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Thematische Bibliographien / Sociology of theater

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Auswahl der wissenschaftlichen Literatur zum Thema „Sociology of theater“

Autor: Grafiati

Veröffentlicht am 29. März 2025

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Zeitschriftenartikel zum Thema "Sociology of theater"

1

Moisand, Jeanne. „Dal tempio monumentale alla baracca da fiera: mutamenti dello spazio urbano e luoghi teatrali a Madrid e Barcellona alla fine del secolo XIX“. MEMORIA E RICERCA, Nr. 29 (März 2009): 29–45. http://dx.doi.org/10.3280/mer2008-029003.

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- This article compares the construction of theaters in Madrid and Barcelona from the 1830's to the 1910's by looking at the various forms and types of theaters, as well as those who funded them. As the history of books has shown, we can gain a better understanding of the social uses of cultural goods by analyzing the material forms in which they are produced and distributed. In the two Spanish main capital cities, the architectural evolutions of theater buildings, social changes in the constructors' milieux, and the movement of theater sites out of the city centers to suburban areas, show how theater descended from an elitist form of culture to a mass consumption good, available to partly illiterate populations.

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Campos, Fabiano Fleury Souza. „ADOLESCÊNCIA, SUBJETIVIDADE E QUESTÕES DE GÊNERO NO TEATRO DE MARK RAVENHILL“. Revista Leia Escola 19, Nr. 2 (04.09.2019): 30–39. http://dx.doi.org/10.35572/rle.v19i2.1411.

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A partir da análise estrutural, focada, sobretudo, nos personagens da peça Shopping and Fucking (1996), escrita pelo dramaturgo britânico Mark Ravenhill, evidenciamos uma relação incomum entre os elementos formadores desse trabalho teatral e as discussões sobre subjetividade, gênero e sexualidade voltadas para os adolescentes, nos dias atuais. Os contornos dos personagens dessa peça desestabilizam certas noções pré-concebidas sobre a individualidade e a corporeidade, por exemplo. Para a nossa análise, apoiamo-nos sobre os apontamentos de teóricos dedicados tanto ao teatro, como Pierre Sarrazac e Elinor Fuchs, quanto à sociologia e política, como Judith Butler. A peça por meio do discurso agressivo e a violência direcionadas ao corpo dos personagens é capaz de abalar as certezas e a moralidade previamente determinadas de seus espectadores.YOUTH, SUBJECTIVITY AND GENDER IN MARK RAVENHILL’S THEATER Abstract: from the structural analysis, focused mainly on the characters of the play Shopping and Fucking (1996), written by British playwright Mark Ravenhill, our study shows an unusual relationship between the elements of theatre and the contemporary discussions about subjectivity, gender, and sexuality among adolescents presented in this play. The contours of the characters destabilize certain preconceived notions to individuality and embodiment, for example. Our analysis are supported, for instance, by theater theories developed by Pierre Sarrazac and Elinor Fuchs, and sociology concepts implemented by Judith Butler. Through aggressive discourse and violence directed to the body of the characters, the play is able to shake the certainties and moralities previously found in Ravenhill’s viewers.Keywords: Ravenhill. Contemporary British Theater. Adolescence. Subjectivity. Gender.

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Zaelani, Mohamad. „INDONESIAN THEATER 1985-1995: A PERSPECTIVE OF DESCRIPTION PROCESSES SOCIAL CHANGE AND VALUE“. BAHTERA : Jurnal Pendidikan Bahasa dan Sastra 17, Nr. 1 (31.01.2018): 123–36. http://dx.doi.org/10.21009/bahtera.171.10.

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AbstractThis research seeks to depict the history of Indonesian theater development from 1985 to 1995. This period is deliberately chosen because at that time it is seen that New Order power reached the top of its consolidation. Is there correlation between theater as a part of the reflection of society's expression and the repressive-authoritarian situation of the New Order government? With the approach of sociology of art, during that period, theater in Indonesia reflectedthe changes in society socially and in terms of values. One of these changes was the collapse of the conception of human wholeness (in terms of flesh and blood) in theater in Indonesia, because humans weremerely the object of the state power that tended to be authoritarian.Keywords: Indonesian theater 1985-1995, social changes and values, silent theater, theater ideas.

