Relevant bibliographies by topics / Children's Theatre

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Children's Theatre'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 July 2024

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Journal articles on the topic "Children's Theatre"

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Kamal, Nabaz Esmail. "Children's Theatre and Achieving Educational Goals in Schools." Journal of University of Raparin 10, no. 1 (March 29, 2023): 663–87. http://dx.doi.org/10.26750/vol(10).no(1).paper29.

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The most crucial aspects of community development، which connect to the future of each community's function and its future، are education and learning steps. In order for their correctness and stability to guarantee a good living for people and serve people، nations determine the fields of theater، education، and learning as well as the level of cultural and civil understanding that is to come. Children's theatrical development has always been at a low level in the Kurdistan Region due to ongoing occupation and abuses of sovereignty، and this weakness is increasingly apparent between 2003 and 2021. even while its justifications are altering. We will discuss the forerunners and goals of the development of children's theater since the Greek era as a source based on resources in this study. We will also analyze the essential elements of children's theatre and significant educational pathways، as well as different types of children's theatre and their effects on children، the circumstances of writing drama texts، the role، and responsibilities of the director's teacher in how to deal with performances and presentations، as well as s presenting some findings regarding children's theater and the impact of punctuality.
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Ashagrie, Aboneh. "Children's Theatre in Ethiopia." Aethiopica 15 (December 4, 2013): 105–17. http://dx.doi.org/10.15460/aethiopica.15.1.662.

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When theatre arts emerged in Ethiopia 90 years ago, all characters in the pioneering play were performed solely by children in front of the Crown Prince Täfäri Mäkwännǝn, and members of the aristocracy. The tradition of considering children as a main force of stage production, and the tendency of showing dramatic performance by students to the benefit of adult audience, likewise, continued up until the establishment of the first professional public theatre in 1942. It was late in early 1980s that a change in perspective occurred to urge the indispensability of producing plays for children’s consumption. Such a new insight, within a few years, led to the establishment of the Children and Youth Theatre in Addis Abäba. This article chronologically portrays the history and development of Ethiopian children’s theatre and will hopefully add knowledge to the account of African theatre in particular and the world theatre in general.
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Hall, Robin. "Children's Theatre in Japan." Asian Theatre Journal 3, no. 1 (1986): 102. http://dx.doi.org/10.2307/1124582.

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Kozodaev, Pavel I., and Anzhela P. Shesterinova. "Methods of developing visual thinking of younger schoolchildren in a children’s studio theatre." Psychological-Pedagogical Journal GAUDEAMUS 23, no. 1 (2024): 106–14. http://dx.doi.org/10.20310/1810-231x-2024-23-1-106-114.

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The features of modern social processes associated with technocratisation and the introduction of elements of artificial intelligence inevitably give rise to obstacles and issues in the process of development and socialization of the human personality in general and, in particular, children. We focus on the need to develop visual thinking in younger schoolchildren, as a condition for their creative maturation and subsequent professional self-realization. Presented children's studio theatre is one of the possible areas for the development of this process. The development of visual thinking in younger schoolchildren is considered in the context of a developed and tested methodology. On the basis of a number of pedagogical provisions we define the concept “Methodology for development of visual thinking in a children’s studio theatre”, describe the structure of this methodology and consider the factors of effective influence on this pedagogical process. The methodology is carried out through the implementation of the content of three successively changing stages (adaptation, development, creative), which have their own goal setting. Certain forms, techniques and methods of domestic theater pedagogy at each stage of the implementation of the methodology are aimed at developing children's imagination and fantasy.
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Manna, Anthony L. "Milestones in American Children's Theatre." Children's Literature Association Quarterly 17, no. 4 (1992): 39–41. http://dx.doi.org/10.1353/chq.0.1014.

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Shevelova, Oleksandra. "Children's and youth repertory of the modern musical theater in Ukraine: research problems of the director's concept." Ukrainian musicology 46 (October 27, 2020): 30–44. http://dx.doi.org/10.31318/0130-5298.2020.46.234590.

