Goh Boon Teck is the chief artistic director of Toy Factory,a Singaporean theater company founded in 1990.According to Goh,a group of young people decided to organize their own theater company due to a love for drama....Goh Boon Teck is the chief artistic director of Toy Factory,a Singaporean theater company founded in 1990.According to Goh,a group of young people decided to organize their own theater company due to a love for drama.The“Toy”in the name of the theater company comes from a Thai shadow puppet artist who worked with them,and“Factory”highlights the organization’s devotion to training theater practitioners for the art community.Goh said that in addition to staging productions,Toy Factory has also vigorously worked to discover new drama artists including actors,designers,and playwrights.展开更多
Renowned theater director Tian Qinxin believes it’s time for foreign audiences to experience the beauty of Chinese culture on the world’s stages through Chinese-language theater.
With the emergence of new media,traditional art forms have also undergone further transformations,revealing their inherent vitality in the media age,as exemplified by the embodied perception of theatrical spaces and s...With the emergence of new media,traditional art forms have also undergone further transformations,revealing their inherent vitality in the media age,as exemplified by the embodied perception of theatrical spaces and stages in video games.The game“Layers of Fear”begins with ancient Horror and immersive artistic illusions,constructing a unique atopia space within the game.The game evokes theatrical memories through“haunted”mansions and paintings,highlighting the dramatic nature of the game and thus building a theatrical pathway at the game’s design level.The game also features unique digital avatars that materialize the player’s presence,further exploring this pathway.Using embodiment as a medium,and visual immersion and the perception of Horror as bridges,further experimentation with digital avatars gradually expands the player’s world and brings the player’s character to the audience.In the virtual world,digital avatars retain the immersion of fiction and illusion,and also imply the possibility of immersive theater practice on digital interfaces.The immersive digital theater of illusion will ultimately be staged in video games and completed in virtual reality games.展开更多
On January 29,2025,the opening ceremony of the 2025"China Today"Arts Week&the Golden Bell Star Performance of Chinese Folk Music"was held at the Carcano Theater in Milan,Italy.The event was hosted b...On January 29,2025,the opening ceremony of the 2025"China Today"Arts Week&the Golden Bell Star Performance of Chinese Folk Music"was held at the Carcano Theater in Milan,Italy.The event was hosted by the China Federation of Literary and Art Circles,the Chinese Consulate General in Milan and the Italy-China Institute for Economic and Cultural Exchanges.展开更多
The Lunar New Year holiday surprised with growth in seat occupancy in cinemas across China.But is the surge enough to pull the film industry from its pandemic-induced slump?
The purpose of this scientific article is to investigate and analyse the inextricable link between politics and theatre,as well as their interdependence in social and political relations in the arena of African stage ...The purpose of this scientific article is to investigate and analyse the inextricable link between politics and theatre,as well as their interdependence in social and political relations in the arena of African stage play in the case of Andrew Buckland’s one-man show,which was performed on Thursday,August 15,2024 at the Market Theatre.As we know,in a particular country,without people,or more precisely,without actors who represent them in a theatrical performance,there are no history,politics,culture,theatre,and no political events in a certain time,space,and territory that we envision.Political events from the recent or distant past are often the subject of theatrical plays and art works in general.Such theatre develops into political theatre.The theatre can identify certain subjects in specific settings and solve their problems in their own way through performance,as well as critically explain and interpret them in terms of results,impacts,and repercussions.The writer of these articles observes the performance and immediately interviews the physical theatre performer Andrew Buckland in the backstage and analyses his performance on the topic of theater and politics correlations as a result from direct observation and audience position involvement.The research indicates the distinction between politics and theatre of one-man show of Andrew Buckland’s“The Ugly Noo Noo”in South Africa market theatre through the theory of Aristotle’s theatre and Brecht’s theatre,which is manifested in their different function and relationship to the state in political and theatre perspectives in depiction of“Identity,Identification,and Cultural Citizenship”.To assess the observed performance,the researcher relies on Aristotle’s and Brecht’s theatre theories.Aristotle’s theatre supports the existing