Thematische Bibliographien / Experimental theatre

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Auswahl der wissenschaftlichen Literatur zum Thema „Experimental theatre“

Autor: Grafiati

Veröffentlicht am 4. Juni 2021

Zuletzt aktualisiert am 21. Februar 2023

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Zeitschriftenartikel zum Thema "Experimental theatre"

Firestein, Stuart. „Experimental theatre“. Nature 443, Nr. 7114 (Oktober 2006): 913–14. http://dx.doi.org/10.1038/443913a.

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Kauffmann, Stanley. „Broadway and the Necessity for ‘Bad Theatre’“. New Theatre Quarterly 1, Nr. 4 (November 1985): 359–63. http://dx.doi.org/10.1017/s0266464x00001779.

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Is Broadway necessary? As the focus for new writing and major experimental work in the USA shifts ever further from the old theatre district around Times Square – first to off- and then to off-off-Broadway, more recently to the flourishing regional theatres – many critics have come to regard Broadway either as an economic anachronism, failing to perpetuate past glories, or simply as an irrelevance to ‘real’ theatre. Yet Stanley Kauffmann argues that a focal point for a nation's theatre is more than the sum of sometimes fraying parts, and works on the imagination in ways that cannot be evaluated by the fragmentary assessment of succeeding productions; and here he analyses the ‘organism’ that Broadway remains, and the function it performs. Stanley Kauffmann has been theatre critic for the New York Times, the New Republic, and the Saturday Review, while the most recent of his full-length works is Theater Criticisms (1984).

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Jesenko, Primož. „Balbina’s “theatre in the round”“. Maska 31, Nr. 181 (01.12.2016): 160–65. http://dx.doi.org/10.1386/maska.31.181-182.160_7.

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With an overview of the life and work of Balbina Battelino Baranovič (1921–2015), the article emphasises her role in the Slovenian theatre scene. She founded theatres, researched contemporary theatrical practices, and, thanks to a strong connection to French and American theatre, broadened the horizons of the Slovenian and Yugoslav theatre of the time, while enabling actors to flourish under contemporary approaches. The founder of the Experimental Theatre, she also introduced theatre in the round to the Slovenian artistic space.

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Sierz, Aleks. „Experimental Theatre in Cario“. New Theatre Quarterly 12, Nr. 45 (Februar 1996): 86–87. http://dx.doi.org/10.1017/s0266464x00009672.

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Shepard, Sam. „Experimental Theatre Then and Now“. PAJ: A Journal of Performance and Art 40, Nr. 1 (Januar 2018): 3–4. http://dx.doi.org/10.1162/pajj_a_00388.

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Roche, Anthony. „Experimental Irish theatre: after Yeats“. Irish Studies Review 21, Nr. 2 (Mai 2013): 247–49. http://dx.doi.org/10.1080/09670882.2013.777618.

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Lacey, Stephen, und Andrew Davies. „Other Theatres: The Development of Alternative and Experimental Theatre in Britain“. Yearbook of English Studies 20 (1990): 360. http://dx.doi.org/10.2307/3507640.

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Cornish, Roger, und Andrew Davies. „Other Theatres: The Development of Alternative and Experimental Theatre in Britain“. Theatre Journal 40, Nr. 4 (Dezember 1988): 576. http://dx.doi.org/10.2307/3207914.

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Stadtler, Florian. „National representations, national theatres: Aubrey Menen and the experimental theatre company“. Studies in Theatre and Performance 38, Nr. 1 (22.03.2017): 23–35. http://dx.doi.org/10.1080/14682761.2017.1303282.

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Douxami, Christine. „Brazilian Black Theatre: A Political Theatre Against Racism“. TDR/The Drama Review 63, Nr. 1 (März 2019): 32–51. http://dx.doi.org/10.1162/dram_a_00815.