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Buldakov, Vladimir. „Revolution and theater, revolution as theater“. Rossiiskaia istoriia, Nr. 4 (2021): 214. http://dx.doi.org/10.31857/s086956870016235-9.

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5

Gilula, Leah. „No Sabras in the Fields?“ Israel Studies Review 36, Nr. 1 (01.03.2021): 128–43. http://dx.doi.org/10.3167/isr.2021.360109.

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The Cameri Theatre of Tel Aviv has always presented itself as the first repertory theater in the Yishuv that represented the sabras, creating the impression that its actors and artists were themselves mainly sabras and Hebrew their native language. However, this image, based chiefly on the successful performance of the play He Walked through the Fields, does not reflect reality. The article questions the myth by exploring the actual number of sabra theater artists and actors in the troupe, their place and measure of influence. Exposing this image sheds light on The Cameri Theatre at its beginning as well as on the creation of the image of the sabra, as presented by the character of Uri, and embraced by Hebrew culture.

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Hiden, Raffael. „Sociology of Theatrical Forms. On the Sensualization of the Social on Stage“. Zagreber germanistische Beiträge 29 (2020): 145–62. http://dx.doi.org/10.17234/zgb.29.8.

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Der Beitrag skizziert Grundlinien einer Soziologie der theatralen Formen, indem soziologische Gegenwartsdiagnosen mit aktuellen theatralen Praxen verknüpft werden. Dabei soll eine spezifische Wechselbeziehung (keine Homologie) zwischen Gesellschaft und Theater exemplifiziert werden, die als ›ästhetisch-subversive Praxis‹ aufzufassen ist. Entsprechend der Idee einer ›umgekehrten Mimesis‹ (V. Žmegač) verschränken sich Theater und Gesellschaft zu wissenspoetologischen Wirklichkeitsdeutungen; soziologische und theatrale Formen bringen somit auf interdependente Weise ›Wirklichkeiten‹ hervor, deren Untersuchung sich eine zukünftige Soziologie der theatralen Formen zu widmen hat. Milo Raus Theaterprojekte bieten dafür eine erste methodologische Skizze.

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Spasić, Vanja. „Ideology of the Opera Diva in the Case of the Opera of the National Theatre in Belgrade“. AM Journal of Art and Media Studies, Nr. 10 (15.10.2016): 41–50. http://dx.doi.org/10.25038/am.v0i10.132.

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The theme of this work refers to the study of opera’s diva system or the way inwhich an opera diva can affect (or not) the development of repertory theater. The idea is thatthrough a variety of approaches – musicology, history, sociology – one finds those aspects thatare caused to develop the concept of an opera diva. The thesis from my starting point is thatthe West-European practice of the first half of the 19th century was recognized in the work ofthe Opera of the National Theatre in Belgrade after its Golden period (1954–1969) when thesystem of the opera’s stars formed in Serbia. The goal of this work is to present a part of therepertoire policies of the National Theatre related to the possible impact of opera divas in theformation of the repertoire and vice versa.

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Waegner, Cathy C. „Staging (during) Crisis: Indigenous Zoomlets in the Pandemic“. American, British and Canadian Studies 39, Nr. 1 (01.12.2022): 7–30. http://dx.doi.org/10.2478/abcsj-2022-0015.

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Abstract The COVID-19 pandemic with its lockdowns and social distancing whirled theaters worldwide into an economic and cultural crisis. The San Francisco Playhouse, however, implemented an experimental theater genre based on computer-mediated communication (CMC) that proved to be highly productive and successful. The “Monday night Zoomlets” presented short plays by, among others, Indigenous authors, embedded in discussion by director, actors, and playwright, with a second reading of the play applying the insights gained. The presentations took advantage of technical finesses, as well as informality and humor, and the Zoom spectators in their home settings could interact via a chat function. This article analyzes three of the innovative Zoomlets focusing on crises in contemporary Native American families, crises that have arisen through the “slow violence” (Nixon) of centuries-long hegemonic colonization. DeLanna Studi’s Flight, Claude Jackson Jr.’s Cashed Out, and Lee Cataluna’s Funeral Attire. All these plays show young Native Americans attempting to reclaim rituals or knowledges through forms of “remembering,” a feature of twenty-first-century Indigenous theater according to engagé drama theorists Jaye Darby, Courtney Mohler, and Christy Stanlake’s Critical Companion to Native American and First Nations Theatre and Performance (2020). Relevant theories of transformations of chronotope, fourth wall, and third skin in performance within the Zoom environment are considered.