state order as a divine order,but Brecht’s theatre destroys the state order through theatre.Brecht’s theatre transforms into a political theatre,with the goal of awakening and changing the audience’s consciousness,as well as converting it to an ideology that will contribute to the state.These and other theatre and political theories are used to analyze the aforementioned one-man show.In addition,the researcher of these articles uses primary and secondary datasets to define and question terms.To do so,the researcher employs a qualitative research methodology.After conducting an in-depth analysis of the dataset and observing the one-man show,the researcher discovered that Andrew Buckland’s one-man show“The Ugly Noo Noo”theatre depicts not only the past but also the present realities of South Africa and world politics by understanding and observing the very essence of politics,its true nature,and its true meaning.The research findings show that “The 2024 Ugly Noo Noo” is an impressed play that keeps its subversive thrust of the 80s but speaks to us now in this fractured world by narrating universal themes such as natural disasters, humanity and compassion, dreams and aspirations, isolation and connection, tradition vs. change of the world, freedom and oppression, courage and sacrifice, love and relationships, identity and self-discovery, power and corruption, conflict and resolution. He adds powerful and relatable components in his storytelling. As a result, Andrew Buckland’s “The Ugly Noo Noo” exemplifies theater’s power as a platform for political expression in Africa. The show pushes viewers to confront hard truths about identity and belonging in a fast changing world by delving into personal and societal concerns. As South Africa evolves, works like Buckland’s remind us of the long-standing importance of performance in shaping political conversation and promoting understanding.展开更多
During the Chinese New Year of 2024,China National Opera&Dance Drama Theater was invited to Hungary,Sweden,Denmark and Norway to carry out the 2024"Happy Chinese NewYear"tour performance.China National O...During the Chinese New Year of 2024,China National Opera&Dance Drama Theater was invited to Hungary,Sweden,Denmark and Norway to carry out the 2024"Happy Chinese NewYear"tour performance.China National Opera&Dance Drama Theater sent a visiting team composed of 29 artists to touch the hearts of overseas audiences with the art of ethnic singing and dancing and the deep charm of the Chinese culture,and to spread the essence of the Chinese culture in the dialogue with the world.展开更多
Aims and Objectives:The aim of this study was to identify risk factors associated with an increased risk of intraoperative pressure injury in patients undergoing aortic surgery.Background:Intraoperative pressure injur...Aims and Objectives:The aim of this study was to identify risk factors associated with an increased risk of intraoperative pressure injury in patients undergoing aortic surgery.Background:Intraoperative pressure injuries are some of the most signifi cant health problems in clinical practice.According to previous studies,patients undergoing aortic surgery are at high risk of developing an intraoperative pressure injury,with an incidence much higher than that associated with other types of cardiac surgery.Design:This was a nested case-control study.Methods:Following the STROBE checklist,a nested case-control approach was adopted in this study.A patient cohort was selected on the basis of inclusion and exclusion criteria from patients undergoing aortic surgery.Data were collected from these patients by means of a tailored questionnaire designed in-house.Patients with intraoperative pressure injury at the end of surgery were identifi ed as the case group,while the control group consisted of patients without intraoperative pressure injury.Patients in the groups underwent 1:1 matching based on age and sex.Initially,a single-factor analysis was conducted between the two groups.Subsequently,risk factors for intraoperative pressure injury were identifi ed through conditional logistic regression analysis with use of the variables that exhibited statistically signifi cant differences in the single-factor analysis.Results:A total of 400 patients were selected.Among these,167 patients experienced intraoperative pressure injury at an incidence rate of 41.8%.Strict preoperative bed confi nement,deep hypothermic circulatory arrest during surgery,application of norepinephrine or dopamine during surgery,and intraoperative skin wetting were associated with the occurrence of intraoperative pressure injury in patients undergoing aortic surgery.Conclusions:Nurses should thoroughly assess the risk of intraoperative pressure injury and implement appropriate preventative interventions,particularly in high-risk patients undergoing aortic surgery.展开更多
