Thematische Bibliographien / Rehearsing / Zeitschriftenartikel
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Zeitschriftenartikel zum Thema „Rehearsing“

Autor: Grafiati
Veröffentlicht am 24. Juni 2021
Zuletzt aktualisiert am 17. Februar 2022

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1

Murray, Donald M. „Rehearsing rehearsing“. Rhetoric Review 5, Nr. 1 (September 1986): 50–56. http://dx.doi.org/10.1080/07350198609359133.

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2

Fuchs, Elinor. „Rehearsing Age“. Modern Drama 59, Nr. 2 (Juli 2016): 143–54. http://dx.doi.org/10.3138/md.59.2.1.

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3

Sicre, Daphnie. „Rehearsing Revolution“. Theater 49, Nr. 1 (2019): 146–51. http://dx.doi.org/10.1215/01610775-7253837.

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4

Barrish, Phil, und Jane Gallop. „Rehearsing a Reading“. Diacritics 16, Nr. 4 (1986): 14. http://dx.doi.org/10.2307/464799.

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5

Sirois, François. „Rehearsing One's Death“. Journal of Palliative Care 11, Nr. 3 (September 1995): 50–52. http://dx.doi.org/10.1177/082585979501100311.

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6

Morabito, Fabio. „Rehearsing the Social“. Journal of Musicology 37, Nr. 3 (2020): 349–82. http://dx.doi.org/10.1525/jm.2020.37.3.349.

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The history of Beethoven’s late quartets has usually been told by separating (and redeeming) the composer’s aesthetic priorities from the difficulties encountered by the works’ early performers, publishers, and listeners. This article weaves together Beethoven’s interests with those of his publisher Maurice Schlesinger and the violinist Pierre Baillot, whose ensemble first performed the late quartets in Paris between 1827 and 1829. I navigate the traffic among these parties to reassess what was difficult about this music and, on this basis, test new routes to explore early nineteenth-century string quartet culture. One issue these different agents faced—whether in presenting the quartets to the Viennese public (Beethoven), selling them in Paris (Schlesinger), or performing them (Baillot)—was that the late quartets seemed to call for a new kind of ensemble rehearsal. The genre’s proverbial sociability, historically supporting an almost immediate and shared grasp of the performers’ interplay, was compromised in Beethoven’s late quartets by a loss in topicality. The erosion of topical references and familiar textures in these quartets made it harder for performers to predict how to coordinate their moves. Musical topics, I argue, functioned as a means of communication not only with listeners but also among performers within an ensemble. In contrast, the sociability of Beethoven’s late quartets had to be patiently engineered through dedicated rehearsals, a step that distanced this music from past quartet cultures and shaped a new notion of making music together.
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Jones, Mark, und Shelly Mehigan Chair. „Rehearsing the debate“. Primary Health Care 9, Nr. 3 (01.04.1999): 12–13. http://dx.doi.org/10.7748/phc.9.3.12.s9.

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8

Engel, John D. „Rehearsing the future“. Spirituality and Health International 4, Nr. 3 (September 2003): 17. http://dx.doi.org/10.1002/shi.174.

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9

Proehl, Geoffrey S. „Rehearsing Dramaturgy: Olivia's Moment“. Theatre Topics 9, Nr. 2 (1999): 197–205. http://dx.doi.org/10.1353/tt.1999.0014.

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10

Thomson, Lynn M. „Teaching and Rehearsing Collaboration“. Theatre Topics 13, Nr. 1 (2003): 117–28. http://dx.doi.org/10.1353/tt.2003.0022.

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11

Morecroft, John. „Visualising and Rehearsing Strategy“. Business Strategy Review 10, Nr. 3 (September 1999): 17–32. http://dx.doi.org/10.1111/1467-8616.00108.

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12

Ryland, Megan, und Tom Scholte. „Rehearsing resilience(and beyond)“. Kybernetes 48, Nr. 4 (01.04.2019): 740–50. http://dx.doi.org/10.1108/k-11-2017-0459.