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Ioannidou, Eleftheria. „Performative Mo(nu)ments“. Fascism 12, Nr. 2 (13.12.2023): 117–41. http://dx.doi.org/10.1163/22116257-bja10068.

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Abstract The forms of popular and mass theater developed in Fascist Italy and Nazi Germany reached back to classical antiquity to reinvent theater as a secular rite. At first glance, the use of the theatrical medium is at odds with the classicizing monumentality that characterized the cultural expression of fascist regimes. Theatrical performances are by their very nature ephemeral events; unlike monuments, they do not leave their mark on civic space, and can barely provide a testament to generations to come. Drawing on performance theory and cultural history, the author argues that these antiquity-inspired performances provided powerful sites of re-enacting the myth of national rebirth. Fascist regimes used open-air theaters and forms modelled on Greek theater, whilst also tapping into the notions of performance that had been developed within the traditions of the theatrical vanguard to offer the experience of a reborn past. These performances brought forth grandiose visions of classical antiquity through living bodies and helped to embed the imagined past into a mythicized present. The intertwining between the theatrical medium and classical reception allow us to demonstrate the significance of embodied practices in shaping fascism’s political radicalism.

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Chou, Mark, Roland Bleiker und Nilanjana Premaratna. „Elections as Theater“. PS: Political Science & Politics 49, Nr. 01 (Januar 2016): 43–47. http://dx.doi.org/10.1017/s1049096515001225.

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Dissertationen zum Thema "Sociology of theater"

1

Medlin, Allison Kay Molnar Joseph J. „Bargain theater a dramaturgical analysis of a flea market /“. Auburn, Ala, 2008. http://repo.lib.auburn.edu/EtdRoot/2008/SUMMER/Sociology/Thesis/Medlin_Allison_2.pdf.

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Cloeren, Nicole Birgit. „Acts of reciprocity: Analyzing social exchange in a university theater for social change project“. W&M ScholarWorks, 2010. https://scholarworks.wm.edu/etd/1550154040.

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3

Roberts, Christine Elizabeth. „"I've needed a friend my whole life". Voices offormer gang members: An ethnodrama“. Thesis, The University of Arizona, 2002. http://hdl.handle.net/10150/278801.

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This thesis set about to achieve three goals. First it discusses street gang research, assessment of the gang problem, and in particular the forces that push and pull American youths into the street gang lifestyle and the gang member experience. Second, it explores how alternative forms of data presentation, such as ethnodrama, blur the boundary lines between art and scientific research and demonstrates that the embodiment of human experience through artistic means enhances our understanding of the gang problem and creates context. Third, it includes an ethnodrama text constructed from qualitative interviews of three former gang members, in support of narrative inquiry research methods, and illustrating how three young men were drawn into the gang lifestyle, what they experienced by being in a gang, and the factors that helped them to leave the gang and lead them to make positive changes in their lives.

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Kholer, Barbara Allen. „The psychological, sociological, and cultural aspects of professional wrestling as soap opera“. [Johnson City, Tenn. : East Tennessee State University], 2004. https://dc.etsu.edu/etd/857.

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Thesis (M.A.)--East Tennessee State University, 2004.
Title from electronic submission form. ETSU ETD database URN: etd-0112104-105600. Includes bibliographical references. Also available via Internet at the UMI web site.

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5

Barrett, Maria. „'Our place' : class, the theatre audience and the Royal Court Liverpool“. Thesis, University of Warwick, 2016. http://wrap.warwick.ac.uk/80890/.

