Auswahl der wissenschaftlichen Literatur zum Thema „Theatre for all audiences“
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Zeitschriftenartikel zum Thema "Theatre for all audiences"
Zehra, Shamail, Kiran Karamat und Niza Qureshi. „THEATRE IN THE DIGITAL AGE: CHALLENGES AND AUDIENCE VIEWING EXPERIENCES“. Pakistan Journal of Social Research 05, Nr. 01 (04.03.2023): 609–16. http://dx.doi.org/10.52567/pjsr.v5i01.1384.
Der volle Inhalt der QuellePukelytė, Ina. „Front Theatre and Variety Theatre in Lithuania During World War II“. Art History & Criticism 16, Nr. 1 (01.12.2020): 95–104. http://dx.doi.org/10.2478/mik-2020-0006.
Der volle Inhalt der QuelleCaldwell, Niall, und Kathryn Nicholson. „Star quality: celebrity casting in London West End theatres“. Arts Marketing: An International Journal 4, Nr. 1/2 (30.09.2014): 136–55. http://dx.doi.org/10.1108/am-10-2013-0022.
Der volle Inhalt der QuelleBennett, Susan. „Theatre Audiences, Redux“. Theatre Survey 47, Nr. 2 (12.09.2006): 225–30. http://dx.doi.org/10.1017/s0040557406000196.
Der volle Inhalt der QuelleHarvey, Dustin. „Theatre for Small Audiences“. Canadian Theatre Review 126 (März 2006): 45–47. http://dx.doi.org/10.3138/ctr.126.008.
Der volle Inhalt der QuelleBird, Kym, und Ed Nyman. „Quipping Against the Pricks: Comedy, Community and Popular Theatre“. Canadian Theatre Review 77 (Dezember 1993): 8–12. http://dx.doi.org/10.3138/ctr.77.002.
Der volle Inhalt der QuelleMahoney, Alison M. „Oily Cart's Space to Be: Exploring the Carer's Role in Sensory Theatre for Neurodiverse Audiences during COVID-19“. Theatre Survey 62, Nr. 3 (23.08.2021): 340–43. http://dx.doi.org/10.1017/s0040557421000260.
Der volle Inhalt der QuelleBannerman, Marian White. „TYA in Canada: Navigating the Paradoxes“. Canadian Theatre Review 133 (März 2008): 53–61. http://dx.doi.org/10.3138/ctr.133.008.
Der volle Inhalt der QuelleMcClelland, Graeme. „When in Quarantine: Bringing Theatre Home with Boca del Lupo“. Canadian Theatre Review 191 (01.08.2022): 100–102. http://dx.doi.org/10.3138/ctr.191.016.
Der volle Inhalt der QuelleDUTT, BISHNUPRIYA. „Introduction“. Theatre Research International 42, Nr. 3 (Oktober 2017): 323–26. http://dx.doi.org/10.1017/s030788331700061x.
Der volle Inhalt der QuelleDissertationen zum Thema "Theatre for all audiences"
Taylor, Crispin. „‘It’s All in The Timing’ – A Research Project that explores the complexities in the relationship of Actor to Audience, in Musical Theatre“. Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2021. https://ro.ecu.edu.au/theses/2434.
Der volle Inhalt der QuelleWijesiri, Narayana Don Nimal Wijesiri. „Representation of identity in Sinhala theater: The impact of the religious/charity model“. Thesis, Queensland University of Technology, 2022. https://eprints.qut.edu.au/235387/1/Nimal%2BWijesiri%2BThesis%2B%282%29.pdf.
Der volle Inhalt der QuelleTrabelsi, Rabeb. „Spatialité, scénographie et imagination créatrice dans quatre créations tout-public de Joël Pommerat : Le Petit Chaperon rouge, Pinocchio, Cendrillon et Contes et Légendes“. Electronic Thesis or Diss., CY Cergy Paris Université, 2024. http://www.theses.fr/2024CYUN1287.
