PROBLEMS AND PROSPECTS OF THEATRE ENTREPRENEURSHIP IN THE NIGERIAN ECONOMY Afolabi Taiwo Okunola (Department of Theatre & Film Arts‚ University of Jos‚ Nigeria) Abstract The business of theatre management is business of management. It is a culmination of the directive principles‚ canons and protocols governing theatre and management together to form a formidable team which thus makes a theatre entrepreneur. Being a theatre entrepreneur in Nigeria entails many dilemmas‚ challenges and hurdles. Thus
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The Melbourne Theatre Production ‘Red’ by John Logan‚ provides a potent dramatization into the life of the famous painter Mark Rothko and his notorious withdrawal of his last commission. The play gives insight into a hubristic and didactic man who “wants to be heard” and his art “to be understood” by the world. Through Friels’ clever acting choices; the manipulation of space and lighting; and the revealing ending scene‚ the production effectively engages the audience in the telling of his story.
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in Stephen Chifunyise’s transformative theatre: The case of “Rituals” and “Heal the Wounds” By ISHEUNESU MOYO DISSERTATION SUBMITTED IN PARTIAL FULFILMENT FOR THE DEGREE OF THEATRE ARTS 4TH YEAR SPECIAL HONOURS TO THE UNIVERSITY OF ZIMBABWE’S DEPARTMENT OF THEATRE ARTS SUPERVISED BY KELVIN CHIKONZO May 2012 DECLARATION I declare that this report is my own unaided work. It is being submitted in partial fulfilment of the 4th Year Honours Degree in Theatre Arts to the University of Zimbabwe. It
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in order to understand more clearly what is going on. With these certain conventions‚ the audience can get a true grasp of a story which several actors are trying to portray. However‚ it hasn’t always been this easy to enjoy a play in a theater. Theatre and plays go back as far as “B.C.” times. Theater has been a means of art and entertainment for thousands of years dating back to the fifth century B.C. The beginning marked with the ancient Greek theaters. Over the vast years of cultural and technological
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The Little Theatre Case 9.26 Case 9.26 After the beginning of the year‚ the board of directors of the theater authorized expanding the theater’s program to seven productions and a total of 168 performances. Not surprisingly‚ actual costs were considerably higher than the costs from the planning budget. Grants from donors and ticket sales were also higher. After completing the analysis for the Little Theatre we found that several items could be implemented to have an accurate cost model
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Concept as the basic term of the cognitive linguistics…………………………...6 1.2. The notion of theatre…………………………………………………………….17 II.THEATRE concept in the semantic space of W.S.Maugham’s “Theatre”…………………………………………………………………………….20 2.1. Theatre as it is viewed by W.S.Maugham………………………………………20 2.2. Theatre as people for W.S.Maugham’s…………………………………………23 2.3. The place of tropes in W.S.Maugham’s presentation of the THEATRE concept….............................................................................
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One of the defining elements of postmodern dance making is the integration of many mediums into an all-encompassing performance‚ rather than dance being limited to one specific genre or technique; the rule is‚ there are no rules. World-renowned choreographer Pina Bausch was a pioneer of this medium‚ and popularized the hybridization of movement and dramaturgy‚ commonly referred to as “dance theater.” As a prominent figure in the Postmodern Dance Era‚ Bausch’s presence is an underlying influence in
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partnerships‚ so he had places to practice and perform‚ his driving energy and flexibility. Not only did he create the ability to perform‚ he took it on the road with “station wagon tours”. The first performance of the Alvin Ailey American Dance Theatre was at the New York’s 92nd Street Young Men’s Hebrew Association‚ under the name Alvin Ailey American Dance Theater‚ the production consisted of seven dancers and the artistic director. Thus Ailey was‚ at this point‚ the company’s director‚ choreographer
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Konstantin Stanislavski was one of the most influential modern day theatre practicioners. He developed the naturalistic technique that came to be known as The Stanislavski’s Method or System. Before him‚ the theater was an udisciplined place commonly performing farces which could have been hardly seen as realistic. Instead of trying to educate the audience he strived to suck them into the play‚ letting them forget their ordinary lives and connect to the realistic performance on the stahe. He wished
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It can be argued that Theatre Histories leads the reader too much with it’s active voice in approaching the history of American frontier theatre‚ colouring the view of the reader with it’s specific bias much in the way that the History of the Theatre does. This is true as the bias of the writers will come out within the writing. What must be considered though is that Theatre Histories presents a more racially equitable representation of the theatre when explaining this time that deepens the readers
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