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This thesis investigates theatregoing and class, using as a locus the Royal Court Theatre, Liverpool. The Royal Court is unusually successful in attracting and retaining first time theatregoers and others from some of the most deprived postcodes in the UK. The study’s original contribution to knowledge is threefold: its focus on the relationship between theatre and audience that encompasses the whole theatregoing event; its focus on theatre audiences and social class; and its use of Bourdieu’s conceptual triad not only as an underpinning theory and a framework, but also as a method. The findings have important implications for cultural policy, which has been over reliant on ticket pricing as a mechanism which has failed to widen cultural attendance. The thesis uses a single case to examine the phenomenon of theatregoing. The primary method of investigation is a series of field visits of a theatre season and subsequent thick description of observations. This is supported by ethnographic methods in order to understand phenomena from the perspective of audience members; these are focus groups, interviews, and an analysis of user generated content (TripAdvisor). The thesis finds that the history of the Royal Court Theatre has not only shaped its position in the field, but is key to its perception by audiences today, the building having a particular place in the imaginary of a working class culture. Inside the auditorium, innovative seating arrangements contribute to a playful social space that can be ‘owned’ by audiences. The Theatre’s repertoire is distinctive, in that it employs tropes, such as comedy and participation, that are bound up with the concept of ‘Scouse’, itself a classed construct. These elements combine to form a physical and social space that is congruent to a working class habitus. The implications of the findings are in two fields, sociology and cultural policy. From a sociological perspective, the thesis concludes that Bourdieu’s conceptual triad is not only useful as a concept but also as a method by which to understand theatregoing and other phenomena in the twenty-first century. The application of Bourdieu’s conceptual triad to the empirical phenomenon of twenty-first century British theatregoing results in a more nuanced understanding of a working class aesthetic and working class values. For cultural policy, the thesis finds that using pricing as a mechanism to widen cultural attendance is to miss the point of the real issues facing working class people in the theatre which are around symbolic violence. If we really wish to widen theatre attendance, we need to offer working class people a theatre model that speaks to their values.

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Moyo, Awelani L. „Re-tracing invisible maps : landscape in and as performance in contemporary South Africa“. Thesis, University of Warwick, 2013. http://wrap.warwick.ac.uk/58846/.

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This thesis suggests an approach to landscapes both in and as performance, in order to explore how identity and belonging are sited and performed in contemporary South Africa. I deploy an inter-disciplinary concept of landscape, drawing from the work of Tim Ingold (2000), who defines landscape as 'a plenum' and argues that we engage with landscapes through a performative process of 'way-finding.' With this in mind, I position myself as a participant-observer in this thesis, and through a process of way-finding aim to 're-trace invisible maps' of identity in a selection of examples ranging from the theatrical to the everyday. Throughout my discussion I analyse how specific performances reflect/resist certain histories and social constructions of belonging. The thesis is divided into three thematic sections which explore how various cultural practices, or forms of 'mapping', attempt to make the world 'knowable', at the same time indicating what escapes or exceeds the limits of their own codes of representation. The first section entitled Fortress City investigates identity formation as a spatially situated process in Cape Town, using the example of the public arts festival Infecting the City and focusing on the period 2009-2011 when it was curated by Brett Bailey. In the second section Frontier Nations, I discuss the temporality of landscape by juxtaposing how collective/national memory and subjective/personal memory both emerge in and through performance. I compare two speeches made by Presidents Mandela and Zuma in Grahamstown in 1996 and 2011 respectively, and contrast the political rhetoric on nationhood with Brett Bailey’s use of mythic time in an experiential site-specific performance Terminal (2009). In the last section Corporeal Networks, I argue that the body acts as primary generator of meaning, identification and belonging. I discuss Juanita Finestone-Praeg’s Inner Piece (2009) a physical theatre work which tackles issues of violence and representation.

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Pilcher, Katy Elizabeth Mary. „Erotic dancing in night-time leisure venues : a sociological study of erotic dance performers and customers“. Thesis, University of Warwick, 2012. http://wrap.warwick.ac.uk/56236/.