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Black Brazilian theatre constitutes a political and artistic response to the racial discrimination characteristic of Brazilian society. As early as 1944, young members of the recently created black political movement saw theatre as a potential weapon to transform Brazilian society and created the Teatro Experimental do Negro (Black Experimental Theatre). This activist theatre continues to this day to pave the way for other black theatre companies.

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Dissertationen zum Thema "Experimental theatre"

Mikkola-Parnanen, Marja. „Experimental theatre in Old Town, Alexandria, Virginia“. Thesis, Virginia Polytechnic Institute and State University, 1995. http://hdl.handle.net/10919/53403.

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Theatre would be radical, arousing, inspiring, challenging popular emotion, presenting native problems. Human strength and aspiration would go there for inspiration..." - Frank Lloyd Wright- Bruce Brooks Pfeiffer, Gerald Nordland: Frank Lloyd Wright in the realm of ideas, Bynum, NC: Southern Illinois University Press, 1988, page 100
Master of Architecture

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Cook, Patricia Margaret Anne de Gruchy Carleton University Dissertation Canadian Studies. „National cultures and popular theatre; four collective companies in Quebec and Newfoundland“. Ottawa, 1986.

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Thompson, Juli A. „Ariane Mnouchkine and the Theatre du Soleil /“. Thesis, Connect to this title online; UW restricted, 1986. http://hdl.handle.net/1773/10228.

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Parsons, Rosemary Frances. „Group devised theatre a theoretical and practical examination of devising processes /“. Master's thesis, Australia : Macquarie University, 2007. http://hdl.handle.net/1959.14/71211.

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Thesis (MPhil)--Macquarie University, Division of Society, Culture, Media and Philosophy, Department of Critical and Cultural Studies, 2007.
Bibliography: leaves 241-251.
Introduction -- Re-devising theatre: towards a genealogy of devising practice -- Pre-devising: group formation, development and games -- Devising theatre: This is not an exit -- Conclusion.
This non-traditional thesis explores the practical and theoretical processes of group-devised theatre. The research informing this thesis is derived from two interrelated components - a practical project in group devising, and a theoretical study of alternative theatre, devising methodologies, and performance theory. -- Chapter One defines "devising" before tracing its origins through the development of experimental practices from the historical avant-garde to the present day. These practices include radical disruptions to discursive language and structure, increased multimedia, reconsiderations of the performer's function and the use of improvisation. This genealogy is argued to be a "literature of practice" capable of informing contemporary devising projects, as well as helping to establish the position of devising within contemporary performance theory. -- Chapter Two examines how creative collaborators begin to form and function as a devising group, a period I theoretically term "pre-devising". By examining the experiences of my group, gaps in devising literature concerning group formation and composition are identified, complemented by an investigation into the role of theatre games in building ensemble. -- Chapter Three draws upon the genealogy of devising, devising literature and performance theory to interrogate the process of devising our production, This Is Not An Exit. The theoretical and practical problems of our methods are explored. These methods include organising the group as an artistic democracy, developing naturalistic characters, and establishing a "postmodern aesthetic". By analysing our experiences, this chapter attempts to illustrate the complex tangle of influences informing contemporary performance practitioners, and highlight areas ripe for future critical research.
Mode of access: World Wide Web.
251 leaves

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Ribeiro, Cristina Sanches. „The Living Theatre e a criação coletiva : intersecções no teatro brasileiro“. Universidade do Estado de Santa Catarina, 2016. http://tede.udesc.br/handle/handle/2591.