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Purpose This paper aims to demonstrate the value of forum theatre as a means to promote second-order awareness of workplace conflict and to further pragmatise cyber-systemic awareness to a wider public. Design/methodology/approach A blended methodology rooted in grounded theory and action research is used to assess the individual learning of participants in a forum theatre intensive studying workplace conflict. The results are then briefly theorised through the lens of second-order cybernetics. Findings Data indicate significant growth in self, other and context awareness among participants. All three of these competencies can reasonably be considered components of second-order observation. Research limitations/implications The sample size thus far is, because of the time and resource constraints of the project, quite small, but the results strongly suggest a “proof of concept” that invites further study. Practical implications Institutions of various types that experience workplace conflict may be inspired to use similar methods. Cyberneticians and system scientists may also wish to avail themselves of these methods to communicate fundamental cyber-systemic concepts to a wider public. Social implications Buoyed by an empirical demonstration of its effectiveness in facilitating greater self-reflection and alternative action in situations of conflict, a wider uptake of forum theatre technique (and the cyber-systemic concepts entailed), can make a significant contribution to the resolution/dissolution of a variety of conflicts across society. Originality/value This is the only empirical investigation of the outcomes of forum theatre known to the authors. It is certainly unique in its second-order cybernetic framework.
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13

Tognini, Rita, Jenefer Philp und Rhonda Oliver. „Rehearsing, conversing, working it out“. Sociocognitive Approaches to Second Language Pedagogy 33, Nr. 3 (01.01.2010): 28.1–28.25. http://dx.doi.org/10.2104/aral1028.

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This paper reports on a study of peer interaction in ten foreign language (FL) classes, six secondary and four primary, over a period of four months. The focus of this paper is the nature of peer interaction, including the purposes of second language use, and language choice. The data, comprising observation, audio and video recordings of five lessons from each of the classes, and interviews with learners, indicates multiple uses peers make of their time together, and different potential outcomes for learning. The findings suggest second language use varies in purpose and includes both formulaic pattern practice and communication of new information or ideas, and at the same time creates a context for the co-construction of language and a grappling with form-meaning connections in the target language. By exploring peer interaction as a context for second language use and development, this research brings together different perspectives on interaction and second language acquisition and builds on recent calls for a greater awareness of the interdependence of social and cognitive factors in the process of language learning.
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Jan�a, Janez. „(11) Thesis on rehearsing freedom“. L'Observatoire N�33, Nr. 1 (2008): 63. http://dx.doi.org/10.3917/lobs.033.0063.

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15

AZMY, HAZEM, und MARVIN CARLSON. „Introduction: Rehearsing Arab Performance Realities“. Theatre Research International 38, Nr. 2 (31.05.2013): 84–86. http://dx.doi.org/10.1017/s0307883313000230.

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16

Cleves, Ann E., und Regis B. Kelly. „Protein translocation: Rehearsing the ABCs“. Current Biology 6, Nr. 3 (März 1996): 276–78. http://dx.doi.org/10.1016/s0960-9822(02)00477-3.

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17

Joyce, Rachel. „Rehearsing and playinga doll's house“. Women: A Cultural Review 5, Nr. 2 (September 1994): 198–203. http://dx.doi.org/10.1080/09574049408578200.

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18

Tognini, Rita, Jenefer Philp und Rhonda Oliver. „Rehearsing, conversing, working it out“. Sociocognitive Approaches to Second Language Pedagogy 33, Nr. 3 (2010): 28.1–28.25. http://dx.doi.org/10.1075/aral.33.3.03tog.