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This thesis explores the gender and sexual politics of erotic dance, through an ethnographic investigation of two leisure venues which provide erotic dance entertainment for women audiences in the UK. Using the research techniques of participant observation, qualitative interviews, visual methods, email interviews and internet research, this thesis examines the work roles of women and men dancers, and the interactions of women customers with dancers. In taking both a lesbian leisure venue and a male strip show for analysis, this thesis goes further than previous academic studies which often equate erotic dance with a male clientele base and women performers. The key findings of the thesis are related to three central themes. These are, firstly, the defining of both of the venues as a ‘women-only’ space by customers, and the ways in which this simultaneously both challenges and reproduces heteronormativity. Secondly, findings in both venues point to evidence of an erotic female ‘gaze’ being exercised by women customers. Yet I highlight how this is at times couched in problematic post-feminist conceptions of sexual agency, and further, how some customers articulated a critique of ‘gazing’ as objectifying erotic dancers. I argue that male dancers do not take on a ‘sex object’ role, and suggest that women dancers are able to exercise a gaze directed at women customers in some instances. The third key finding, evident in dancers’ accounts of their working experiences, suggests that their work practices are in many ways similar to concepts of work that are used to discuss service sector labour. I argue that the particular spaces in which dancers work is crucial to their capacity to exercise autonomy in their work role. Overall, the thesis develops a more complex analysis of participants’ engagement with erotic dance venues, highlighting the tensions around exercising agency in commercial sexual encounters.

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King, Rachel E. „Processes of 'positive multiculturalism' in practice : an extended case study with Warwick Arts Centre (WAC)“. Thesis, University of Warwick, 2013. http://wrap.warwick.ac.uk/58049/.

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This thesis consists of three distinct but interconnecting case studies that took place between 2007 and 2010 in collaboration with Warwick Arts Centre (WAC), Britain’s second largest multi-arts venue. The study developed practice-led methods to investigate the dynamic interactions between notions and perceptions of ‘multiculturalism’ and ‘internationalism’ in relation to WAC’s theatre and performance programming and education activities. The first case study is a qualitative audience reception study designed to make sense of WAC’s programme in relation to multicultural and international issues. The second case study focuses on an educational outreach project that placed two local schools in collaboration with a commissioned teacher-artist and a University of Warwick academic. These encounters inspired the final case study, which made use of WAC’s newly built Creative Space as a site for a devising project with young people from nearby Coventry, culminating in a performance for an invited audience. The thesis explores the varied complexities that frame ‘multiculturalism’ by focusing on its origins as a political concept in post-1945 Britain and its subsequent association with contemporary contentious social, political and cultural national and international issues. An analysis of the negative effects of ‘multiculturalism’ is balanced by considerations of the project’s emergent concepts: ‘hospitality’ and ‘conviviality’, which articulate the possibilities of living in diversity in more ‘positive’ terms. These paradigms reverberate throughout each case study, informing their methodologies, influencing their conceptual frameworks and placing ‘multiculturalism’ in more dynamic and relevant dimensions of pedagogical and creative practices. Each case study considers collaboration between strangers and investigates the potential of WAC as a hospitable and convivial environment. These new perspectives demonstrate the optimistic possibilities of creative and humane action for producing a ‘positive multiculturalism’.

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Trovo, Maria Caroline [UNESP]. „Um estudo das [possíveis] contradições da cultura no capitalismo do pós-guerra: uma abordagem do teatro da vertigem“. Universidade Estadual Paulista (UNESP), 2006. http://hdl.handle.net/11449/99021.