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The aim of the study is to determine the degree of research of the repertoire policy of the Ukrainian musical theatres in the context of works for children and youth; to emphasize the role of the director in selecting the appropriate techniques and artistic expressions aimed at young auditory. The object: children's and youth repertoire of modern Ukrainian musical theatre and its directorial incarnations, the nature of interpretations and their compliance with the young viewers' perception. The methodology implies the use of a system and analytical method, which allows carrying out theoretical and methodological generalization of scientific concepts, works and proposals of leading scientists in order to find a new scientific understanding of children's and youth repertoire of modern Ukrainian musical theatre. Functional-structural analysis makes it possible to determine the functional component of musical theatre and repertoire focused on the young audience, in particular, to form the principles and values of the influence of theatrical art on the individual. With the help of traditional methods of art research: genre, stylistic, interpretive approaches to directorial modifications of the repertoire in accordance with the modern requirements. The relevance of the study: exploring the little-studied topic of children's musical theatre in Ukraine, drawing the experts’ attention to the gaps that arise in the process of vector determination in the groups’ repertoire policy. The appeal to these aspects is signified by the need of finding the new directorial approaches if solving modern problems of children's and youth repertoire of musical theatres in Ukraine at the time of global changes in artistic culture. Art education of the young generation of the information technology era is an important component of comprehensive personal development. Findings and conclusion: the study of the problem of solving children's and youth subjects in Ukrainian musical theatres at the time of modern socio-cultural challenges allows us to state the lack of a systematic differentiated approach to the theme choice, directing techniques, artistic expression which are appropriate for the children's, teenagers’ and youth perception. The review of domestic and foreign researches on the chosen problems testifies to the existence of some separate developments in psychological and pedagogical, culturological, musicological, theatrical sciences. Unfortunately, there is still no comprehensive intersectoral scientific research that integrates the various achievement in order to create an artistically holistic performance for children and youth. The format of directorial incarnations of musical and theatrical performances of the specified repertoire implies the differentiation of directorial approaches to its interpretations in accordance with the peculiarities of the musical drama of works which are focused on the relevant audience. The further research prospects lay in the opportunity to identify examples of relevant works for the re-pertoire of the musical theatre in Ukraine and to establish the relevant directorial concepts that can be embodied in musical and theatrical performances aimed at children and youth audiences.
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Nyohi, Frowin. "Children's participation in theatre‐for‐development." Contemporary Theatre Review 12, no. 1-2 (January 2002): 211–27. http://dx.doi.org/10.1080/10486800208568660.

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Xireng, Jiang. "The Children's Art Theatre of Shanghai." Asian Theatre Journal 6, no. 2 (1989): 145. http://dx.doi.org/10.2307/1124456.

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Bečica, Jiří. "Income Self-Sufficiency and Profitability of Professional Theatres in the Czech Republic." Review of Economic Perspectives 18, no. 3 (September 1, 2018): 285–99. http://dx.doi.org/10.2478/revecp-2018-0014.

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Abstract The paper assesses the professional theatres operating under the Association of Professional Theatres in the Czech Republic in the period 2011-2015 using the financial analysis, particularly the profitability indicator ratio (ROA, ROCE, ROE, ROS) and the rate of income self-sufficiency. The reason for this economic exploration of theatres is in the fact that the service they provide fall under collectively provided public goods (a common feature of most cultural institutions), and that the market is not able to effectively secure these goods on the profit principle. The J. K. Tyl Theatre in Pilsen, the Drak Theatre in Hradec Králové and the Moravian Slovakia Theatre in Uherské Hradiště have reported the best results of profitability indicators. Whereas the worst results in profitability have been reported for the North Bohemian Theatre of Opera and Ballet in Ústí nad Labem, the Antonín Dvořák Theatre in Příbram and the South Bohemian Theatre in České Budějovice. The rate of income self-sufficiency within 2011-2015 ranges from 12-55% of the total budget volume, and volume and shows a strong dependency of professional theatres on foreign resources, particularly from public resources of the local levels of the government being the most common funder of these cultural institutions. It turns out that, from the economic point of view, it is illogical to transform non-profit contributory organizations in culture with a public funder into a different legal form when the purpose of the establishment and the funder remain preserved. Better results are generally obtained from single-genre theatres and, in terms of the auditorium size, smaller theatres focusing on drama or children's production.
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JEDDELOH, R. J. "USA: children's theatre makes smoking a farce." Tobacco Control 7, no. 2 (June 1, 1998): 116. http://dx.doi.org/10.1136/tc.7.2.116.

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Dissertations / Theses on the topic "Children's Theatre"

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Bilston, Darren. "Directing Children's Theatre." Thesis, Bilston, Darren (2002) Directing Children's Theatre. Honours thesis, Murdoch University, 2002. https://researchrepository.murdoch.edu.au/id/eprint/40845/.