Theater play that shows how textiles, make up, hair dyes and music players has changed along the last six decades, especially due to polymers. It is a play that has a historic, chemical and musical side that introduce...Theater play that shows how textiles, make up, hair dyes and music players has changed along the last six decades, especially due to polymers. It is a play that has a historic, chemical and musical side that introduces the use of ICT （information and communications technology）, such as Faeebook, Moodle platform, Web sites, E-mail, Word, Publisher, PowerPoint, Videos and Digital music. Results in the conduct of the students that participated： assertiveness, self-esteem, tolerance, cooperation, responsibility and teamwork, all of them significantly contributed a meaningful learning about the polymers.展开更多
In the twentieth century,the development of Chongqing Municipality was closely related to the development of China as a whole.Under the background of China’s rapid economic development,the construction of large cultu...In the twentieth century,the development of Chongqing Municipality was closely related to the development of China as a whole.Under the background of China’s rapid economic development,the construction of large cultural buildings is often aimed at stimulating economic growth,improving city image and enriching urban culture.Located in the southwest of China,Chongqing Municipality has gradually transformed from an industrial city to an exciting metropolis after a century of development and transformation.Taking Chongqing Grand Theatre and Chongqing Guotai Arts Center as examples,this study explores the interaction between urban development and cultural image enhancement in Chongqing Municipality.展开更多
The proposed paper focuses on art as a form of cultural expression and it presents data based on ethnographic information of famous Pakistani musical theatres in Lahore, Province of Punjab. Most description of the per...The proposed paper focuses on art as a form of cultural expression and it presents data based on ethnographic information of famous Pakistani musical theatres in Lahore, Province of Punjab. Most description of the performing arts is written by men with an exclusive male perspective. Little or no attempt has been made to explore women lives in performing theatre apart from their assigned role as physical crowd-pullers. This study presents how symbols are used to communicate, as each member of theatre community uses entire repertoire to convey messages, manual gesticulations, body gestures, facial expressions, dance patterns, a particular dress etc. at the cultural level. The central idea of this study is how artists use the body in performance to imagine and enact culture, values, humor, selfhood, and the complex relations among them. It discusses their real backstage life experiences and problems faced as well how and what type of contact they maintain with their audience and admirers. What are their moral values and what kind of social dilemmas they face, how the sexuality of theatre women is being controlled, their fears emotions, distress of theatre women etc. are the major research questions. In short, this anthropological inquiry takes into account all relevant social, cultural, political, economic, and religious dimensions of performing art.展开更多
Yukio Ninagawa （1935-2016） was expected to achieve in a few years the great milestone of directing the complete collection of Shakespeare plays in new Japanese translations. This paper reconsiders Ninagawa＇s direct...Yukio Ninagawa （1935-2016） was expected to achieve in a few years the great milestone of directing the complete collection of Shakespeare plays in new Japanese translations. This paper reconsiders Ninagawa＇s direction from a global/local perspective with a special focus on several last works directed by him： Richard II, performed by young players of the Saitama Next Theater in February 2012, which was especially intended for the local Japanese audience; Ninagawa Macbeth, which was performed in September 2015 and was a revival of the director＇s internationally-acclaimed production, first performed in Japan in 1980 and abroad in 1985 onwards; and Two Gentlemen of Verona, the thirty-first in his series of Shakespeare plays and seventh in his series of Shakespeare plays with all-male casts, in October 2015. His last plays were not as perfect as he was still experimenting. This paper concludes, however, that while possessed by the power of theater, his direction emits its magical and subversive power and suggestion to give the audience vital energy to live in this world of tough conflicts. He continued to hope to make global and local spectators wonder at the plays he directed.展开更多