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Made available in DSpace on 2014-06-11T19:29:47Z (GMT). No. of bitstreams: 0 Previous issue date: 2006Bitstream added on 2014-06-13T18:59:34Z : No. of bitstreams: 1 trovo_mc_me_arafcl.pdf: 319749 bytes, checksum: 09397e356b1e93ff156cc27c4aae34e0 (MD5)
Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq)
O presente trabalho busca estabelecer as diretrizes de uma política estética eficaz na pós-modernidade, entendida aqui como o estágio mais avançado do capitalismo (e não como um conceito meramente estético). Para tanto, parte-se do esmiuçamento de um fundamental capítulo da história da modernidade estética - qual seja, o 'debate sobre o expressionismo'- bem como da relação entre Walter Benjamin, importante teórico da modernidade, e Bertolt Brecht, dramaturgo alemão vanguardista. Com isso, extrai-se ensinamentos e categorias interpretativas fundamentais à prática da crítica cultural, que são pensadas em relação ao grupo Teatro da Vertigem - manifestação cultural com origem na década de 90, na cidade de São Paulo (Brasil). Tal grupo apresenta como principal característica um tratamento diferenciado à categoria espaço, permitindo assim sua contraposição com a estética do mapeamento, tal como entendida pelo teórico Fredric Jameson em seu Pós-Modernismo: a lógica cultural do capitalismo tardio. Por outro lado, verifica-se também a presença, no grupo, de características que o aproximam da lógica da indústria cultural, fenômeno caracterizador da cultura na atualidade. Portanto, por meio da análise do grupo Teatro da Vertigem, que desponta como a manifestação cultural atual que mais se aproxima de uma estética emancipatória, adentra-se no universo das contradições culturais da contemporaneidade.
The present work aims to establish the directives of an efficient political aesthetic in the post-modernism, here defined as the most advanced stage of the capitalism (and not merely an aesthetic concept). Therefore, it departs from a detailed and fundamental chapter of the history of the aesthetic modernity - that is, the 'debate of the expressionism' - as well as the relation between Walter Benjamin, an important theoretician of modernity, and Bertold Brecht, a vanguard German dramatist. With this, lessons and interpretative categories fundamental to the practice of culture criticism are extracted, based on the relation to the Vertigo Theater - a cultural manifestation originated in the nineties, at São Paulo city (Brazil). This group presents as main characteristic a distinctive treatment to the category of space, permiting your contraposition with the aesthetic of special-cognitive mapping, as point the theoretician Fredric Jameson in his Post-Modernism: the cultural logic of tardy capitalism. Nevertheless, it is also verified in the group the presence of characteristics that approaches it to the logic of cultural industry, a characterizing phenomenon of the culture in the actuality. Hence, through the analysis of the Vertigo Theater group, which emerges as an actuality manifest culture closer to an emancipating aesthetic, it is possible to enter into the universe of culture contradictions of the contemporaneity.

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Miller, Florance A. Jess. „We are here to be heard| The power of the personal“. Thesis, Mills College, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3627431.

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This study examines the use of performance ethnography as an advocacy tool for students with non-apparent disabilities at Mills College, a four-year institution in Oakland, California. The focus was on the sometimes challenging relationships between these students and their instructors. The methods in this study included analysis of a script that was created and performed by four women students with non-apparent disabilities and a series of interviews held pre-performance and then conducted at one and six months post-performance. The four student writer/performers were interviewed, as well as four faculty members who agreed to participate in the project. After analyzing the data I concluded that performance ethnography or ethnotheatre was a meaningful advocacy tool that deepened understanding and raised awareness and had the potential to improve student/faculty relationships. I recommend that such projects are encouraged in student social justice organizations and receive support from college administrations. For example, after a student performance such as We Are Here to be Heard, scheduling follow-up student/faculty workshops would enhance the learning experience for all concerned. Practitioners in disability services and student life who want to work with marginalized students would be well served to read some of the references cited in this study, and such practical guides for doing this kind of work such as Saldana's Ethnotheatre (2005). Based on my experience, staff considering this type of advocacy work with students with disabilities, apparent or non-apparent, also need to be mindful that embodied work may release strong emotions and topics such as stigma and identity threat may trigger painful memories. It is important that there is sufficient support to contain feelings that may arise, that boundaries are very clear and finally, the creative space needs to be a place of safety and security for all.

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Bücher zum Thema "Sociology of theater"

1

Maria, Shevtsova. Sociology of theatre and performance. Verona, Italy: QuiEdit, 2009.

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2

Dennis, Brissett, und Edgley Charles, Hrsg. Life as theater: A dramaturgical sourcebook. 2. Aufl. New York: Aldine de Gruyter, 1990.

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Exeter), International Conference on Researching Drama and Theatre in Education (5th 2005 University of. Drama as social intervention. Concord, ON: Captus University Publications, 2006.

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Clum, John M. Something for the boys: Musical theater and gay culture. New York: St. Martin's Press, 1999.

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5

Elkana, Yehuda. Anthropologie der Erkenntnis: Die Entwicklung des Wissens als episches Theater einer listigen Vernunft. Frankfurt am Main: Suhrkamp, 1986.

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6

Akademii︠a︡ mystet︠s︡tv Ukraïny. Instytut problem suchasnoho mystet︠s︡tva, Hrsg. Teatralʹna kulʹtura rubez︠h︡u XIX-XX stolitʹ: Realizm, dyskurs. Kyïv: Feniks, 2013.