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Submitted by Luiza Kleinubing (luiza.kleinubing@udesc.br) on 2018-03-19T19:36:46Z No. of bitstreams: 1 CRISTINA SANCHES RIBEIRO.pdf: 1576413 bytes, checksum: 2458aaf5b53d0e457d5665f4cdc30b20 (MD5)
Made available in DSpace on 2018-03-19T19:36:46Z (GMT). No. of bitstreams: 1 CRISTINA SANCHES RIBEIRO.pdf: 1576413 bytes, checksum: 2458aaf5b53d0e457d5665f4cdc30b20 (MD5) Previous issue date: 2016-09-09
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
This thesis aims to investigate the collective creation development in the North American theater following the trajectory of the group Living Theatre, and consider its intersections with some Brazilian theater groups after meeting up with the collective Teatro Oficina in the 70‟s in Brazil. This dissertation intents to consider the historical context, the artistic influences and the various theoretical aspects that led the Living Theatre to seek a new form of theater, more connected to everyday life and social concerns. The depletion of traditional artistic expression forms gathered with the artists sight on the political and social scope ended up creating a new way of producing artistically. The study evaluates the literature on the trajectory of the Living Theatre since its foundation, its most striking plays until their coming to Brazil by the invitation of the Brazilian group. Investigates through literature of the founders Judith Malina, Julian Beck and other bibliographies, the procedures that were gradually developed in this period and thrived to the process of collective creation. The research is guided through the analysis of the Living plays: The Connection, The Brig, Frankenstein, Paradise Now and the Legacy of Cain and Teatro Oficina play, Gracias Señor. The study identified the features and criteria of the Living Theatre course for the development of the collective creation process, serving as inspiration for many contemporary theater groups, especially in America and Europe.
Este trabalho tem por objetivo investigar o desenvolvimento da criação coletiva no teatro norteamericano a partir do início da trajetória do grupo teatral Living Theatre, e considerar suas intersecções em certos grupos do teatro brasileiro a partir da vinda do grupo ao país e do encontro com o coletivo Teatro Oficina na década de 1970. Este estudo busca considerar o contexto histórico, as influências artísticas e as diversas vertentes teóricas que levaram o Living Theatre a buscar uma nova forma de fazer teatro, mais conectado com a vida cotidiana e com preocupações sociais. O esgotamento das formas tradicionais de expressão artística e o interesse a aspectos sociais e políticos pelos artistas acabou criando uma nova forma de produzir artisticamente. O trabalho avalia a bibliografia sobre a trajetória do Living Theatre, desde sua fundação, suas montagens mais marcantes até a vinda ao Brasil, a convite do grupo brasileiro. Investiga através de relatos dos fundadores Judith Malina e Julian Beck e outras bibliografias, os procedimentos que foram desenvolvidos paulatinamente neste período e progrediram para o processo da criação coletiva. A pesquisa se dá através da análise dos espetáculos do Living: The Connection, The Brig, Frankstein, Paradise Now e o Legado de Caim e do espetáculo do Teatro Oficina, Gracias Señor. O estudo identificou critérios e recursos da trajetória do Living Theatre para o desenvolvimento do processo de criação coletiva, servindo de inspiração para muitos grupos no teatro contemporâneo, principalmente na América e Europa.

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Hoppe, Meredith A. „Breaking tradition reaching for the avant-garde in theatre for young audiences /“. Orlando, Fla. : University of Central Florida, 2009. http://purl.fcla.edu/fcla/etd/CFE0002968.

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Karafistan, Rachel. „Shamanic dimensions within theatre practice today : an experimental and theoretical investigation“. Thesis, University of Brighton, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.366633.

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Theodoridou, Danae. „Short (research) stories : drama and dramaturgy in experimental theatre and dance practices“. Thesis, Roehampton University, 2013. http://hdl.handle.net/10142/283932.