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This paper reports on a study of peer interaction in ten foreign language (FL) classes, six secondary and four primary, over a period of four months. The focus of this paper is the nature of peer interaction, including the purposes of second language use, and language choice. The data, comprising observation, audio and video recordings of five lessons from each of the classes, and interviews with learners, indicates multiple uses peers make of their time together, and different potential outcomes for learning. The findings suggest second language use varies in purpose and includes both formulaic pattern practice and communication of new information or ideas, and at the same time creates a context for the co-construction of language and a grappling with form-meaning connections in the target language. By exploring peer interaction as a context for second language use and development, this research brings together different perspectives on interaction and second language acquisition and builds on recent calls for a greater awareness of the interdependence of social and cognitive factors in the process of language learning.
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19

Cundy, Catherine. „"Rehearsing Voices": Salman Rushdie's Grimus“. Journal of Commonwealth Literature 27, Nr. 1 (März 1992): 128–38. http://dx.doi.org/10.1177/002198949202700112.

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20

Goodman, Shawn L. „Idea Bank: Rehearsing Ensembles Online“. Music Educators Journal 107, Nr. 1 (September 2020): 15–16. http://dx.doi.org/10.1177/0027432120957434.

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21

Donelan, Steve. „Rehearsing for Mountain Rescue—An Introduction“. Wilderness & Environmental Medicine 13, Nr. 1 (März 2002): 58. http://dx.doi.org/10.1580/1080-6032(2002)013[0058:rfmrai]2.0.co;2.

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22

Jeffrey, Alex, Lynn A. Staeheli, Chloé Buire und Vanja Čelebičić. „Drinking coffee, rehearsing civility, making subjects“. Political Geography 67 (November 2018): 125–34. http://dx.doi.org/10.1016/j.polgeo.2017.09.013.

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23

Hupp, James R. „Hi-Fi Simulation—Rehearsing for Success“. Journal of Oral and Maxillofacial Surgery 70, Nr. 5 (Mai 2012): 1011–13. http://dx.doi.org/10.1016/j.joms.2012.03.001.

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24

Gough, Jenny, Rob Roseby und Michael Marks. „Rehearsing the art of clinical practice“. Medical Education 38, Nr. 5 (Mai 2004): 557–58. http://dx.doi.org/10.1111/j.1365-2929.2004.01865.x.

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25

Smith, Jennifer, und Heidi Castleman. „Quartet Rehearsing: A Guide to Efficiency“. American String Teacher 43, Nr. 3 (August 1993): 52–54. http://dx.doi.org/10.1177/000313139304300320.

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26

Warburton, Edward C. „Dance Marking Diplomacy: Rehearsing Intercultural Exchange“. Journal of Dance Education 17, Nr. 4 (02.10.2017): 131–37. http://dx.doi.org/10.1080/15290824.2017.1292358.

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27

Sinding, Christina, Ross Gray, Margaret Fitch und Marlene Greenberg. „Staging Breast Cancer, Rehearsing Metastatic Disease“. Qualitative Health Research 12, Nr. 1 (01.01.2002): 61–73. http://dx.doi.org/10.1177/1049732302012001005.

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Sinding, Christina, Ross Gray, Margaret Fitch und Marlene Greenberg. „Staging Breast Cancer, Rehearsing Metastatic Disease“. Qualitative Health Research 12, Nr. 1 (Januar 2002): 61–73. http://dx.doi.org/10.1177/104973230201200105.

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29

Risner, Doug. „Rehearsing Heterosexuality: "Unspoken" Truths in Dance Education“. Dance Research Journal 34, Nr. 2 (2002): 63. http://dx.doi.org/10.2307/1478460.

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30

Christensen, Linda M. „Poetry: Reinventing the Past, Rehearsing the Future“. English Journal 80, Nr. 4 (April 1991): 27. http://dx.doi.org/10.2307/819159.

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31

Varela, Miguel Escobar. „Hacking and Rehearsing: Experiments in Creative Tinkering“. New Theatre Quarterly 32, Nr. 1 (07.01.2016): 68–77. http://dx.doi.org/10.1017/s0266464x15000871.

