This paper focuses on the language policy of the Republic of Kazakhstan. It is intended to invite the readers for the broadening of the debate on the issues raised. The 20th century, for Kazakhs, became a century of t...This paper focuses on the language policy of the Republic of Kazakhstan. It is intended to invite the readers for the broadening of the debate on the issues raised. The 20th century, for Kazakhs, became a century of tragic events which transformed them into the minority on their own native land. In spite of many collisions in history Kazakhs have not lost their language, the main wealth. At the beginning of the 21st century, Kazakhstan has tackled a lot of problems, connected with national and ethnic issues, social structure, and foreign and home policy. The influence of globalization is felt in every sphere of life in Kazakhstan. Serious ethno-demographic changes have occurred after gaining independence. Kazakhstan from the state with two dominating Kazakh and Russian diasporas has turned to the state with dominating one, the Kazakh ethnos. State language of the Republic of Kazakhstan now is Kazakh due to implementation of language policy展开更多
This paper examines the directing, acting and rehearsal process in transforming the ancient Babylonian epic Gilgamesh for the stage using performers＇ journals as a means of determining the effect of corporeal non-wes...This paper examines the directing, acting and rehearsal process in transforming the ancient Babylonian epic Gilgamesh for the stage using performers＇ journals as a means of determining the effect of corporeal non-western styles on actors whose prior experience was almost exclusively in naturalistic and text-based theatre. The introduction of theatrical elements from multiple cultures including puppetry and the masks and techniques of Noh drama created a multi-tiered field for intercultural exchange. While Patrice Pavis＇s hourglass model for the transfer of theatrical material from a source to a target culture may hold true for productions that use linear modes of transmission, translation and incorporation of text, music, costumes and styles, its limitations make it necessary to posit alternative theories that take into account intercultural rehearsal practices, the collaboration of source and target culture and the dynamic interactions that take place through the agency of actor training in the fleshly physical theatre.展开更多
文摘This paper focuses on the language policy of the Republic of Kazakhstan. It is intended to invite the readers for the broadening of the debate on the issues raised. The 20th century, for Kazakhs, became a century of tragic events which transformed them into the minority on their own native land. In spite of many collisions in history Kazakhs have not lost their language, the main wealth. At the beginning of the 21st century, Kazakhstan has tackled a lot of problems, connected with national and ethnic issues, social structure, and foreign and home policy. The influence of globalization is felt in every sphere of life in Kazakhstan. Serious ethno-demographic changes have occurred after gaining independence. Kazakhstan from the state with two dominating Kazakh and Russian diasporas has turned to the state with dominating one, the Kazakh ethnos. State language of the Republic of Kazakhstan now is Kazakh due to implementation of language policy
文摘This paper examines the directing, acting and rehearsal process in transforming the ancient Babylonian epic Gilgamesh for the stage using performers＇ journals as a means of determining the effect of corporeal non-western styles on actors whose prior experience was almost exclusively in naturalistic and text-based theatre. The introduction of theatrical elements from multiple cultures including puppetry and the masks and techniques of Noh drama created a multi-tiered field for intercultural exchange. While Patrice Pavis＇s hourglass model for the transfer of theatrical material from a source to a target culture may hold true for productions that use linear modes of transmission, translation and incorporation of text, music, costumes and styles, its limitations make it necessary to posit alternative theories that take into account intercultural rehearsal practices, the collaboration of source and target culture and the dynamic interactions that take place through the agency of actor training in the fleshly physical theatre.