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7

Tellier, Frédéric. La société et son double: Essai sur les formes sociales. Castelnau-le-Lez: Climats, 2003.

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8

1961-, Inomata Takeshi, und Coben Lawrence A, Hrsg. Archaeology of performance: Theaters of power, community, and politics. Lanham, MD: Altamira Press, 2006.

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9

Herbert, Willems, Hrsg. Theatralisierung der Gesellschaft. Wiesbaden: VS, Verlag für Sozialwissenschaften, 2009.

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10

Qaraʻān, Mīsāʾ ʻAbd Allāh Darwīsh. Sūsiyul̄ūjīyā al-fann al-masraḥī ladá al-Akhawayn al-Raḥbanī. Ẓuq Mikāyil: Dār Bashārīyā, 2002.

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Buchteile zum Thema "Sociology of theater"

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Facuse, Marisol. „The Jolie Môme Theatre Company: A Sociology of Artistic Work in Political Theater“. In Sociology of the Arts in Action, 117–42. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-11305-5_5.

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Urrutiaguer, Daniel. „Theater and Convention Theory: Achievements and Perspectives“. In Handbook of Economics and Sociology of Conventions, 1–24. Cham: Springer International Publishing, 2024. http://dx.doi.org/10.1007/978-3-030-52130-1_111-1.

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Timmons, Stephen, und Judith Tanner. „Occupational Boundaries in the Operating Theatre“. In The Sociology of Healthcare, 277–84. London: Macmillan Education UK, 2008. http://dx.doi.org/10.1007/978-1-137-26654-5_26.

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Watson, Don. „The People’s War and the People’s Theatre: British Socialist Theatre 1939–45“. In The Sociology of War and Peace, 159–77. London: Palgrave Macmillan UK, 1987. http://dx.doi.org/10.1007/978-1-349-18640-2_9.

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Robinson, Yvonne. „Researching Theatre ‘Doing’ Participation: Creative Publics and Public Sociology“. In The Entrepreneurial University, 148–60. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137275875_9.

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Biswas, Debajyoti. „Environmental Humanities in India: An Interdisciplinary Approach“. In Asia in Transition, 1–11. Singapore: Springer Nature Singapore, 2024. http://dx.doi.org/10.1007/978-981-97-3933-2_1.

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AbstractThe Environmental Humanities, or EH, is a multifaceted, relatively new, and swiftly evolving field of scholarship that integrates the theories and approaches of various disciplines—from anthropology, art, communications, cultural studies, philosophy and ecology to history, literature, media, music, performance, politics, sociology, theology and theatre. Practitioners of this markedly integrative field aim to address and, even, confront today’s urgent ecological and cultural challenges, namely climate change, urban sustainability, biodiversity conservation, species decline, energy policy, the exigencies of the Anthropocene, environmental activism and Indigenous peoples’ justice. Recent developments in the Environmental Humanities foreground its topicality as scholar-activists-artists from a wide range of disciplines turn increasingly to human-nature relational issues in the Anthropocene epoch. As a discrete field, EH has emerged principally from North American, European and Australian academic institutions and, more specifically, from English, history, geography and anthropology departments. Although the Environmental Humanities has been relatively slow to gain traction in South Asia, the overall momentum towards transdisciplinary approaches to ecology and sustainability is intensifying in India. This contributed volume highlights current research in the Environmental Humanities in India through four thematic sections: (i) Indigenous Perspectives: Conservation, Spirituality and Language; (ii) Theoretical Grounding: Education, Law and Ethics; (iii) Literary Formulations: Memoir, Parable and Storyworlds; (iv) Popular Narratives: Myth, Travel and Music.

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Wenegrat, Brant. „Basic Research and Observations“. In Theater of Disorder, 15–28. Oxford University PressNew York, NY, 2001. http://dx.doi.org/10.1093/oso/9780195140873.003.0004.

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Abstract The theatrical model is rooted in research and observations from social psychology, sociology, and anthropology. First, modern studies show that human behavior is strongly controlled by social cues. Since people may be unaware of the causes of their behavior, they may be unaware that they are responding to cues. People also enact social roles, sometimes in response to cues. Researchers have shown that enacting a particular social role can change beliefs and attitudes so that these become consistent with the role enacted. Finally, individuals differ with respect to their propensities to enact new social roles in general and illness roles in particular. To lay the foundation for the study of illness behaviors, I briefly describe some research from social psychology and sociology that pertains to each of these points. Anthropological research is cited in chapter 3.