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Hacking – improving software through a process of trial and error – is a mode of rehearsal. Such is the claim made by Miguel Escobar Varela in this article, which he furthers by exploring the similarities between the ways theatre makers and software programmers speak about their crafts. Understanding software programming as an essentially creative process should be of interest for theatre scholars, who are constantly searching for modes of academic discourse that are sensitive to the specificity of theatre. By offering examples from interface design for the study of Javanese theatre, Escobar argues that creating software, through an iterative process of trial and error, can become part of the methodological palette of theatre scholars. Miguel Escobar Varela is Assistant Professor of Theatre Studies at the National University of Singapore, and has worked as a theatre researcher, computer programmer and translator in Mexico, the Netherlands, Indonesia, and Singapore. His articles on the intersection of digital technology and theatre studies have been published in Digital Scholarship in the Humanities, Asian Theatre Journal, Performance Research, Contemporary Theatre Review and are forthcoming in TDR and Theatre Research International.
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32

Paynton, Nomi. „Analytic Rehearsing: The Group in the Theatre“. Group Analysis 36, Nr. 1 (März 2003): 131–43. http://dx.doi.org/10.1177/0533316403036001208.

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The encounter between group analysis and the theatre which is documented in this paper developed out of initial observations of the rehearsal process, which indicated that the struggle undergone by a cast of actors in creating a play appears to resemble the work done in an analytic group. An experimental workshop was set up, in which the experiential group sessions alternated with rehearsals. Was this a way to help director and actors to rehearse together more productively? Findings are presented and discussed.
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33

Storer, Graeme. „Rehearsing Gender and Sexuality in Modern Thailand“. Journal of Gay & Lesbian Social Services 9, Nr. 2-3 (09.04.1999): 141–59. http://dx.doi.org/10.1300/j041v09n02_07.

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34

Olivier, Richard, und Julie Verity. „Rehearsing tomorrow's leaders: the potential of mythodrama“. Business Strategy Series 9, Nr. 3 (25.04.2008): 138–43. http://dx.doi.org/10.1108/17515630810873375.

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PurposeThe paper explores the potential of Mythodrama as a leadership learning intervention. It suggests that the new leadership capabilities required for future organizational success, can be built with this methodology.Design/methodology/approachHenry V – Shakespeare's greatest inspirational leader – is used as case study to explain the Mythodrama methodology and some of the lessons that can be learnt about leadership from Henry's story.FindingsMythodrama is a powerful intervention for learning and rehearsing leadership behaviors. Great leaders have a repertoire of styles and demonstrate judgment about which style is relevant to the context. Authentic leadership requires self‐knowledge, belief and commitment, there is the potential to explore these personal traits through the mythodrama methodology.Practical implicationsEffective leaders are increasingly recognized as one of the most valuable assets of the organization. Hence, truly transforming learning methodologies – those that can touch people personally and deeply – promise to add future value to organizations that employ them.Originality/valueIntroduces and explores the potential of a leadership learning intervention. Explains how the methodology works and describes some of the skills and behaviors leaders can rehearse.
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Rue, Victoria. „Rehearsing Justice: Theatre, Sexuality and the Sacred“. Feminist Theology 25, Nr. 2 (Januar 2017): 170–81. http://dx.doi.org/10.1177/0966735016673259.

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The theatre actor’s process in a rehearsal hall is reality and metaphor. It can be a rehearsal for justice, where we can live freely. In this laboratory the actor becomes all of us. Like the actor, we inhabit our bodies and our sexualities, sometimes as spiritual practice, or as sacred and creative, even as incarnations. In particular, women’s bodies remember what it is like to be no-body and what it is like to be a some-body. The texts of women’s bodies contain their history of pain, wellness and illness. In creating a character, the actor creates a biography, an inner life, and the actor’s imagination aligns with the character’s situation. This is the creation of a character’s ‘living story’. Similarly, for all of us, this is akin to self knowledge. When women and sexual minorities tell their stories and listen to each others’ self knowledge, they are reading their bodies as texts. And worlds split open.
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36

Tinius, Jonas. „Rehearsing Detachment: Refugee Theatre and Dialectical Fiction“. Cadernos de arte e antropologia, Vol. 5, No 1 (30.03.2016): 21–38. http://dx.doi.org/10.4000/cadernosaa.1022.