This study is about Eugene O＇Neill＇s use of ＂medusation＂ as an effective metatheatrical device and foremost achievement in his art. Occurring onstage as an unexpected ＂anagnorisis＂, the medusation is a traumatic...This study is about Eugene O＇Neill＇s use of ＂medusation＂ as an effective metatheatrical device and foremost achievement in his art. Occurring onstage as an unexpected ＂anagnorisis＂, the medusation is a traumatic experience that engenders ritual death. This author argues that the medusation is a quintessentially metatheatrical act, insomuch as here O＇Neill carries out a commentary on the function and functioning of theatre, through the consciously fictitious events that unfold on the stage. In the ＂Introduction＂, the author reviews its development in O＇Neill＇s plays, from the more traditional melodramatic situations of the early works to the subsequent portrayal of a self-defeating pattern calling for psychological violence and symbolic death. In the section called ＂Medusation＂, the author addresses the concept of medusation in order to account for the process whereby O＇Neill＇s people, annihilated by their sudden glimpses into the other within themselves, undergo major physical and spiritual change In ＂Case Studies＂, the author analyzes the chief correlatives of medusation： the dead-in-life, the death mask and the dead double. The author＇s point in this paper is, thus, to show how extensively and pervasively O＇Neill deploys medusation in order to signify a rite of passage that engenders metatheatrical death. Its outcome may either be the perpetuation of an endless spiral of violence and self-defeat, or a premise for rebirth arising from the characters＇ assumption of responsibility as to their share of guilt in the evil of the world, together with the renewed human sympathy and understanding that this awareness brings along展开更多
Antonio Buero Vallejo(1916-2000)was an outstanding Spanish playwright.He reflects on the society,their fears,problems and post war crisis.He well deserves the appellative he was given“the consciousness of Spain”.In ...Antonio Buero Vallejo(1916-2000)was an outstanding Spanish playwright.He reflects on the society,their fears,problems and post war crisis.He well deserves the appellative he was given“the consciousness of Spain”.In this article I analyze the symbols and opposites in three of his plays,two of them of social realism:Stories of a Stair,and The Skylight,and a historical one:The Little Girls(Las Meninas).He creates dramas but always with some touches of good humor.Reading Buero Vallejo is understanding the idiosyncrasy of Spain and its people.展开更多
The 7th Wuzhen Theater Festival,a 10-day annual cultural feast,concluded on Sunday in Wuzhen,the historic water town of China's Zhejiang Province.This cultural extravaganza featured 28 theater performances from 13...The 7th Wuzhen Theater Festival,a 10-day annual cultural feast,concluded on Sunday in Wuzhen,the historic water town of China's Zhejiang Province.This cultural extravaganza featured 28 theater performances from 13 countrics,laded with traditional and innova-tive form of storytelling.Themed"Emerge",this year's festival run from October 25 to November 3.Dramas,art exhibitions,poems,delicious food,many of the pleasant enjoyments in life,were enjoyed by visitors during the 7th Wuzhen Theater Festival.展开更多
文摘Goh Boon Teck is the chief artistic director of Toy Factory,a Singaporean theater company founded in 1990.According to Goh,a group of young people decided to organize their own theater company due to a love for drama.The“Toy”in the name of the theater company comes from a Thai shadow puppet artist who worked with them,and“Factory”highlights the organization’s devotion to training theater practitioners for the art community.Goh said that in addition to staging productions,Toy Factory has also vigorously worked to discover new drama artists including actors,designers,and playwrights.
文摘Renowned theater director Tian Qinxin believes it’s time for foreign audiences to experience the beauty of Chinese culture on the world’s stages through Chinese-language theater.
文摘With the emergence of new media,traditional art forms have also undergone further transformations,revealing their inherent vitality in the media age,as exemplified by the embodied perception of theatrical spaces and stages in video games.The game“Layers of Fear”begins with ancient Horror and immersive artistic illusions,constructing a unique atopia space within the game.The game evokes theatrical memories through“haunted”mansions and paintings,highlighting the dramatic nature of the game and thus building a theatrical pathway at the game’s design level.The game also features unique digital avatars that materialize the player’s presence,further exploring this pathway.Using embodiment as a medium,and visual immersion and the perception of Horror as bridges,further experimentation with digital avatars gradually expands the player’s world and brings the player’s character to the audience.In the virtual world,digital avatars retain the immersion of fiction and illusion,and also imply the possibility of immersive theater practice on digital interfaces.The immersive digital theater of illusion will ultimately be staged in video games and completed in virtual reality games.
文摘On January 29,2025,the opening ceremony of the 2025"China Today"Arts Week&the Golden Bell Star Performance of Chinese Folk Music"was held at the Carcano Theater in Milan,Italy.The event was hosted by the China Federation of Literary and Art Circles,the Chinese Consulate General in Milan and the Italy-China Institute for Economic and Cultural Exchanges.
文摘The Lunar New Year holiday surprised with growth in seat occupancy in cinemas across China.But is the surge enough to pull the film industry from its pandemic-induced slump?