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This practice-as-research project discusses modes, processes and aesthetics of contemporary dramaturgy, as practiced in experimental theatre and dance works in Europe from the 1990s onwards. In order to do this, the project draws particularly on discourses around ‘drama’ and suggests that the term can be redefined and usefully rehabilitated for both analysis and the creation of experimental performances. More specifically, this project defines drama (deriving from the Greek dro=act) as stage action, and dramaturgy (deriving from the Greek drama + ergo= work) as a practice that works endlessly for the creation of this drama/action on stage and is therefore always connected with it. In order to approach the newly proposed notion of ‘experimental drama’, this research uses the six main dramatic elements offered by Aristotle in his Poetics: plot, character, language, thought, the visual and music. Furthermore, it adds a seventh element: the spectator and contemporary understandings around the conditions of spectatorship. It then offers an analysis of dramaturgical processes and aesthetics of experimental stage works through these elements. Given that this is a practice-as-research project, it is accordingly multi-modal and offers its perspectives on dramaturgy and experimental drama through both critical and performance texts, documentation traces (photographs and video recordings) of artistic practice – all present in this thesis – and a live event; all these modes complement each other and move constantly between the stage and the page to proceed with the research’s inquiries. The current thesis has borrowed the dramaturgical structure of two artistic projects, created within the frame of this research practice, to generate its writings. The introductory parts of this text place the work within the discourse on practice-as-research and discuss the project’s proposal for an analysis of contemporary dramaturgy through drama. The Short (Research) Stories that follow analyze experimental works, created both within the frame of this research practice and outside it, by other artists, following the Aristotelian model. The element of spectatorship intervenes in this analysis instead of standing separately in the thesis. The project’s closing live event returns from the page to the stage to continue and add to discussions around central issues of the work, in its various distinct modes.

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Entell, Bettina S. „Post-Tian'anmen: a new era in Chinese theatre experimentation during the 1990s at Beijing's China National Experimental Theatre/CNET“. Thesis, University of Hawaii at Manoa, 2002. http://hdl.handle.net/10125/3016.

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The 1990s was a period of rapid transformation in China. Leaders Jiang Zemin and Zhu Rongji accelerated policies initiated by Deng Xiaoping, as China embraced "Socialism with Chinese Characteristics." Far-reaching socioeconomic and cultural change cut across every facet of Chinese society and had a tremendous impact on huaju ("spoken drama") and the State Theatre System. This study examines how and to what extent the conditions and challenges of the 1990s fostered a climate for experimentation and impacted the aesthetics of huaju. The research first establishes a context for huaju--its evolution and ideological background over the last century proceeding to a more detailed view of the 1990s. This decade witnessed significant new phenomena: a rising entrepreneurial class, a vibrant alternate "gray" culture, the proliferation of "little theatres," "free-lance" theatre artists, and the "independent theatre studios" of directors Lin Zhaohua, Meng Jinghui, and Mou Sen. Focusing on Beijing's prestigious China National Experimental Theatre (CNET), the research provides a detailed analysis of the inner workings of the State Theatre System--the transition from "iron rice bowl" to "contract system," new management, producing, and financing practices, and the endeavor to build an audience for huaju amid dwindling State subsidies. The study characterizes the range of styles and genres at CNET during the 1990s: "main melody," "personal realism," "nationalization," "foreign," and "experimental avant-garde" plays. Representative productions, embodying a variety of Western and indigenous Chinese performance styles, aesthetics, and techniques, are examined. The research highlights the experimental work of leading avant-garde directors, Lin Zhaohua and Meng Jinghui, and presents an in-depth analysis of four CNET productions: Lin's Go Man, Meng's The Nun and the Monk and Gossip Street, and Tian Qinxin's Fields of Life and Death. Following the production process--from conception; through rehearsal; to performance; and official, critical, and popular reception--the study explores directorial methods, acting techniques, director/actor/designer interactions, and current theatre practices as they impact dynamics of mise-en-scene. During the 1990s, the parameters of both form and content in huaju grew more complex, as experimental techniques, once the exclusive domain of the avant-garde, were increasingly appropriated by the mainstream.
Thesis (Ph. D.)--University of Hawaii at Manoa, 2002.
Mode of access: World Wide Web.
Includes bibliographical references (leaves 396-479).
Electronic reproduction.
Also available by subscription via World Wide Web
xxi, 479 leaves, bound col. ill. 29 cm

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Hamilton, Margaret School of Media Film &amp Theatre UNSW. „From the 'New Wave' to the 'Unnameable': post-dramatic theatre & Australia in the 1980s & 1990s“. Awarded by:University of New South Wales. School of Media, Film & Theatre, 2005. http://handle.unsw.edu.au/1959.4/24266.