Der volle Inhalt der QuelleThis research aims to study the creative process of Joël Pommerat in four creations for all audiences, namely Little Red Riding Hoood, Pinocchio, Cenderella and Tales and Legends and the place of scenography in Joël Pommerat's work. How does this artist reinterpret fairy tales to provide new interpretations of these ancient texts through theatre ? What new elements emerge in Tales and Legends ? In what way does the director allow the spectator to have a fresh perspective on contemporary society by addressing everyday subjects ?The scenographic elements in this artist's work play a key role in the originality of his creations through the development of scenic spaces that are both magical, fictional and even futuristic. Scenography represents a gateway or bridge bringing about this "metamorphosis" from tradition to current events (in the three adaptations of tales) and from current events to the near future (in Tales end Legends).This research aims to demonstrate how Pommerat exploits the wonderful space of the tale or fieldwork to create new spaces, at once political and fictional. How does the tale become a tool for problematizing the societal crisis of today and a gateway to new creations by our artist ? At what levels does cinematographic aesthetic in Pommerat's work contribute to stimulating the spectator's imagination ? How do scenographic elements participate in the creation of a modern visual space? What methods does Pommerat employ to guide the spectators' perception and reflection in his all-age creations ?
Asiedu, Awo Mana. „West African theatre audiences : a study of Ghanaian and Nigerian audiences of literary theatre in English“. Thesis, University of Birmingham, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.288805.
Der volle Inhalt der QuelleHayes, S. „Building community : a sociology of theatre audiences“. Thesis, University of Salford, 2006. http://usir.salford.ac.uk/2034/.
Der volle Inhalt der QuelleBetzien, Angela Jane. „Hoods : creating political theatre for young audiences“. Thesis, Queensland University of Technology, 2007. https://eprints.qut.edu.au/19238/1/Angela_Betzien_Exegesis.pdf.
Der volle Inhalt der QuelleBetzien, Angela Jane. „Hoods : creating political theatre for young audiences“. Queensland University of Technology, 2007. http://eprints.qut.edu.au/19238/.
Der volle Inhalt der QuelleWoods, Penelope. „Globe audiences : spectatorship and reconstruction at Shakespeare's Globe“. Thesis, Queen Mary, University of London, 2012. http://qmro.qmul.ac.uk/xmlui/handle/123456789/8299.
Der volle Inhalt der QuelleGroschel, Uwe. „Audiences and participants : researching theatre users at Contact, Manchester“. Thesis, University of Manchester, 2013. https://www.research.manchester.ac.uk/portal/en/theses/audiences-and-participants-researching-theatre-users-at-contact-manchester(ed0dbc91-5fc5-44ea-a7c8-627691ab8e1e).html.
Der volle Inhalt der QuelleSoulstein, Seth Koozel. „Macbeth as Avatar : fandom in British Romantic theatre audiences“. Thesis, University of British Columbia, 2012. http://hdl.handle.net/2429/41995.
Der volle Inhalt der QuelleBücher zum Thema "Theatre for all audiences"
Snyder-Young, Dani, und Matt Omasta. Impacting Theatre Audiences. London: Routledge, 2022. http://dx.doi.org/10.4324/9781032214146.
Der volle Inhalt der QuelleAsiedu, Awo Mana. West African theatre audiences: A study of Ghanaian and Nigerian audiences of literary theatre in English. Birmingham: University of Birmingham, 2003.
Den vollen Inhalt der Quelle findenO'Toole, John, Ricci-Jane Adams, Michael Anderson, Bruce Burton und Robyn Ewing, Hrsg. Young Audiences, Theatre and the Cultural Conversation. Dordrecht: Springer Netherlands, 2014. http://dx.doi.org/10.1007/978-94-007-7609-8.
Der volle Inhalt der QuelleListon, Karen. An exploratory study into the attitudes of the Dublin population to theatre. Dublin: UniversityCollege Dublin, 1990.
Den vollen Inhalt der Quelle findenMalomo, Jide. The theatre audience in Nigeria: A survey of audience attendance at the National Arts Theatre, Lagos. Ibadan, Oyo State, Nigeria: Ibadan, 2002.
Den vollen Inhalt der Quelle findenFreshwater, Helen. Theatre & audience. Houndmills, Basingstoke, Hampshire, UK: Palgrave Macmillan, 2009.
Den vollen Inhalt der Quelle findenMarisa, Smith, Hrsg. Seattle Children's Theatre: Six plays for young audiences. Lyme, NH: Smith and Kraus, 1997.
Den vollen Inhalt der Quelle findenBennett, Susan. Theatre audiences: A theory of production and reception. London: Routledge, 1990.
Den vollen Inhalt der Quelle findenDieleman, Cock, Ricarda Franzen, Veronika Zangl und Henk Danner. Dramaturgy. NL Amsterdam: Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463724968.
