Log in

Relevant bibliographies by topics / Children's Theatre / Journal articles

To see the other types of publications on this topic, follow the link: Children's Theatre.

Journal articles on the topic 'Children's Theatre'

Author: Grafiati

Published: 4 June 2021

Last updated: 31 July 2024

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the top 50 journal articles for your research on the topic 'Children's Theatre.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.

1

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

2

Ashagrie, Aboneh. "Children's Theatre in Ethiopia." Aethiopica 15 (December 4, 2013): 105–17. http://dx.doi.org/10.15460/aethiopica.15.1.662.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

3

Hall, Robin. "Children's Theatre in Japan." Asian Theatre Journal 3, no. 1 (1986): 102. http://dx.doi.org/10.2307/1124582.

Full text

APA, Harvard, Vancouver, ISO, and other styles

4

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

5

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

6

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

7

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

8

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

Full text

APA, Harvard, Vancouver, ISO, and other styles

9

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

10

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

11

Xiao, Jin. "METHODS FOR DEVELOPING COMMUNICATION SKILLS BY MEANS OF MUSICAL THEATRE." Arts education and science 4, no. 33 (2022): 34–40. http://dx.doi.org/10.36871/hon.202204034.

Full text

Abstract:

The article discusses the possibilities of using theatrical methods in music lessons. Based on a review of the repertoire of children's musical theatres in Russia, an interview with S. Malyukova, artistic director of the "Kamerton" Theatre, as well as an analysis of the research literature devoted to the problem of drama pedagogy, a hypothesis of its significant potential in music lessons is put forward. Among the possible forms of drama pedagogics are theatrical performances of children operas and musical plays, dramatization of chamber-vocal and instrumental works, methods of plastic intonation. The description of each method is supported by examples from pedagogical practice; recommendations for teachers and ways for further cooperation between teacher and students are outlined. Examples of creative work reveal the potential for the development of children's communicative skills in the process of comprehending music.

APA, Harvard, Vancouver, ISO, and other styles

12

Reason, Matthew. "‘Did You Watch the Man or Did You Watch the Goose?’ Children's Responses to Puppets in Live Theatre." New Theatre Quarterly 24, no. 4 (November 2008): 337–54. http://dx.doi.org/10.1017/s0266464x08000481.

Full text

Abstract:

Puppets are inanimate objects that, when watched by an audience, are invested with life and motion and character. This is particularly the case, we imagine, with children's theatre, where there is a cultural assumption that young audiences engage with the illusion and imaginative experience. In this article Matthew Reason uses innovative visual arts-based audience research to explore this question, asking how children respond to puppets in live theatre. In doing so he engages with questions of reality, illusion, belief, and disbelief in the theatre, as well as with questions about the respect and sophistication of young audiences. Matthew Reason is a Senior Lecturer in Theatre and Head of Programme for MA Studies in Creative Practice at York St John University. In 2006 he published Documentation, Disappearance, and the Representation of Live Performance (Palgrave), and a full-length exploration of children's experiences of live theatre, The Young Audience, will be published by Trentham Books in 2010.

APA, Harvard, Vancouver, ISO, and other styles

13

Klein, Jeanne. "Children's Interpretations of Computer-Animated Dinosaurs in Theatre." Youth Theatre Journal 17, no. 1 (May 2003): 38–50. http://dx.doi.org/10.1080/08929092.2003.10012549.

Full text

APA, Harvard, Vancouver, ISO, and other styles

14

Bayborodova, Lyudmila V. "Features of the organisation of theatrical activities among rural schoolchildren." Vestnik of Kostroma State University. Series: Pedagogy. Psychology. Sociokinetics 26, no. 4 (February 24, 2021): 33–40. http://dx.doi.org/10.34216/2073-1426-2020-26-4-33-40.