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The object of this dissertation is to re-assess Australian examples of ???performance??? in light of discourses and directions in dramaturgy that have emerged since the 1970s internationally. The thesis applies Hans-Thies Lehmann???s comprehensive theory of post-dramatic theatre to explicate examples of departures from dramatic theatre in view of the expansive field of inquiry implied by the description ???performance??? or ???new media arts??? and general cultural-political theory. To examine the de-centralisation of text specific to post-dramatic theatre the dissertation analyses firstly, material devised collaboratively at all stages of creative development in its case studies of the Sydney based companies The Sydney Front (1986-1993) and Open City (1987 -); and secondly, Heiner M??ller???s concept of ???literature??? written for the theatre and in opposition to its convention. In addition, the analysis of M??ller serves as an introduction to a comparative analysis of a dramatic (literary) theatre project by a group of Aboriginal artists based on a post-dramatic text by M??ller. This dissertation endeavours to contribute to documentation on post-dramatic theatre in Australia and more broadly, to conceptions of contemporary forms of dramaturgy. More specifically, the thesis argues that dramaturgy no longer necessarily concerns the identification of an aesthetic locus that explicitly explicates the audience???s relation to a known macrocosm. Instead, the thesis conceives of dramaturgy as a compositional strategy that can be thought of within the bounds of Aristotle???s perfunctory visual dimension ???opsis??? and elaborated upon in terms of Kristeva???s theory of the ???thetic??? as regulating ???semiotic??? incursions into the ???symbolic??? order. In doing so, the thesis proposes the concept of a ???televisual??? and an ???abject??? dramaturgy, the latter on the basis of a relation to the older tradition of carnival and identifies a link between intertextuality (transposition) and dramaturgical strategies that engage the spectator in the theatre situation and the dissolution of logocentric hierarchy.

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Bücher zum Thema "Experimental theatre"

Walsh, Ian R. Experimental Irish Theatre. London: Palgrave Macmillan UK, 2012. http://dx.doi.org/10.1057/9781137001368.

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Shank, Theodore. American alternative theatre. New York: St. Martin's Press, 1988.

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Walsh, Ian R. Experimental Irish theatre: After W.B. Yeats. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan, 2012.

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Experimental Irish theatre: After W.B. Yeats. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan, 2012.

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Kirby, Michael. A formalist theatre. Philadelphia: University of Pennsylvania Press, 1987.

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A formalist theatre. Philadelphia: University of Pennsylvania Press, 1987.

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Kirby, Michael. A formalist theatre. Philadelphia: University of Pennsylvania Press, 1987.

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Innes, C. D. Avant Garde Theatre. London: Taylor & Francis Inc, 2004.

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Kirby, Michael. A formalist theatre. Philadelphia: University of Pennsylvania Press, 1987.

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Queer theatre. New York: Methuen, 1986.

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Buchteile zum Thema "Experimental theatre"

Shepherd, Simon. „Experimental Theatre“. In The English Theatrical Avant-Garde 1900-1925, 1–27. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003033295-1.

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Wolff, Tamsen. „Experimental Breeding Ground“. In Mendel's Theatre, 113–40. New York: Palgrave Macmillan US, 2009. http://dx.doi.org/10.1057/9780230621275_4.

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Walsh, Ian R. „Experimental Contexts“. In Experimental Irish Theatre, 10–36. London: Palgrave Macmillan UK, 2012. http://dx.doi.org/10.1057/9781137001368_2.

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Cameron, Alasdair. „Experimental Theatre in Scotland“. In Contemporary British Theatre, 123–38. London: Palgrave Macmillan UK, 1996. http://dx.doi.org/10.1007/978-1-349-25091-2_9.