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This Meta - thesis is an accompaniment to the practical work I engaged in for my Honours study. I worked with several different groups in the area of Directing Children's Theatre. My aim was to explore the ways in which one could direct children's theatre for the purposes of education, entertainment and vocation. This paper covers the theoretical side of my studies, working from theories on education, direction and Theatre in Education. From these three theoretical bases, I have developed a working theory for myself centred on a concept of "creative learning.' I have also provided documentation of my work in the field with three organisations - Barking Gecko Children's Theatre Company, the Murdoch Children's Performing Group and Thornlie Primary School. This documentation covers the work I was engaged in, my aims and objectives and the processes I encountered/employed, including examples of how my own theory was put into practice, and the successes and failures of that practice.
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Wood, Margot. "Children's theatre : in search of an approach to theatre by children, for children." Thesis, Stellenbosch : Stellenbosch University, 2005. http://hdl.handle.net/10019.1/50296.

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Thesis (MA)--Stellenbosch University, 2005.
ENGLISH ABSTRACT: Children's Theatre, although appreciated by participants, has largely been marginalized, even by practitioners in theatre. It is still viewed as a lesser form oftheatre and as a dumping ground for resources from adult theatre. There are two main areas of focus as far as the field of drama for children is concerned. Both areas are based on the notion that play is an important and beneficial part of child development and that dramatic play is a natural development of free play. This study examines the similiarities and differences between the two approaches. The one area concerns itself with creative or educational drama where the child participates in drama activities, usually within a classroom situation. The other area, which is, in fact, the main focus of this study, concerns itself with theatrical presentation for children, i.e. Children's Theatre. Children's Theatre, with adults as the performers, is the most familiar form of Children's Theatre and yet, the one form which directly influences most children, in particular through participation in the school play, is Children's Theatre where children are the performers themselves, in other words, a form of participational theatre. This form of theatre has the potential for influencing children's lives immensely and yet it is often left to persons with no expertise in the field to lead such projects. The opportunity for truly enriching the participants' lives is often lost through poor methodology. Historically, the aims and values set for Children's Theatre have also undergone development to the point where a synthesis has been reached where equal emphasis is to be placed on the quality of the end product as well as the process by which such end product has been reached. A number of problems and issues specific to working in Children's Theatre are examined as they occur in different settings. These include problems concerning script, venue, the child audience and audience participation and problems dealing specifically with the process of directing a cast of children. Possible solutions to these problems are investigated. An approach, based on the theories of practitioners in the field, as well as the results of a number of practical projects, will be formulated. The practical projects will be used to investigate certain viewpoints expressed by practitioners in the field. The approach formulated should not only encourage work of a high artistic standard but should also be based on sound educational principles. Central to this is the approach and style of the director who, in Children's Theatre, is far more than just a director of a theatrical presentation. The director in Children's Theatre is always teacher and director at once.
AFRIKAASNE OPSOMMING: Kinderteater, alhoewel gewild onder deelnemers, is grootliks gemarginaliseer, selfs deur praktisyns in teater. Dit word steeds gesien as 'n mindere teatervorm en 'n stortingsterrein vir hulpbronne van volwasse teater. Daar is twee hoof fokusareas wat drama vir kinders aanbetref. Beide areas is gebaseer op die idee dat spel 'n belangrike en voordelige aspek van kinderontwikkeling is en dramatiese spel 'n natuurlike ontwikkeling van vrye spel. Hierdie studie ondersoek die ooreenkomste en verskille tussen die twee areas. Die een area fokus op kreatiewe of opvoedkundige drama waar die kind deelneem aan drama aktiwiteite, gewoonlik binne 'n klaskamer opset. Die ander area, wat die fokusarea van hierdie studie is, is gemoeid met verhoogaanbiedings vir kinders, dus Kinderteater. Kinderteater, waar volwassenes die spelers is, is die meer bekende vorm van Kinderteater en tog is Kinderteater waar kinders die optreders is, die vorm wat meer kinders beïnvloed, veral deur deelname aan die skoolproduksie. Hier is kinders self die optreders in 'n vorm van deelnemende teater. Hierdie vorm van Kinderteater het die potensiaal om kinders gewelding te beïnvloed en tog word dit dikwels oorgelaat aan persone sonder die nodige kennis op die gebied om sulke projekte te lei. Die geleentheid om kinders positief te verryk raak verlore as gevolg van swak metodologie. Histories het die waardes en oogmerke rondom Kinderteater onwikkeling ondergaan tot die punt waar 'n sintese bereik is waar klem gelê word op die kwaliteit van beide die finale produk en die proses waardeur die eindproduk bereik is. 'n Aantal probleme en kwessies wat eie is aan werk binne Kinderteater sal ondersoek word soos hulle voorkom binne verskeie opsette. Hierby word ingesluit probleme met teks, speelarea, die kindergehoor en gehoordeelname en probleme wat spesifiek handeloor die proses van regie vir kinders as spelers. Moontlike oplossing vir hierdie probleme salondersoek word. 'n Benadering gebaseer op die teorieë van praktisyns op die gebied sowel as die uitslae van 'n aantal praktiese projekte, sal geformuleer word. Die praktiese projekte sal gebruik word om die menings van praktisyns op die gebied te ondersoek. Die benadering moet werk van 'n hoogstaande artistieke gehalte bevorder en moet gebaseer wees op deurgronde onderwysbeginsels. Sentraal tot so 'n benadering is die aanslag en styl van die regisseur wat in Kinderteater veel meer moet wees as bloot 'n regisseur van 'n verhoogopvoering. Die regisseur in Kinderteater is altyd beide onderwyser en regisseur.
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Oliver, Sarah Miranda Londré Felicia Hardison. "Kansas City's Community Children's Theatre a history /." Diss., UMK access, 2008.