Full text

Abstract:

The definition is given, upbringing possibilities of theatre activities are identified; their main form is children's association. Theatre association is seen as an upbringing environment where pedagogues and children solve a set of tasks of children’s upbringing and socialising in the process of theatrical activity. Particular attention is paid to the fact that, when organising theatrical activities, one should take into account the peculiarities of the region, the societas and the specifics of rural school. Rural school often assumes the functions of additional education for children and adults; it is the centre of cultural and leisure activities for the whole population. Problems when organising theatre activities for rural children are considered; it is also noted that setting up a theatre group in a school helps to overcome the socialisation difficulties of rural children. A number of favourable factors, positively influencing the organisation and development of children’s theatrical activity, their socialisation, include close ties of school and societas, closeness of children to nature, development of interaction of children with parents, with fellow villagers, rural spiritual and moral environment, development of integrative connections. It is noted that theatrical activity in a number of rural schools is a system-forming one, i.e. it unites the activities of all actors, it contributes to the integration of general education and additional education of rural schoolchildren. Peculiarities of the content, forms, methods and technologies that can be used when organising theatrical activity of rural schoolchildren are considered.

APA, Harvard, Vancouver, ISO, and other styles

15

Greyvenstein, Walter. "LET US ENTERTAIN YOU! CHILDREN'S THEATRE AND POPULAR ENTERTAINMENT." South African Theatre Journal 3, no. 2 (January 1989): 51–90. http://dx.doi.org/10.1080/10137548.1989.9687979.

Full text

APA, Harvard, Vancouver, ISO, and other styles

16

Webb, Dorothy. "Betty Kessler Lyman and The Indiana Federal Children's Theatre." Youth Theatre Journal 9, no. 1 (May 1995): 68–78. http://dx.doi.org/10.1080/08929092.1995.10012467.

Full text

APA, Harvard, Vancouver, ISO, and other styles

17

Lynde, Denyse. "Wolfeville's Mermaid Theatre: The First Fifteen Years." Theatre Research in Canada 9, no. 1 (January 1988): 81–93. http://dx.doi.org/10.3138/tric.9.1.81.

Full text

Abstract:

This article is a historical overview of the first fifteen years of children's theatre in Wolfville, Nova Scotia, where the Mermaid Theatre was founded. Developing from a local to a major international company, the Mermaid has redefined its mandates and policies and undergone major personnel changes and shifts in repertory that have significant implications for Canadian drama in both a local and national context.

APA, Harvard, Vancouver, ISO, and other styles

18

Peters, Sibylle. "Participatory Children's Theatre and the Art of Research: The Theatre of Research/Das Forschungstheater2003–2013." Youth Theatre Journal 27, no. 2 (July 2013): 100–112. http://dx.doi.org/10.1080/08929092.2013.837693.

Full text

APA, Harvard, Vancouver, ISO, and other styles

19

Sjölin, Mette Hildeman. "‘|Y]oung Hamlet’." Critical Survey 35, no. 4 (December 1, 2023): 94–112. http://dx.doi.org/10.3167/cs.2023.350407.

Full text

Abstract:

Abstract Shakespeare's Hamlet has been retold in children's versions several times in Sweden in recent years. It was the subject of the first episode of the children's television programme På teatern [At the Theatre], written and directed by Christina Nilsson for SVT in 2001–2002, where Shakespearean actors meet their child or grandchild backstage after a performance to tell and partly enact the story of the play. In 2005–2006, Lotta Grut wrote the plays Lille Hamlett och spöket [Little Hamlett and the Ghost] and Offelia kom igen! [Offelia Come Again!] for the theatre company Unga Roma. In these fairy-tale versions, the children Hamlet and Ophelia are confronted with death, grief, anger, oppression and erasure. This article argues that the På teatern episode is an adaptation of Hamlet while Grut's two plays are appropriations.

APA, Harvard, Vancouver, ISO, and other styles

20

Winston, Joe. "Playing on The Magic Mountain: Theatre education and teacher training at a children's theatre in Brussels." Research in Drama Education: The Journal of Applied Theatre and Performance 8, no. 2 (September 2003): 203–16. http://dx.doi.org/10.1080/13569780308330.