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Cameron, Alasdair. „Experimental Theatre in Scotland“. In Contemporary British Theatre, 123–38. London: Palgrave Macmillan UK, 1994. http://dx.doi.org/10.1007/978-1-349-23078-5_9.

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Walsh, Ian R. „Introduction“. In Experimental Irish Theatre, 1–9. London: Palgrave Macmillan UK, 2012. http://dx.doi.org/10.1057/9781137001368_1.

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Walsh, Ian R. „Experiments in Representation“. In Experimental Irish Theatre, 37–73. London: Palgrave Macmillan UK, 2012. http://dx.doi.org/10.1057/9781137001368_3.

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Walsh, Ian R. „Experiments in Gender“. In Experimental Irish Theatre, 74–94. London: Palgrave Macmillan UK, 2012. http://dx.doi.org/10.1057/9781137001368_4.

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Walsh, Ian R. „Experiments in Verse“. In Experimental Irish Theatre, 95–122. London: Palgrave Macmillan UK, 2012. http://dx.doi.org/10.1057/9781137001368_5.

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Walsh, Ian R. „Experiments in Theatre: Maurice Meldon“. In Experimental Irish Theatre, 123–63. London: Palgrave Macmillan UK, 2012. http://dx.doi.org/10.1057/9781137001368_6.

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Konferenzberichte zum Thema "Experimental theatre"

van Dijk, Betsy, Rieks op den Akker, Anton Nijholt und Job Zwiers. „Navigation assistance in Virtual Worlds“. In 2001 Informing Science Conference. Informing Science Institute, 2001. http://dx.doi.org/10.28945/2364.

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In this paper we report about ongoing research on navigation assistance in virtual environments. Our aim is to contribute to the development of forms of navigation assistance that enable non-professional visitors of a virtual environment to find their way without previous training. The environment used in this research is a virtual theatre that models a real world music theatre. This virtual theatre can be used for exploration as well as for transactions and goal-directed search for information. We first present some design principles for navigation assistance in virtual environments and some design criteria for assistance by personal agents. Subsequently we describe how these principles and criteria have been implemented in our experimental virtual theatre environment. Finally we give an overview of future research plans.

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Khalil, Essam E., und Ahmed ElDegwy. „Simulation of Thermal Management in a Surgical Operating Theatre and Its Experimental Verification“. In AIAA Propulsion and Energy 2019 Forum. Reston, Virginia: American Institute of Aeronautics and Astronautics, 2019. http://dx.doi.org/10.2514/6.2019-4224.

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Zlotowski, Jakub, Timo Bleeker, Christoph Bartneck und Ryan Reynolds. „I Sing the Body Electric An experimental theatre play with robots [video abstract]“. In 2013 8th ACM/IEEE International Conference on Human-Robot Interaction (HRI). IEEE, 2013. http://dx.doi.org/10.1109/hri.2013.6483630.

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Khalil, Essam. „Experimental Investigation of Flow Regimes in An Operating Theatre of 1200-Beds Teaching Hospital“. In 46th AIAA/ASME/SAE/ASEE Joint Propulsion Conference & Exhibit. Reston, Virigina: American Institute of Aeronautics and Astronautics, 2010. http://dx.doi.org/10.2514/6.2010-6933.

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Shekriladze, Irakli G., Giorgi I. Gigineishvili, Jondo G. Rusishvili und David I. Shekriladze. „Investigation of Duration-Dependent Multifactoring During Boiling on Down-Facing Heating Surface“. In 2010 14th International Heat Transfer Conference. ASMEDC, 2010. http://dx.doi.org/10.1115/ihtc14-23386.

