Жизнь в предлагаемых обстоятельствах / Нина Архипова: театральные мемуары
This collection of essays was published in a form of a catalogue for one of the propgrams screened at the Yamagata International Documentary Film Fstival in October 2019. The program entitled "The Creative Treatment of Grierson in Wartime Japan" was co-organized by the Yamagata International Documentary Film Festival and the National Film Archive of Japan and presented a broad variety of wartime Japanese documentaries as well as British and Soviet films that have influenced them. The collection of essays explores the development of wartime Japanese documentary cinema from variety of historical and theoretical perspectives.
Objective: the main objective of the paper is to systemize the approaches to reveal consumer preferences in the market if performing arts. We focus on the data used in empirical studies, main variables and their measures to determine the preferences and econometric methods of preferences identification.
Methodology: we use metaanalysis of recent papers on the estimation of demand for performing arts and identification of theatregoers’ preferences as main methodology for this research.
Results: the main result is the review of revealed and stated preferences methods, description of its applicability and critical analysis. We also systemized the main variables which determine the consumer behavior in the market of performing arts.
Area of application: this research is aimed to help theatres which are motivated to study the demand function on their services and the portrait of the theatregoer. This study may be applied for tuning the marketing management system and pricing strategy of a theatre.
Conclusions: study of the theatre consumer behavior may be done with the real sales data (method of revealed preferences) or with the consumer survey data (method of stated preferences). Demand and preferences of theatre consumers depend on characteristics of consumer, characteristics of hall and place in a hall, characteristics and date and time of play and performance. Individual preferences, their willingness to pay for attendance and price elasticity of demand is heterogeneous and should be taken into account when modelling the preferences and making management decisions.
This paper deals with the problem of language of Theatre of Cruelty. Theatre of Cruelty is a theatrical project and metaphysical revolution proposed by Antonin Artaud in 1929-1936. It was not merely a suggestion of a new theater, but an attempt to bring back the global meaning to the world lost in the process of separation from culture. Artaud is trying to build a new language as a way of changing the world within the theater. This article discusses the semantics and syntax of Theatre of Cruelty, as an independent language, and presents the analysis of the semantics of the language through the analysis proposed by Gilles Deleuze.
The paper is an attempt to demonstrate that theatrical metaphor plays a paradigmatic role in the philosophy of Schelling, from the very beginning up to the latest versions of his metaphysics. The image of theatrical play serves, in Schelling, as the main pattern for the conceptualization of every process in which freedom and necessity are mediated through each other – of thinking as such, of the World history as a whole, of the very genesis of the world, and of the history of the human consciousness.
The article is devoted to the analysis of Boris Pasternak’s “Hamlet” with the help of some of the key concepts of the philosophy and motives of German romanticism, such as the theater, the night, the world soul, the microcosm and the macrocosm. The author also refers to the concepts of Mikhail Bakhtin’s chronotope and polyphony and to the concept of intertextuality, referring to the influence of German romantic poets on Boris Pasternak’s work.
Studying the heterogeneity of consumers allows to price the product differently for consumer segments or groups of a product. In this paper we estimate a model of aggregate demand for Perm Opera and Ballet Theatre focusing on the heterogeneity in price effect on demand for tickets on different performances and seats. We estimate parameters of demand function using censored quantile regression that accounts for the limited capacity of the theatre house. We reveal the price effect variation across different types of theatrical productions and seats with lower elastic demand on ballets and for seats of higher quality.
The paper examines a rare explored phenomenon of Soviet cover design –a number of official releases produced by the only recording concern Melodija on the one hand, and so-called “tape-albums” became widespread among underground people in the late Soviet Union, on another.