-Walker • Moscow Institute of Journalism • newspapers • newsworthy events • pasted together • propaganda • propagandist • public spacesRed Army • revolutionary acts • revolutionary agitational art • socialist realismSoviet Union • state doctrine • street theatre • symbolic costumes • theatre form • theatre history • transformational narrative • yangbanxi • zhivaya gazeta

CONTRIBUTOR

Simon Perkins
11 SEPTEMBER 2010

Participatory communication: dialogic pedagogy & the participatory community media approach

"At the risk of oversimplifying, one may contend that there are two major, but interrelated, approaches to participatory communication (Servaes, 1999). The first approach centers on the dialogic pedagogy of the noted Brazilian educator, Paulo Freire. The second approach, often broadly labeled as the participatory community media approach, or the alternative communication approach, centers on the ideas of access, participation, self–determination, and self–management, sharpened during the UNESCO New World Information Order debates of the 1970s. While both participatory approaches share several commonalties, their arenas of communicative application have been somewhat distinct. For instance, the Freirean theory of dialogic communication is based more on interpersonal and group dialogue in a community setting, and hence, has found more application in the practice of community development, literacy education, participation, and transformation. The participatory community media approach focused on issues of public and community access to appropriate media, participation of people in message design and media production, and self–management of communication enterprises. Its applications are thus more in community radio and television, street theater and folk media, participatory video, and community informatics, Internet, and telecenters."

(Arvind Singhal, Lynn M. Harter, Ketan Chitnis, Devendra Sharma 2007, p.212 – 227)

Arvind Singhal, Lynn M. Harter, et al. (2007). 'Participatory photography as theory, method and praxis: analyzing an entertainment–education project in India.' Critical Arts 21(1): 212 – 227.

TAGS

1970s • African American Studies • alternative communication approach • Bihar • community access • community development • community informatics • community radio • community television • dialogic pedagogy • engagement • entertainment-education • folk media • group dialogue • India • interpersonal dialogue • literacymediamedia production • New World Information Order • participation • participatory communication • participatory community media approach • participatory learning • participatory photography • participatory video • Paulo Freirepedagogy • photo-voice • photographypublic accessself-determination • self-management • social constructionismsocial interactionsocial realitystreet theatre • telecentre • transformationUNESCOvisual literacy • visual pictures

CONTRIBUTOR

Simon Perkins
16 MARCH 2010

Platform Ireland: showcasing Irish arts and culture

"Platform Ireland showcases leading Irish arts and cultural content to audiences worldwide. It is an online venue which features all audiovisual arts content across Ireland from touring arts online to the writers backroom.

It also acts as an arts archive and features the latest arts news where new content can be presented and promoted with a forum for critical debate. Platform Ireland aims to bring Irish arts to a greater audience in order to engage and highlight the work that is taking place all throughout the country."

(Jessica Fuller)

Fig.1 Ulster Bank Dublin Theatre Festival 2009

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TAGS

2009artsarts and cultural practicesarts and culture channel • arts and culture sector • arts archive • arts news • arts online • arts organisationaudiovisualcircuscreative industriescreativity • cultural content • culturedancedesign and technologyDublinDublin Theatre FestivalDun Laoghaire Institute of Art • Enterprise Ireland • festivalforum • IADT • literaturemusicperformanceperforming arts • Platform Ireland • repositoryRepublic of Irelandshowcasespectacle • Still Point Productions • street theatretheatre • Ulster Bank • writers backroom

CONTRIBUTOR

Simon Perkins
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