Der volle Inhalt der Quelle1933-, Jennings Coleman A., Hrsg. Theatre for young audiences: 20 great plays for children. New York: St. Martin's Press, 1998.
Den vollen Inhalt der Quelle findenBuchteile zum Thema "Theatre for all audiences"
Farmer, Paul. „5. Touring One & All!“ In After the Miners’ Strike, 67–82. Cambridge, UK: Open Book Publishers, 2023. http://dx.doi.org/10.11647/obp.0329.07.
Der volle Inhalt der QuelleFarmer, Paul. „3. One & All!“ In After the Miners’ Strike, 37–60. Cambridge, UK: Open Book Publishers, 2023. http://dx.doi.org/10.11647/obp.0329.05.
Der volle Inhalt der QuellePickering, Kenneth, und Mark Woolgar. „Audiences and Spectators“. In Theatre Studies, 152–73. London: Macmillan Education UK, 2009. http://dx.doi.org/10.1007/978-1-349-92330-4_10.
Der volle Inhalt der QuelleWebb, Tim. „Sensory Theatre Audiences“. In Sensory Theatre, 53–58. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003091288-12.
Der volle Inhalt der QuelleWerner, Sarah. „Audiences“. In Shakespeare and the Making of Theatre, 165–79. London: Macmillan Education UK, 2012. http://dx.doi.org/10.1007/978-1-137-28493-8_10.
Der volle Inhalt der QuelleMacleod, Joseph. „Special Audiences“. In The New Soviet Theatre, 64–84. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003228660-6.
Der volle Inhalt der QuelleAikman, Lisa, Jennifer Roberts-Smith, Stan Ruecker, Kate Crozier, Jessica Hutchison, Carin Lowerison, Signy Lynch et al. „Theatre for relationality“. In Impacting Theatre Audiences, 145–60. London: Routledge, 2022. http://dx.doi.org/10.4324/9781032214146-13.
Der volle Inhalt der QuelleMcConachie, Bruce. „General Cognition for Theatre Audiences“. In Engaging Audiences, 23–63. New York: Palgrave Macmillan US, 2008. http://dx.doi.org/10.1057/9780230617025_2.
Der volle Inhalt der QuelleHeim, Caroline. „Participant observation in practice and techniques for overcoming researcher insecurity“. In Impacting Theatre Audiences, 26–38. London: Routledge, 2022. http://dx.doi.org/10.4324/9781032214146-3.
Der volle Inhalt der QuellePearce, Celia. „Playing ethnography“. In Impacting Theatre Audiences, 124–35. London: Routledge, 2022. http://dx.doi.org/10.4324/9781032214146-11.
Der volle Inhalt der QuelleKonferenzberichte zum Thema "Theatre for all audiences"
Lisowski, Daniel. „Motion Capture Body Tracking and Functional Safety in Dynamically Controlled Theatre Automation Systems“. In 10th International Conference on Human Interaction and Emerging Technologies (IHIET 2023). AHFE International, 2023. http://dx.doi.org/10.54941/ahfe1004077.
Der volle Inhalt der QuellePostolache, Inga. „Premises of the appearance of the Romanian musical: pages of history“. In International scientific conference "Valorization and preservation by digitization of the collections of academic and traditional music from the Republic of Moldova". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2023. http://dx.doi.org/10.55383/ca.13.
Der volle Inhalt der QuelleFischer, Andre. „New transmedia design for traditional film festivals“. In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.121.
Der volle Inhalt der QuelleDima, Mariza. „Engaging theatre audiences before the play“. In the 2013 Inputs-Outputs Conference. New York, New York, USA: ACM Press, 2013. http://dx.doi.org/10.1145/2557595.2557600.
Der volle Inhalt der QuelleCONDURACHE, Dumitriana. „A Diverse Beauty: Amore, by Pippo Delbono“. In The International Conference of Doctoral Schools “George Enescu” National University of Arts Iaşi, Romania. Artes Publishing House UNAGE Iasi, 2023. http://dx.doi.org/10.35218/icds-2023-0015.
Der volle Inhalt der QuelleSimpson, James, und Rory Foster. „Liveness for Contemporary Audiences: Developing online-togetherness in metaverse theatre audiences“. In Proceedings of EVA London 2022. BCS Learning & Development, 2022. http://dx.doi.org/10.14236/ewic/eva2022.25.