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37

Thakar, Markand. „A Conductor's Reflections on Rehearsing Chamber Music“. American String Teacher 40, Nr. 3 (August 1990): 50–52. http://dx.doi.org/10.1177/000313139004000316.

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38

Fisher, Barbara Milberg. „Rehearsing with MR. B: Stravinsky, Schoenberg, Ives“. Dance Chronicle 28, Nr. 3 (September 2005): 293–322. http://dx.doi.org/10.1080/01472520500276096.

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39

Lew, Grace H. „Rehearsing Scripture: Discovering God’s Word in Community.“ Religious Education 115, Nr. 4 (22.05.2020): 458–59. http://dx.doi.org/10.1080/00344087.2020.1768815.

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40

Billing, Christian M. „Rehearsing Shakespeare: Embodiment, Collaboration, Risk and Play . . .“ Shakespeare Bulletin 30, Nr. 4 (2012): 383–410. http://dx.doi.org/10.1353/shb.2012.0072.

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41

Ng, On-Cho. „Rehearsing the Old and Anticipating the New“. Journal of Chinese Philosophy 36, Nr. 5 (19.02.2009): 3–10. http://dx.doi.org/10.1163/15406253-03605002.

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42

Jones, Ginny Pompei, Roland Huff und Charles R. Kline. „The Contemporary Writing Curriculum: Rehearsing, Composing, and Valuing“. English Journal 78, Nr. 3 (März 1989): 85. http://dx.doi.org/10.2307/819463.

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43

Armstrong, Melanie. „Rehearsing for the Plague: Citizens, Security, and Simulation“. Canadian Review of American Studies 42, Nr. 1 (Januar 2012): 105–20. http://dx.doi.org/10.3138/cras.42.1.105.

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44

Arratia, Euridice. „Island Hopping Rehearsing the Wooster Group's Brace up!“ TDR (1988-) 36, Nr. 4 (1992): 121. http://dx.doi.org/10.2307/1146220.

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45

Davis, Tracy C. „Between History and Event: Rehearsing Nuclear War Survival“. TDR/The Drama Review 46, Nr. 4 (Dezember 2002): 11–45. http://dx.doi.org/10.1162/105420402320907001.

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Performance historian Davis opens a window onto the civil defense movement that was a mainstay of Western governments from 1949 until the collapse of the Eastern Bloc from 1989 to 1991. Civil defense activities included playing out many “as if” scenarios wherein a “time out of time” reality was created, something that NATO members referred to as the “scope of play” (portée du jeu) and the “play of decisions” (jou des décisions). These activities, Davis argues, are inherently performative. But are they history?
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46

Douglas, Kate. „A talent for rehearsing outcomes guides human morality“. New Scientist 222, Nr. 2970 (Mai 2014): 48–49. http://dx.doi.org/10.1016/s0262-4079(14)61022-8.

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47

Garrison, John S., und Heather Berg. „Indifference and Repetition: Rehearsing Shakespeare in Piñeiro’s Viola“. Adaptation 10, Nr. 2 (17.03.2017): 230–44. http://dx.doi.org/10.1093/adaptation/apx007.

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48

NG, ON-CHO. „INTRODUCTION: REHEARSING THE OLD AND ANTICIPATING THE NEW“. Journal of Chinese Philosophy 36 (Dezember 2009): 3–10. http://dx.doi.org/10.1111/j.1540-6253.2009.01550.x.

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49

Butler, Udi Mandel. „Rehearsing Reality — pushing the boundaries of documentary viewing“. Journal of Media Practice 9, Nr. 3 (01.01.2008): 281–82. http://dx.doi.org/10.1386/jmpr.9.3.281_4.

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50

Petralia, Peter. „Here, There and In-Between: Rehearsing over Skype“. Performance Research 16, Nr. 3 (September 2011): 113–16. http://dx.doi.org/10.1080/13528165.2011.606036.

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