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Thesis (M.A.)--Dept. of Theatre. University of Missouri--Kansas City, 2008.
"A thesis in theatre." Typescript. Advisor: Felicia Hardison Londreʹ Vita. Title from "catalog record" of the print edition Description based on contents viewed Sept. 12, 2008. Includes bibliographical references (leaves 118-120). Online version of the print edition.
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Lauritzen, Chareen Hardy. "The Roberta Jones Junior Theatre : a model children's theatre /." Diss., CLICK HERE for online access, 2009. http://contentdm.lib.byu.edu/ETD/image/etd2882.pdf.

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Lawver, Kimberly. "SWOT Analysis of Theatre 8:15, A Children's Community Theatre." University of Akron / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=akron1336245437.

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Al, Hinai Kamla Alwaleed. "Children’s theatre in Oman 1970- 2007: towards a developed theatre." Thesis, Queensland University of Technology, 2010. https://eprints.qut.edu.au/41016/1/Kamla_Al_Hinai_Thesis.pdf.

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Children’s theatre exists along with other theatrical forms in the cultural life of the Sultanate of Oman. Despite the fact that Omani Children’s Theatre started its life at the beginning of the 1970s, many challenges and obstacles continue to face its ongoing development. A significant landmark in this development was the first Omani Children's Theatre Festival which took place in 2007, thirty-five years after the first Omani children’s play was produced in 1972. This festival represents a new era in the history of Omani theatre in general and the history of children’s theatre in particular. This study investigates how Children’s Theatre in the Sultanate of Oman can become a viable and valued form of art for the future. It outlines the historical background and the present situation of Omani children’s theatre and, through discussions with interviewees, defines the obstacles it presently faces and suggests ways to overcome them. The study provides a clear vision for a strong children’s theatre culture in Oman and outlines recommendations for achieving this vision. Presently, there is little written documentation about children’s theatre in Oman. This study provides the first comprehensive historical overview.
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Marshall, Brian M. "Caryl Crane Children's Theatre A Strategic Analysis." University of Akron / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=akron1302124613.

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Tzibazi, Vasiliki. "Researching primary school children's "museum theatre" experiences." Thesis, University of Leicester, 2006. http://hdl.handle.net/2381/10712.

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As the number of museums that employ theatre as part of their educational provision is increasing there is a need for the articulation of the theoretical framework and an in-depth insight into the children's "museum theatre" experiences. The aim of this empirical research is to examine how primary school children "make meaning" of the form and content of the experience in two forms of "museum theatre": a) a participatory theatrical experience in the heritage site of Clarke Hall and b) first person interpretation events in the Museum of London. Based on the principles of the constructivist qualitative paradigm, the research attempts to offer an insight into how the children understand the content and format of the "museum theatre" experience. The research focuses on the interrelationship between the children's prior-to-the-event agenda and their "museum theatre" experiences and examines the children's experiences as products of relationships between the involved parties: the museum's agenda and the schools' agenda. The constructivist paradigm and the interpretive sociological approach illustrate the epistemological position that underpins the formulation of the research questions and the methodological framework employed. The data generation methods derive from ethnographical research methods and mainly involve interviews, observations and children's drawings. The research attempts to elucidate the parameters that shape the children's "museum theatre" experiences. These include the museum's setting and objects, the children's willingness to suspend disbelief, the interactive/participatory aspects of the experience and the opportunities given to children for reflection and generation of new understandings. The research findings underline the subjectivity of the theatrical experience, as shaped through the various objectives and expectations of the involved parties. They suggest that interplay between the event's format/content and the experience's fictional/real context is evident in the children's interpretation of their "museum theatre" experience.
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Wolgast, Amanda. "EMULATING THE SWEDES: AN EXPLORATION OF THE DEVELOPING TRENDS IN SWEDISH THEATRE FOR YOUNG AUDIENCES." Master's thesis, Orlando, Fla. : University of Central Florida, 2008. http://purl.fcla.edu/fcla/etd/CFE0002172.