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Wenegrat, Brant. „The Theater of Disorder“. In Theater of Disorder, 3–13. Oxford University PressNew York, NY, 2001. http://dx.doi.org/10.1093/oso/9780195140873.003.0003.

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Abstract In As You Like It, William Shakespeare likened the world to a stage and people to “mere players.” Four hundred years later, many social scientists appear to have taken him literally. In social psychology, sociology, and anthropology, social life is frequently likened to theater and specific social interactions to performances. People are said to use cues, play roles, and manage and stage the impressions they hope to make on others.

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Islam, S. Aminul. „Sociology of Development in Bangladesh: Discourses and Prospects“. In Society and Sociology in Bangladesh: A South Asian Perspective, 28–47. The University Press Limited (UPL), 2024. http://dx.doi.org/10.59212/9789845064071_2.

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This chapter discusses various discourses of sociology of development in Bangladesh. Sociology of development became an emerging field within Sociology in the 1960s as new nations began to appear within the global system punctuated by the Cold War. The author argues that the exploited and oppressed former colonies became the theater of poverty and underdevelopment, death, disease and political fragility. Social sciences set out to develop theories and paradigms to understand the dynamics of post-colonial societies or what became universally known as the Third World. The objective of this chapter is to encapsulate the progress achieved in this particular domain of knowledge under the constraints of historically entrenched, deep underdevelopment of a peripheral society like Bangladesh and the need for a new theoretical vision to revitalize the dying discourses of development sociology. Both underdevelopment and recent developmental spurts of the country make it a natural laboratory for making such an effort.

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Bonifacio, Glenda Tibe, und Roxanna Balbido Epe. „Introduction“. In Disasters in the Philippines, 3–24. Policy Press, 2023. http://dx.doi.org/10.1332/policypress/9781529222906.003.0001.

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This introductory chapter sets the background, framework, concepts, and context of the sociology of disasters in the Philippines, mainly from pre- and post-typhoon Haiyan. As an overview, this chapter presents the sociocultural dimensions of disasters in the Philippines by conceptualizing a disaster archipelago; framing cultures and disasters; the interface of the local and global; environmental policies, humanitarian, and development assistance. It also presents the organization of the book into two parts and a description of the 15 chapters related to gender, women, children, nutrition, community resilience, religion, information communication technology, economy, disaster impact analysis, applied theater, disability, and disaster risk reduction.

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Konferenzberichte zum Thema "Sociology of theater"

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Bol'shakov, YA O. „Pre-revolutionary theater life in the Vologda province: coverage in the press“. In Scientific dialogue: Questions of philosophy, sociology, history, political science. ЦНК МОАН, 2020. http://dx.doi.org/10.18411/spc-01-02-2020-04.

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Honcharova, O. S., T. M. Brahina und Yu A. Brahin. „Creation and activity of the State Jewish Theater in Kharkiv (1925–1934)“. In GLOBAL SCIENTIFIC TRENDS IN HISTORY, POLITICAL SCIENCE, SOCIOLOGY, AND PHILOSOPHY, 54–57. Baltija Publishing, 2024. http://dx.doi.org/10.30525/978-9934-26-490-0-12.

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Salter, Chris, Timothy Thomasson und Pierrick Uro. „Animate: A Theatrical Exploration of Climate Transformation through the Medium of Extended Reality (XR)“. In 28th International Symposium on Electronic Art. Paris: Ecole des arts decoratifs - PSL, 2024. http://dx.doi.org/10.69564/isea2023-83-full-salter-et-al-animate.

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This paper presents a critical account of the development of a large-scale theater work using emerging Extended Reality (XR) technologies. Detailing three aspects of the project and set against theoretical frameworks from STS (Science and Technology Studies) and the sociology of innovation around ideas of the future embedded in technologies, we examine the conceptual, aesthetic, organizational and social-technical underpinnings of the project. The paper’s goal is thus to give a sense of the challenges and opportunities in the emerging integration of XR into new artistic morphologies that hybridize the visual-performing-media arts through new technological advances.

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