文摘The purpose of this scientific article is to investigate and analyse the inextricable link between politics and theatre,as well as their interdependence in social and political relations in the arena of African stage play in the case of Andrew Buckland’s one-man show,which was performed on Thursday,August 15,2024 at the Market Theatre.As we know,in a particular country,without people,or more precisely,without actors who represent them in a theatrical performance,there are no history,politics,culture,theatre,and no political events in a certain time,space,and territory that we envision.Political events from the recent or distant past are often the subject of theatrical plays and art works in general.Such theatre develops into political theatre.The theatre can identify certain subjects in specific settings and solve their problems in their own way through performance,as well as critically explain and interpret them in terms of results,impacts,and repercussions.The writer of these articles observes the performance and immediately interviews the physical theatre performer Andrew Buckland in the backstage and analyses his performance on the topic of theater and politics correlations as a result from direct observation and audience position involvement.The research indicates the distinction between politics and theatre of one-man show of Andrew Buckland’s“The Ugly Noo Noo”in South Africa market theatre through the theory of Aristotle’s theatre and Brecht’s theatre,which is manifested in their different function and relationship to the state in political and theatre perspectives in depiction of“Identity,Identification,and Cultural Citizenship”.To assess the observed performance,the researcher relies on Aristotle’s and Brecht’s theatre theories.Aristotle’s theatre supports the existing state order as a divine order,but Brecht’s theatre destroys the state order through theatre.Brecht’s theatre transforms into a political theatre,with the goal of awakening and changing the audience’s consciousness,as well as converting it to an ideology that will contribute to the state.These and other theatre and political theories are used to analyze the aforementioned one-man show.In addition,the researcher of these articles uses primary and secondary datasets to define and question terms.To do so,the researcher employs a qualitative research methodology.After conducting an in-depth analysis of the dataset and observing the one-man show,the researcher discovered that Andrew Buckland’s one-man show“The Ugly Noo Noo”theatre depicts not only the past but also the present realities of South Africa and world politics by understanding and observing the very essence of politics,its true nature,and its true meaning.The research findings show that “The 2024 Ugly Noo Noo” is an impressed play that keeps its subversive thrust of the 80s but speaks to us now in this fractured world by narrating universal themes such as natural disasters, humanity and compassion, dreams and aspirations, isolation and connection, tradition vs. change of the world, freedom and oppression, courage and sacrifice, love and relationships, identity and self-discovery, power and corruption, conflict and resolution. He adds powerful and relatable components in his storytelling. As a result, Andrew Buckland’s “The Ugly Noo Noo” exemplifies theater’s power as a platform for political expression in Africa. The show pushes viewers to confront hard truths about identity and belonging in a fast changing world by delving into personal and societal concerns. As South Africa evolves, works like Buckland’s remind us of the long-standing importance of performance in shaping political conversation and promoting understanding.
文摘During the Chinese New Year of 2024,China National Opera&Dance Drama Theater was invited to Hungary,Sweden,Denmark and Norway to carry out the 2024"Happy Chinese NewYear"tour performance.China National Opera&Dance Drama Theater sent a visiting team composed of 29 artists to touch the hearts of overseas audiences with the art of ethnic singing and dancing and the deep charm of the Chinese culture,and to spread the essence of the Chinese culture in the dialogue with the world.
文摘Aims and Objectives:The aim of this study was to identify risk factors associated with an increased risk of intraoperative pressure injury in patients undergoing aortic surgery.Background:Intraoperative pressure injuries are some of the most signifi cant health problems in clinical practice.According to previous studies,patients undergoing aortic surgery are at high risk of developing an intraoperative pressure injury,with an incidence much higher than that associated with other types of cardiac surgery.Design:This was a nested case-control study.Methods:Following the STROBE checklist,a nested case-control approach was adopted in this study.A patient cohort was selected on the basis of inclusion and exclusion criteria from patients undergoing aortic surgery.Data were collected from these patients by means of a tailored questionnaire designed in-house.Patients with intraoperative pressure injury at the end of surgery were identifi ed as the case group,while the control group consisted of patients without intraoperative pressure injury.Patients in the groups underwent 1:1 matching based on age and sex.Initially,a single-factor analysis was conducted between the two groups.Subsequently,risk factors for intraoperative pressure injury were identifi ed through conditional logistic regression analysis with use of the variables that exhibited statistically signifi cant differences in the single-factor analysis.Results:A total of 400 patients were selected.Among these,167 patients experienced intraoperative pressure injury at an incidence rate of 41.8%.Strict preoperative bed confi nement,deep hypothermic circulatory arrest during surgery,application of norepinephrine or dopamine during surgery,and intraoperative skin wetting were associated with the occurrence of intraoperative pressure injury in patients undergoing aortic surgery.Conclusions:Nurses should thoroughly assess the risk of intraoperative pressure injury and implement appropriate preventative interventions,particularly in high-risk patients undergoing aortic surgery.
文摘Theater play that shows how textiles, make up, hair dyes and music players has changed along the last six decades, especially due to polymers. It is a play that has a historic, chemical and musical side that introduces the use of ICT （information and communications technology）, such as Faeebook, Moodle platform, Web sites, E-mail, Word, Publisher, PowerPoint, Videos and Digital music. Results in the conduct of the students that participated： assertiveness, self-esteem, tolerance, cooperation, responsibility and teamwork, all of them significantly contributed a meaningful learning about the polymers.
文摘In the twentieth century,the development of Chongqing Municipality was closely related to the development of China as a whole.Under the background of China’s rapid economic development,the construction of large cultural buildings is often aimed at stimulating economic growth,improving city image and enriching urban culture.Located in the southwest of China,Chongqing Municipality has gradually transformed from an industrial city to an exciting metropolis after a century of development and transformation.Taking Chongqing Grand Theatre and Chongqing Guotai Arts Center as examples,this study explores the interaction between urban development and cultural image enhancement in Chongqing Municipality.