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Terry-Beitz, Paulene. "Developments in children's theatre in Adelaide, 1836-1959 /." Title page, contents and introduction only, 1993. http://web4.library.adelaide.edu.au/theses/09AR/09art329.pdf.

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Books on the topic "Children's Theatre"

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Smolensky, Sheila. Costuming for children's theatre. (Denver): (Pioneer Drama Service)], 1986.

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Sytchev, Mikhail. Five scenes for children's home theatre. Saint-Romuald, QC: Productions d'Oz, 2006.

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Victorov, Victor Ilʹich. The Natalia Sats Children's Musical Theatre. Moscow: Raduga, 1986.

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1932-, Kase-Polisini Judith, and Children's Theatre Association of America., eds. Children's theatre: Creative drama and learning. Lanham, MD: University Press of America, 1986.

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England, Alan William. Theatre for the young. New York: St. Martin's Press, 1990.

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Shaw, James R. Beanstalk!: A musical play for children's theatre. Schulenburg, TX: I.E. Clark, 1985.

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ill, Rooney David 1962, ed. The theatre cat. Dublin: O'Brien Press, 1986.

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Marisa, Smith, ed. Seattle Children's Theatre: Six plays for young audiences. Lyme, NH: Smith and Kraus, 1997.

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Hartman, Steven D. Right before your eyes: A children's theatre musical. Venice, FL: Eldridge Pub. Co., 1994.

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Handwerg, Ute. Theater über Leben: Entwicklungsbezogene Theaterarbeit = Theatre of relevance : theater work focusing on development. Berlin: Schibri-Verlag, 2006.

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Book chapters on the topic "Children's Theatre"

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Aragón, Cecilia Josephine. "An Overview of United States Children's Theatre and the Western Concept of Childhood." In Borderlands Children's Theatre, 10–29. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003095705-2.

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Aragón, Cecilia Josephine. "An Application of Border Theories and Psycho/Social Theory." In Borderlands Children's Theatre, 86–120. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003095705-5.

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Aragón, Cecilia Josephine. "Theorizing a Border Crossing Subject/Self." In Borderlands Children's Theatre, 70–85. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003095705-4.

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Aragón, Cecilia Josephine. "Borderlands Theatrical Legacies." In Borderlands Children's Theatre, 121–40. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003095705-6.

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Aragón, Cecilia Josephine. "Historical Context of Borderlands Children's Theatre." In Borderlands Children's Theatre, 30–69. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003095705-3.

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Aragón, Cecilia Josephine. "Introduction." In Borderlands Children's Theatre, 1–9. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003095705-1.

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Macleod, Joseph. "Children's Gauze." In A Soviet Theatre Sketch Book, 47–55. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003228677-5.

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Sextou, Persephone. "Sick children's stories." In Applied Theatre in Paediatrics, 31–59. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003039341-3.

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van de Water, Manon. "Theatre and Drama." In The Routledge Companion to Children's Literature and Culture, 178–90. New York: Routledge, 2023. http://dx.doi.org/10.4324/9781003214953-18.

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Sextou, Persephone. "Hospitalised children's stories in applied theatre." In Applied Theatre in Paediatrics, 1–20. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003039341-1.

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Conference papers on the topic "Children's Theatre"

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Ferreira de Oliveira, Fernanda. "O Children's occupation. Children's aesthetic experience.Isthere a theater here?" In 6TH INTERNATIONAL CONFERENCE ON THE GEOGRAPHIES OF CHILDREN, YOUTH AND FAMILIES. Galoa, 2019. http://dx.doi.org/10.17648/gcyf-2019-99362.