Full text

APA, Harvard, Vancouver, ISO, and other styles

21

Kent, Assunta. "Quiet Revolution: Feminist Considerations in Adapting Literature for Children's Theatre." Theatre Topics 1, no. 1 (1991): 35–42. http://dx.doi.org/10.1353/tt.2010.0000.

Full text

APA, Harvard, Vancouver, ISO, and other styles

22

Klein, Jeanne. "From Children's Perspectives: A Model of Aesthetic Processing in Theatre." Journal of Aesthetic Education 39, no. 4 (2005): 40–57. http://dx.doi.org/10.1353/jae.2005.0041.

Full text

APA, Harvard, Vancouver, ISO, and other styles

23

Hobjilă, Angelica. "Children's theatre - diachronic analysis of curricular documents for preschool level, in Romania." Journal of Educational Sciences & Psychology 12 (74), no. 2 (2022): 78–83. http://dx.doi.org/10.51865/jesp.2022.2.09.

Full text

Abstract:

Theatre, in all its forms, although very well represented in kindergarten activities, does not have a constant presence in the curricular documents to which they referred, throughout time, teachers for preschool education in Romania. In this context, a diachronic analysis of curricular documents (from the Program of instructive-educational activity in kindergarten, 1963, to the Curriculum for early education, 2019) can be a point of support for teachers (especially beginners) who understand and want to capitalize on the benefits of theatre in activities with preschoolers. In this sense, both the finalities / competencies provided in the mentioned curricular documents will be analysed, and, especially, the contents (where they are listed) and the behaviours, examples of activities offered by these official papers.

APA, Harvard, Vancouver, ISO, and other styles

24

SENIOR, ADELE. "Beginners On Stage: Arendt, Natality and the Appearance of Children in Contemporary Performance." Theatre Research International 41, no. 1 (February 11, 2016): 70–84. http://dx.doi.org/10.1017/s0307883315000620.

Full text

Abstract:

This paper examines the complex questions that arise around the appearance of children in contemporary performance. Drawing on performances by Nottingham-based theatre company Zoo Indigo and by Tim Etchells and the Flemish theatre company Victoria, I consider the extent to which Hannah Arendt's theorization of natality as ‘the new beginning inherent in birth’ that gives rise to the political potential to ‘begin something anew’ can help us to understand the ethico-political dimensions of children's appearance as natal, biological and relational beings in contemporary performance. In particular, I draw on feminist interpretations of Arendt's work to articulate the significance of the embodied aspects and ethical quality of children's relation to adult spectators and performers. I argue that these performances prompt a rethinking of the child's potential to generate political intervention, which moves beyond Arendt's gendered account of political agency in a public sphere from which children are excluded.

APA, Harvard, Vancouver, ISO, and other styles

25

Johanson, Katya, and Hilary Glow. "Being and Becoming: Children as Audiences." New Theatre Quarterly 27, no. 1 (February 2011): 60–70. http://dx.doi.org/10.1017/s0266464x11000054.

Full text

Abstract:

In this article, Katya Johanson and Hilary Glow examine the ways in which performing arts companies and arts policy institutions perceive the needs of children as audiences. Historically, children have been promoted as arts audiences. Some of these represent an attempt to fashion the adults of the future – as audiences, citizens of a nation, or members of a specific community. Other rationales focus on the needs or rights of the child, such as educational goals or the provision of an antidote to the perceived corrupting effect of electronic entertainment. Drawing on interviews with performing arts practitioners, the authors explore some of these themes through case studies of three children's theatre companies, identifying the development of policy rationales for the support of practices directed at children which are primarily based on pedagogical principles. The case studies reveal a shift away from educational goals for children's theatre, and identify a new emphasis on the importance of valuing children's aesthetic choices, examining how these trends are enacted within the case-study organizations, and the implications of these trends for company programming. Hilary Glow is Senior Lecturer and Director of the Arts Management Program at Deakin University, Victoria. She has published articles on cultural policy and the audience experience in various journals, and in a monograph on Australian political theatre (2007). Katya Johanson lectures and researches in the School of Communication and Creative Arts at Deakin University. She has published on Australian cultural policy and on the relationship between art, politics and national identity. With Glow she is the author of a monograph on Australian indigenous performing arts (2009).