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A model of the “theatre of director” (MTD) links dependence of developed boiling HTC only on two external parameters (heat flux and average effective radius of active nucleation sites) to short duration of each action of cooling mechanisms. According multifactoring concept (MFC) significant prolongation of the actions of cooling mechanisms leads to transition to specific regimes with dependence on increased number of factors (duration-dependent multifactoring (DDM)). Splitting of developed boiling heat transfer curve into several curves, depending on sublooling of bulk liquid, direction of gravity field and thermal parameters of heating surface, has been fixed through experimental study of DDM of pool boiling heat transfer on downward-facing horizontal heating surface. Interpretation and qualitative analysis of received experimental data on HTC and video-films of characteristic boiling regimes allow to arriving at the conclusion about applicability of unified consistent research framework MTD-MFC in terms of description of diversity of boiling heat transfer curves.

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Drossinou-Korea, Maria. „Targeted, individually structured special education and training intervention programs and pedagogical applications in museum“. In 7th International e-Conference on Studies in Humanities and Social Sciences. Center for Open Access in Science, Belgrade, 2021. http://dx.doi.org/10.32591/coas.e-conf.07.11107d.

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Anthropocentric museums are “an important place in public debate, creation and questioning ideas” because they can have a positive impact on the lives of underprivileged or marginalized people. They can also strengthen specific communities and contribute to the creation of fairer societies. The science of Museology together with the science of Special Education and Training (SET) support with the Targeted Individual Structured and Integrated Program for Students with Special Educational needs (TISIPfSEN), in children and young people with special educational needs and disabilities (SENDs). The purpose of this work was to study museology applications in accordance with the pedagogical tool TISIPfSEN. The main working hypothesis explored access to theatre and entertainment events, museums and archaeological sites of people with SENDs, which is not always an easy process given that they are a heterogeneous group due to their inherent or acquired specificity. The applications also drew pedagogical materials through the charm of the art of theatre and puppetry. In this context, performances were given free of charge through the Kalamata Experimental Stage to children and young people with SENDs, in the city of Kalamata and Sparta. This project led to voluntary application from students of department of history of University of Peloponnese. The results showed that people’s disability does not always mean impotence. Accessibility to museum programs and theatrical events in modern organized societies is possible. The learning process becomes accessible with the pedagogical tool TISIPfSEN to people with special needs. Necessary conditions, knowledge in the SET and the necessary training of all according to universal design. In conclusion, TISIPfSEN museum pedagogical programs facilitate different social groups in approaching, understanding the differential material culture, with alternative forms of communication and learning, given that heterogeneity in nature is a universal phenomenon.

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Banno, Mariasole, Andrea Albertini, Ileana Bodini, Sandro Trento und Valerio Villa. „Theatre teaches“. In Fourth International Conference on Higher Education Advances. Valencia: Universitat Politècnica València, 2018. http://dx.doi.org/10.4995/head18.2018.8098.

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Theatre teaches is a new experiment carried out at the University of Brescia. The growing importance of transversal competences i.e. those skills that essentially concern attitudes in the workplace and interpersonal relationships such as team work, language and communication skills, gave us the idea to develop an educational innovation to help students bring out these skills. We asked students to wrote a play using topics seen in class. So, they tried to wrap their mind around it and worked in team to write a script and get him to scene. Not to be confused to business theatre, this method is applicable in any framework. The assessment results reveal that students appreciate this method because this work helps them to express theirself better and, in general terms, they could improve their non techniocal skills. In conclusion, we can say that this experiment has been a success and gave the students the opportunity to show transversal competences. The ability to communicate, to teamworking, to manage conflicts, to speak in public, to problem solving, creativity, imagination, the ability to manage unforeseen situations and tolerate pressure and stress, leadership skills, negotiation skills and the ability to motivate are just few of the emergent competences.

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Williams, Douglas L., Ian C. Kegel, Marian Ursu, Pablo Cesar, Jack Jansen, Erik Geelhoed, Andras Horti, Michael Frantzis und Bill Scott. „A Distributed Theatre Experiment with Shakespeare“. In MM '15: ACM Multimedia Conference. New York, NY, USA: ACM, 2015. http://dx.doi.org/10.1145/2733373.2806272.