文摘The proposed paper focuses on art as a form of cultural expression and it presents data based on ethnographic information of famous Pakistani musical theatres in Lahore, Province of Punjab. Most description of the performing arts is written by men with an exclusive male perspective. Little or no attempt has been made to explore women lives in performing theatre apart from their assigned role as physical crowd-pullers. This study presents how symbols are used to communicate, as each member of theatre community uses entire repertoire to convey messages, manual gesticulations, body gestures, facial expressions, dance patterns, a particular dress etc. at the cultural level. The central idea of this study is how artists use the body in performance to imagine and enact culture, values, humor, selfhood, and the complex relations among them. It discusses their real backstage life experiences and problems faced as well how and what type of contact they maintain with their audience and admirers. What are their moral values and what kind of social dilemmas they face, how the sexuality of theatre women is being controlled, their fears emotions, distress of theatre women etc. are the major research questions. In short, this anthropological inquiry takes into account all relevant social, cultural, political, economic, and religious dimensions of performing art.
文摘Yukio Ninagawa （1935-2016） was expected to achieve in a few years the great milestone of directing the complete collection of Shakespeare plays in new Japanese translations. This paper reconsiders Ninagawa＇s direction from a global/local perspective with a special focus on several last works directed by him： Richard II, performed by young players of the Saitama Next Theater in February 2012, which was especially intended for the local Japanese audience; Ninagawa Macbeth, which was performed in September 2015 and was a revival of the director＇s internationally-acclaimed production, first performed in Japan in 1980 and abroad in 1985 onwards; and Two Gentlemen of Verona, the thirty-first in his series of Shakespeare plays and seventh in his series of Shakespeare plays with all-male casts, in October 2015. His last plays were not as perfect as he was still experimenting. This paper concludes, however, that while possessed by the power of theater, his direction emits its magical and subversive power and suggestion to give the audience vital energy to live in this world of tough conflicts. He continued to hope to make global and local spectators wonder at the plays he directed.
文摘This study is about Eugene O＇Neill＇s use of ＂medusation＂ as an effective metatheatrical device and foremost achievement in his art. Occurring onstage as an unexpected ＂anagnorisis＂, the medusation is a traumatic experience that engenders ritual death. This author argues that the medusation is a quintessentially metatheatrical act, insomuch as here O＇Neill carries out a commentary on the function and functioning of theatre, through the consciously fictitious events that unfold on the stage. In the ＂Introduction＂, the author reviews its development in O＇Neill＇s plays, from the more traditional melodramatic situations of the early works to the subsequent portrayal of a self-defeating pattern calling for psychological violence and symbolic death. In the section called ＂Medusation＂, the author addresses the concept of medusation in order to account for the process whereby O＇Neill＇s people, annihilated by their sudden glimpses into the other within themselves, undergo major physical and spiritual change In ＂Case Studies＂, the author analyzes the chief correlatives of medusation： the dead-in-life, the death mask and the dead double. The author＇s point in this paper is, thus, to show how extensively and pervasively O＇Neill deploys medusation in order to signify a rite of passage that engenders metatheatrical death. Its outcome may either be the perpetuation of an endless spiral of violence and self-defeat, or a premise for rebirth arising from the characters＇ assumption of responsibility as to their share of guilt in the evil of the world, together with the renewed human sympathy and understanding that this awareness brings along
文摘Antonio Buero Vallejo(1916-2000)was an outstanding Spanish playwright.He reflects on the society,their fears,problems and post war crisis.He well deserves the appellative he was given“the consciousness of Spain”.In this article I analyze the symbols and opposites in three of his plays,two of them of social realism:Stories of a Stair,and The Skylight,and a historical one:The Little Girls(Las Meninas).He creates dramas but always with some touches of good humor.Reading Buero Vallejo is understanding the idiosyncrasy of Spain and its people.
文摘The 7th Wuzhen Theater Festival,a 10-day annual cultural feast,concluded on Sunday in Wuzhen,the historic water town of China's Zhejiang Province.This cultural extravaganza featured 28 theater performances from 13 countrics,laded with traditional and innova-tive form of storytelling.Themed"Emerge",this year's festival run from October 25 to November 3.Dramas,art exhibitions,poems,delicious food,many of the pleasant enjoyments in life,were enjoyed by visitors during the 7th Wuzhen Theater Festival.