APA, Harvard, Vancouver, ISO, and other styles

26

ANANTHAKRISHNAN, B. "Pedagogy, practice and research in Indian theatre." Theatre Research International 35, no. 3 (October 2010): 291–92. http://dx.doi.org/10.1017/s030788331000060x.

Full text

Abstract:

Modern academic training for theatre in India has a history of just over fifty years (since independence). The National School of Drama (NSD) was set up in 1957, but the prime objective of the institution at that time was to generate professionals to develop children's theatre and rural theatre. Although India possessed a wide range of traditional performance cultures throughout the country, from rituals to folk performances and classical performances, the NSD was modelled on the Royal Academy of Dramatic Arts (RADA) since the new institution was led by a graduate of RADA, Professor Ebrahim Alkazi, who put the institution on a functional track. Thus the toolkit used during the initial days was primarily based on Western models conducive to realism rather than growing organically out of the actual practices of the different forms of Indian performance. This early orientation remains today, emphasizing the creation of referential meanings on the stage through conventional methods and devices, taken as the unshakable organizing principle of theatre practice.

APA, Harvard, Vancouver, ISO, and other styles

27

Sextou, Persephone, and Claire Monk. "Bedside theatre performance and its effects on hospitalised children's well-being." Arts & Health 5, no. 1 (February 2013): 81–88. http://dx.doi.org/10.1080/17533015.2012.712979.

Full text

APA, Harvard, Vancouver, ISO, and other styles

28

Grady, Sharon. "Asking the Audience: Talking to Children about Representation in Children's Theatre." Youth Theatre Journal 13, no. 1 (May 1999): 82–92. http://dx.doi.org/10.1080/08929092.1999.10012510.

Full text

APA, Harvard, Vancouver, ISO, and other styles

29

Dempsey, Shawna, and Lorri Miliari. "Making It Happen A Commercial Model for Self-Production." Canadian Theatre Review 82 (March 1995): 23–25. http://dx.doi.org/10.3138/ctr.82.005.

Full text

Abstract:

Lorri Miliari and I became friends in 1986. I arrived at the first day of rehearsal for Michi’s Blood (a Crow’s Theatre Production), and found her, the stage manager, knee deep in water in Harbord Street’s Ohm Performance Space. Flooding was a new foible to Ohm, but neither of us were particularly surprised, and together, stoically, bailed it out. I had begun my professiona l wo rk in theatre in 1984, stage managing for D.O. Kugler, and acting as summer administrator for Nig htwood Theatre. In both of these capacities, my duties included countless tasks that one would not usually consider part of these job descriptions. This was to be the case during my six years as a worker in alternative and children's theatre. Everybody did everything because we had to. Lorri's career was not dissimilar. At the age of sixteen she learned to run a lighting board one afternoon, so that she could operate it that evening for one of the first annual Rhubarb! festiva ls. Through these do-or-die situations we both acquired a tremendous number of skills, all of which enabled the presentation of live art. Mopping the floor of Ohm was yet another adventure in how to make theatre happen.

APA, Harvard, Vancouver, ISO, and other styles

30

손증상. "A Study of Children's Theatre of Park Se Young -Focusing on 『Byeolnara』-." Journal of Korean drama and theatre ll, no. 41 (September 2013): 13–48. http://dx.doi.org/10.17938/tjkdat.2013..41.13.

Full text

APA, Harvard, Vancouver, ISO, and other styles

31

Švachová, Romana. "The childish Unga Klara : contemporary Swedish children's theatre and its experimental aesthetics." Brünner Beiträge zur Germanistik und Nordistik, no. 1 (2016): 51–63. http://dx.doi.org/10.5817/bbgn2016-1-5.