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Ribeiro, Pedro, Anna Michel, Ido Iurgel, Christian Ressel, Cristina Sylla, and Wolfgang Müller. "Empowering children to author digital media effects for reader's theatre." In IDC '18: Interaction Design and Children. New York, NY, USA: ACM, 2018. http://dx.doi.org/10.1145/3202185.3210793.

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Radulović, Olivera V. "METODIČKA DELATNOST JOVANA LjUŠTANOVIĆA." In KNjIŽEVNOST ZA DECU U NAUCI I NASTAVI. University of Kragujevac, Faculty of Education in Jagodina, 2022. http://dx.doi.org/10.46793/kdnn21.025r.

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The aim of this paper is to point to several prominent aspects from the field of teaching methodology which was the focus of Jovan Ljuštanović’s research. The first aspect is the contemporary approach to research methods that Ljuštanović applied while he was working as a lecturer at Preschool Teacher Training College in Novi Sad. The approach encouraged teachers to put on theatre plays with children within the subject Methodology of preschool education. The paper also deals with Ljuštanović’s work in the field of children’s speech development through storytelling, as well as with the courses that he held at the College. The second aspect of his work in the methodology of teaching concerns writing textbooks (readers, work books and supplementary material) and the new elements he was introducing. Last but not least, professor Jovan Ljuštanović was devoted to improvement of teachers’ competencies and he held accredited seminars on the topic of preschool children literature.
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Chitra, Banu, Minakshi Jain, and Faiz Ahmed. "Analyzing the Soundscape of an Urban Park: A Case of Semmozhi Poonga." In ASME 2018 Noise Control and Acoustics Division Session presented at INTERNOISE 2018. American Society of Mechanical Engineers, 2018. http://dx.doi.org/10.1115/ncad2018-6137.

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This paper investigates the soundscape of a designed urban park in Chennai. Acoustic measurements and subjective evaluations of the soundscape were conducted at various locations in the identified case. The park was divided into nine zones for conducting the primary survey, such as parking area, entrance court, tree court, children’s play, herbal garden, butterfly garden, open-air theatre, duck pond, and mound. Fourteen different sounds were mapped based on the pilot survey that affected the users. Totally thirty responses were collected from each zone. The observed sounds include traffic sound, honking of vehicles, screaming of people & children, chuckling of children, the chirping of birds, ringing of the mobile phone, crowd talking, rustling of leaves, wind sound, play equipment sound, splashing of water, flowing of water, and machine sound. From the subjective survey, it is found that the individual soundscape preference collected from each space have no correlation with the overall soundscape experience of the same space. Based on the measurement data, the individual and the overall experience on soundscape perception were examined.
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Mahmutoglu, Vildan. "Memory Shaping in Migration Age: Amal’s Walking." In GLOCAL Conference on Mediterranean and European Linguistic Anthropology Linguistic Anthropology 2022. The GLOCAL Unit, SOAS University of London, 2023. http://dx.doi.org/10.47298/comela22.9-1.

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Memory forms through visual and auditory perception and experience. Yet, memory studies frequently note that past traumas influence memory and the shaping of memory. Here, studies on past suffering influence the field of memory studies. For example, Huyssen notes that the narratives concerning past trauma not only transfer this past pain but also build memory which will emerge in the future (2018). At the present time, the creation of narratives is increasingly shifting away from large institutions, where short story pieces are gaining a place in general media through their formation as micronarratives, thus structuring contemporary communication. Such is the case with puppet theatre and its narratives. For example, in Turkey, one popular current puppet theatre narrative is the journey of the puppet Amal, the Syrian girl protagonist in a puppet play created by the Good Chance Theatre. Within the narrative, Amal begins her journey in Gaziantep, a city in southern Turkey near the Turkish-Syrian border, and reaches the large city of Izmir, in Turkey, as a final destination. This study was carried out in Izmir, which is the last stop of Amal in Turkey. Before leaving Turkey, there were several activities held, and refugee children and Turkish children came together with Amal in those events. They played some games together to contribute to Amal's Izmir Diary – (Izmir Art, July 6, 2022). In the research, focus groups and in-depth interviews were realized with the children who participated in these events. By analysing the interviews, the effect of Amal’s walking performance on Syrian children will be revealed by keeping in the mind the key phrase ‘forming the memory’ and micronarrative.
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Peng, Yu, Yuan-Ling Feng, Nan Wang, and Haipeng Mi. "How children interpret robots’ contextual behaviors in live theatre: Gaining insights for multi-robot theatre design." In 2020 29th IEEE International Conference on Robot and Human Interactive Communication (RO-MAN). IEEE, 2020. http://dx.doi.org/10.1109/ro-man47096.2020.9223560.