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Singh, Ravinder Pal, und Pulak Mohan Pandey. „Comparison of Conventional and Ultrasonic Drilling on Cutting Force in Porcine and Human Femur“. In ASME 2020 15th International Manufacturing Science and Engineering Conference. American Society of Mechanical Engineers, 2020. http://dx.doi.org/10.1115/msec2020-8401.

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Abstract Bone fractures are common in human beings, and the surgical operation performed to repair the fractured bone includes the drilling process. Axial cutting force during drilling plays an important role for success in osteosynthesis. Many processes like water jet machining, laser drilling, ultrasonic drilling, two phase drilling and rotary ultrasonic bone drilling (RUBD), have been developed to minimize the cutting force during orthopedic drilling. In the present work, a novel operation theatre compatible ultrasonic assisted rotary bone drilling machine prototype have been designed and fabricated in an attempt to reduce the cutting forces produced during orthopedic drilling. The experimental test were performed on fresh porcine bone and human femur. A comparative study was carried out between RUBD and Conventional drilling (CD), to find out the influence of rotational speed, drilling tool feed rate and drill diameter, on the cutting force produced during the drilling. The study of chip produced in RUBD and CD was also carried out with the help of scanning electron microscopy images. The result obtained by the developed machine showed that the cutting force obtained in human femur was greater (20–25 %) than porcine femur due to its greater hardness and RUBD process produced lower cutting force (20–30 %) than CD for both types of bone. The experimental results showed the increase in cutting force with decreasing rotational speed and increasing feed rate and drill diameter.

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Pape, Dave, Sarah Bay-Cheng, Josephine Anstey und Dave Mauzy. „WoyUbu: Experiments with video-gaming in live theatre“. In 2015 IEEE Games Entertainment Media Conference (GEM). IEEE, 2015. http://dx.doi.org/10.1109/gem.2015.7377241.

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Berichte der Organisationen zum Thema "Experimental theatre"

McIntyre, Phillip, Susan Kerrigan und Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Coffs Harbour. Queensland University of Technology, 2021. http://dx.doi.org/10.5204/rep.eprints.208028.

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Coffs Harbour on the north coast of NSW is a highway city sandwiched between the Great Dividing Range and the Pacific Ocean. For thousands of years it was the traditional land of the numerous Gumbaynggirr peoples. Tourism now appears to be the major industry, supplanting agriculture and timber getting, while a large service sector has grown up around a sizable retirement community. It is major holiday destination. Located further away from the coast in the midst of a dairy farming community, Bellingen has become a centre of alternative culture which relies heavily on a variety of festivals activated by energetic tree changers and numerous professionals who have relocated from Sydney. Both communities rely on the visitor economy and there have been considerable changes to how local government in this region approach strategic planning for arts and culture. The newly built Coffs Harbour Education Campus (CHEC) is an experiment in encouraging cross pollination between innovative businesses and education and incorporates TAFE NSW, Coffs Harbour Senior College and Southern Cross University as well as the Coffs Harbour Technology Park and Coffs Harbour Innovation Centre all on one site. The 250 seat Jetty Memorial Theatre is the main theatre in Coffs Harbour for local and touring productions while local halls and converted theatres are the mainstay of smaller communities in the region. As peak body Arts Mid North Coast reports, there is a good record of successful arts related events which range across all genres of music, art, sculpture, Aboriginal culture, street art, literature and even busking and opera. These are mainly managed by passionate local volunteers.

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AIR FORCE INST OF TECH WRIGHT-PATTERSONAFB OH. Concept Experimentation Program. Out of Theater High Frequency Radio Relay Concept Experiment. Fort Belvoir, VA: Defense Technical Information Center, Februar 2001. http://dx.doi.org/10.21236/ada395069.

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Folker, Jr, und Robert D. Intelligence Analysis in Theater Joint Intelligence Centers: An Experiment in Applying Structured Methods. Fort Belvoir, VA: Defense Technical Information Center, Januar 2000. http://dx.doi.org/10.21236/ada476578.

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