Der volle Inhalt der QuelleMulvany, Gerard T. „Because the Night - Immersive Theatre for Digital Audiences:“. In CHI PLAY '22: The Annual Symposium on Computer-Human Interaction in Play. New York, NY, USA: ACM, 2022. http://dx.doi.org/10.1145/3505270.3558374.
Der volle Inhalt der QuelleOrmanlı, Okan. „Relationship Between Movie Theaters and Audience During the Pandemic: “Beyoğlu 1989 E-Bulletin” as an Example“. In COMMUNICATION AND TECHNOLOGY CONGRESS. ISTANBUL AYDIN UNIVERSITY, 2021. http://dx.doi.org/10.17932/ctcspc.21/ctc21.028.
Der volle Inhalt der QuelleLock, Daniel, David Gochfeld und Ben Kirman. „Hybrid Improvisational Theatre: A Thematic Review of the Production Processes“. In 12th International Conference on Human Interaction and Emerging Technologies (IHIET 2024). AHFE International, 2024. http://dx.doi.org/10.54941/ahfe1005493.
Der volle Inhalt der QuelleTOMUȘ, Ionuț. „General Considerations on Performing Poetry in the Current Performing Arts Context“. In The International Conference of Doctoral Schools “George Enescu” National University of Arts Iaşi, Romania. Artes Publishing House UNAGE Iasi, 2023. http://dx.doi.org/10.35218/icds-2023-0012.
Der volle Inhalt der QuelleBerichte der Organisationen zum Thema "Theatre for all audiences"
Rogers, Amanda. Cambodian Audience Engagement in the Performing Arts: Cambodian Living Arts 2022 Cultural Season. Swansea University, November 2023. http://dx.doi.org/10.23889/sureport.65084.
Der volle Inhalt der QuelleMcIntyre, 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.
Der volle Inhalt der QuelleDomanick, Joe. Communicating to Build Trust: A Best Practices Guide for Law Enforcement Specialists in Latin America and the Caribbean. Inter-American Development Bank, September 2016. http://dx.doi.org/10.18235/0006324.
Der volle Inhalt der QuelleRuiz, Pati, Kelly Mills, Keun-woo Lee, Merijke Coenraad, Judi Fusco, Jeremy Roschelle und Josh Weisgrau. AI Literacy: A Framework to Understand, Evaluate, and Use Emerging Technology. Digital Promise, Juni 2024. http://dx.doi.org/10.51388/20.500.12265/218.
Der volle Inhalt der QuelleYilmaz, Ihsan, Shahram Akbarzadeh und Galib Bashirov. Comprehending the Tactics of Strategic Digital Disinformation Operations (SDIOs). European Center for Populism Studies (ECPS), September 2023. http://dx.doi.org/10.55271/pp0024.
Der volle Inhalt der QuelleCothron, Annaliese, Jose Louro, Elizabeth Alpert, Don Clermont und Valerie Nieto. The State of Veteran Oral Health in Iowa: Understanding Outcomes and Opportunities for Improving Oral Health and Well-Being for Iowa Veterans. American Institute of Dental Public Health, 2024. http://dx.doi.org/10.58677/roll2812.
Der volle Inhalt der QuelleYilmaz, Ihsan, Shahram Akbarzadeh und Galib Bashirov. Strategic Digital Information Operations (SDIOs). European Center for Populism Studies (ECPS), September 2023. http://dx.doi.org/10.55271/pp0024a.
Der volle Inhalt der QuelleCavallo, Eduardo A., Andrew Powell und Eduardo Fernández-Arias. Is the Eurozone on the Mend? Latin American Examples to Analyze the Euro Question. Inter-American Development Bank, Juli 2014. http://dx.doi.org/10.18235/0011642.
Der volle Inhalt der QuelleBozek, Michael, und Tani Hubbard. Greater Yellowstone Network amphibian monitoring protocol science review: A summary of reviewers’ responses. National Park Service, Juni 2022. http://dx.doi.org/10.36967/nrr-2293614.
Der volle Inhalt der QuelleOrtiz, Veronica, Joaquin Tintore und Nicole Köstner. EuroSea Guide of communication and dissemination activities for enhanced visibility of innovation in ocean observing and forecasting for a sustainable ocean. EuroSea, 2023. http://dx.doi.org/10.3289/eurosea_d8.10.
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