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Ryohei, Egusa, Wada Kumiko, Adachi Takayuki, Goseki Masafumi, Namatame Miki, Kusunoki Fusako, Mizoguchi Hiroshi, and Inagaki Shigenori. "Evaluation of interactive puppet theater based on inclusive design methods." In IDC '13: Interaction Design and Children 2013. New York, NY, USA: ACM, 2013. http://dx.doi.org/10.1145/2485760.2485821.

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Galushko, I. G., A. V. Galushko, and T. V. Ogel. "Theater pedagogy as a means of developing children's creative abilities." In TRENDS OF DEVELOPMENT OF SCIENCE AND EDUCATION. НИЦ «Л-Журнал», 2018. http://dx.doi.org/10.18411/lj-08-2018-06.

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de Brito, Walderes Lima, Newton Camelo de Castro, and Carlos Roberto Bortolon. "Young Readers Transpetro Program: The Sustainable Development of Community Close to a Pipeline in Goia´s, Brazil." In 2008 7th International Pipeline Conference. ASMEDC, 2008. http://dx.doi.org/10.1115/ipc2008-64584.

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A person reading an average of sixteen books per year is considered high even in so-called First World countries. This achievement is even more remarkable if it is performed by children of low-income families. An example is the participants of PETI, Child Labor Eradication Program of Jardim Canedo, a neighborhood located over part of the Sa˜o Paulo - Brasi´lia Pipeline, situated in Senador Canedo, Goia´s, Brazil. In 2007 this community experienced the Striving Readers Transpetro Program, which aims to develop a taste for reading among children. Transpetro expects to be helping to overcome the low-quality Brazilian education, reflected in the 72% rate of functional illiteracy. The chief objective of the Program is the development of art education workshops and the creation of the “Readers Group - What story is that?”. The workshops are meant for the educators, with the purpose of offering tools form them to spur the children into reading through techniques such as story-telling, theater, singing, puppet shows, set constructions and other audio visual resources. The Readers Group is intended for children. Participation is voluntary and offers literary books according to the childs’ taste and literacy. In the first year of operation, Striving Readers Transpetro Program relied on the participation of 100% of the educators in the Art Education Workshops and a commitment of 93% of the Readers Group members. It also played a part in the improvement of the childrens performance in formal school. Furthermore, the Program contributed to the mapping of libraries available for PETI members, supported the assembly of a catalogue of institutes that sponsor striving readers programs and performed workshops with the technical staff at selected institutes to educate them on how to conduct fund raising. Such actions, as a whole, ensured sustainability to the program and promoted a company relationship with the community and with the Regulatory Authority. This is a socially responsible approach to ensuring childrens’ rights are met.
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Petkova, Prolet T. "Influence of theatrical art on children: Theater schools." In 3rd International e-Conference on Studies in Humanities and Social Sciences. Center for Open Access in Science, Belgrade, 2019. http://dx.doi.org/10.32591/coas.e-conf.03.27287p.

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Reports on the topic "Children's Theatre"

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Mehra, Tanya, Merlina Herbach, Devorah Margolin, and Austin C. Doctor. Trends in the Return and Prosecution of ISIS Foreign Terrorist Fighters in the United States. ICCT, August 2023. http://dx.doi.org/10.19165/2023.3.04.

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Approximately 300 Americans are estimated to have traveled or attempted to join the Islamic State (ISIS) as part of the group’s campaign in Syria and Iraq between 2013 and 2019. These individuals joined more than 53,000 men, women, and minors from roughly 80 countries. Often referred to as foreign (terrorist) fighters (FTF), these are individuals from third countries who travel to join a terrorist group to support its activities. In the United States (U.S.) context, the FTF designation does not denote the act of fighting itself, but rather the support of a designated foreign terrorist organization (FTO). While many of these radicalized individuals traveled alone to the conflict zone, others brought their families or formed new ones in-theater. As ISIS’ selfdeclared caliphate collapsed, many were killed, some fled to other locations, and many were captured and held by Kurdish forces. Men and some teenage boys were primarily placed in prisons, while women and minors were often moved into detention camps. Today, an estimated 10,000 male FTFs remain held in northeastern Syria including 2,000 men and boys from 60 countries outside Syria and Iraq (third country nationals, or TCNs). In addition, local camps hold close to 55,000 female FTF and FTF-affiliated family members, including roughly 10,000 TCN women and children. Some of these individuals have now been in detention for four years or more. The indefinite detention of FTF and FTF-affiliated families in northeastern Syria is not a tenable solution. In addition to clear humanitarian concerns, there is a significant security risk that the facilities’ inhabitants provide a groundswell of recruits to the still active ISIS campaign in the region. A 2022 U.S. military report puts it bluntly, “These children in the camp are prime targets for ISIS radicalization. The international community must work together to remove these children from this environment by repatriating them to their countries or communities of origin while improving conditions in the camp.” In lockstep, U.S. diplomatic leaders have made repatriation a policy priority empowered by a general domestic partisan consensus that the repatriation of FTF and FTF-affiliated families from northeastern Syria should be done expediently. Progress has been slow, while many Western nations were strongly resistant to bringing their detained citizens home, there is recent evidence for cautious optimism. Approximately 9,200 persons – including 2,700 TCNs and 6,500 Iraqis repatriated since 2019. This year, 13 countries have repatriated roughly 2,300 persons, including more than 350 TCNs. However, more work remains to be done. As of July 15, 2023, 39 U.S. persons have been officially repatriated, including both adults and minors. At least 11 additional U.S. persons have returned on their own accord, ten of whom remained in the U.S. following their return. Furthermore, the U.S. has made the decision to bring several non-U.S. persons to the U.S. to stand trial.
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Prysyazhnyi, Mykhaylo. UNIQUE, BUT UNCOMPLETED PROJECTS (FROM HISTORY OF THE UKRAINIAN EMIGRANT PRESS). Ivan Franko National University of Lviv, March 2021. http://dx.doi.org/10.30970/vjo.2021.50.11093.

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In the article investigational three magazines which went out after Second World war in Germany and Austria in the environment of the Ukrainian emigrants, is «Theater» (edition of association of artists of the Ukrainian stage), «Student flag» (a magazine of the Ukrainian academic young people is in Austria), «Young friends» (a plastoviy magazine is for senior children and youth). The thematic structure of magazines, which is inferior the association of different on age, is considered, by vital experience and professional orientation of people in the conditions of the forced emigration, paid regard to graphic registration of magazines, which, without regard to absence of the proper publisher-polydiene bases, marked structuralness and expressiveness. A repertoire of periodicals of Ukrainian migration is in the American, English and French areas of occupation of Germany and Austria after Second world war, which consists of 200 names, strikes the tipologichnoy vseokhopnistyu and testifies to the high intellectual level of the moved persons, desire of yaknaynovishe, to realize the considerable potential in new terms with hope on transference of the purchased experience to Ukraine. On ruins of Europe for two-three years the network of the press, which could be proud of the European state is separately taken, is created. Different was a period of their appearance: from odnogo-dvokh there are to a few hundred numbers, that it is related to intensive migration of Ukrainians to the USA, Canada, countries of South America, Australia. But indisputable is a fact of forming of conceptions of newspapers and magazines, which it follows to study, doslidzhuvati and adjust them to present Ukrainian realities. Here not superfluous will be an example of a few editions on the thematic range of which the names – «Plastun» specify, «Skob», «Mali druzi», «Sonechko», «Yunackiy shliah», «Iyzhak», «Lys Mykyta» (satire, humour), «Literaturna gazeta», «Ukraina і svit», «Ridne slovo», «Hrystyianskyi shliah», «Golos derzhavnyka», «Ukrainskyi samostiynyk», «Gart», «Zmag» (sport), «Litopys politviaznia», «Ukrains’ka shkola», «Torgivlia i promysel», «Gospodars’ko-kooperatyvne zhyttia», «Ukrainskyi gospodar», «Ukrainskyi esperantist», «Radiotehnik», «Politviazen’», «Ukrainskyi selianyn» Considering three riznovektorni magazines «Teatr» (edition of Association Mistciv the Ukrainian Stage), «Studentskyi prapor» (a magazine of the Ukrainian academic young people is in Austria), «Yuni druzi» (a plastoviy magazine is for senior children and youth) assert that maintenance all three magazines directed on creation of different on age and by the professional orientation of national associations for achievement of the unique purpose – cherishing and maintainance of environments of ukrainstva, identity, in the conditions of strange land. Without regard to unfavorable publisher-polydiene possibilities, absence of financial support and proper encouragement, release, followed the intensive necessity of concentration of efforts for achievement of primary purpose – receipt and re-erecting of the Ukrainian State.
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