Full text

APA, Harvard, Vancouver, ISO, and other styles

32

Martin, Kathryn A., Roger L. Bedard, C. John Tolch, and Lowell Swortzell. "Spotlight on the Child: Studies in the History of American Children's Theatre." Theatre Journal 43, no. 2 (May 1991): 276. http://dx.doi.org/10.2307/3208240.

Full text

APA, Harvard, Vancouver, ISO, and other styles

33

McCaslin, Nellie, and Playwright Aurand Harris. "American Children's Theatre Goes to China: An Interview with Playwright Aurand Harris." Asian Theatre Journal 6, no. 2 (1989): 159. http://dx.doi.org/10.2307/1124457.

Full text

APA, Harvard, Vancouver, ISO, and other styles

34

Klein, Jeanne, and Shifra Schonmann. "Theorizing Aesthetic Transactions from Children's Criterial Values in Theatre for Young Audiences." Youth Theatre Journal 23, no. 1 (May 14, 2009): 60–74. http://dx.doi.org/10.1080/08929090902851379.

Full text

APA, Harvard, Vancouver, ISO, and other styles

35

Severina, O. V. "The use of immersive technologies within the framework of children's language theatre." Искусство и образование, no. 5 (2022): 98–104. http://dx.doi.org/10.51631/2072-0432_2022_139_5_98.

Full text

APA, Harvard, Vancouver, ISO, and other styles

36

Lewartowicz, Urszula. "The atregames as a form of developing children's creativity." Problemy Opiekuńczo-Wychowawcze 586, no. 1 (January 31, 2020): 39–47. http://dx.doi.org/10.5604/01.3001.0013.7921.

Full text

Abstract:

The aim of the article is to show the potential of the atregamesin developing creativity and creative attitude of children in early school education. The study is of a methodological and research nature and was based on research carried out during theatre workshops organised as part of the project Za progiem – wyprawy odkrywców. 288 children aged 6‒10 took part in the workshops. The participant observation method was used for the research. The first part of the study presents the theoretical perspective of the proposed issues. The second part of the study is of methodological and research nature. It is a record of the course of the workshop along with a description of the most important observation results.

APA, Harvard, Vancouver, ISO, and other styles

37

Jamaluddin, Aini Syahira, Aina Yasmin Mohd Amin, and Asri Karolina. "Exploring Muslims’ Parents Experiences in Utilizing Literature." Vol.4, Issue 1, June 2023 4, no. 1 (June 30, 2023): 1–7. http://dx.doi.org/10.55862/asbjv4i1a003.

Full text

Abstract:

This study attempted to investigate the experiences of parents in utilizing children's literature to support teaching and learning. The purpose of this study was to explore parents’ knowledge towards children’s literature and employed qualitative methods as the mode of inquiry. Semi-structured interviews were conducted with nine Muslim parents from various countries with the aims to investigate the literature’ preference for young children, the main source of literature and the methods used to teach literature. The three found themes translated to our research findings: fiction is the most preferred genre of literature among the parents, Al-Quran and the Prophets’ stories as the main source of literature for Muslim parents, and theatre as a medium to introduce literature. Finally, future researchers are recommended to adapt this study to a larger scale of Muslim respondents to test its confirmability and credibility.

APA, Harvard, Vancouver, ISO, and other styles

38

Sopolev, Timofey I. "Exercises and Stage Studies with Music by First-Year Students of the Acting and Directing Courses." ТЕАТР. ЖИВОПИСЬ. КИНО. МУЗЫКА, no. 2 (2023): 172–85. http://dx.doi.org/10.35852/2588-0144-2023-2-172-185.

Full text

Abstract:

Modern theatre pedagogy preserves and develops the traditions of the founders of the Russian school of directing and acting: K.S. Stanislavsky, Vs.E. Meyerhold, M.O. Knebel, A.D. Popov, A.A. Goncharov and others. Traditional teaching methods are complemented by modern, relevant tools that effectively help educators in today’s creative workshops. The article touches upon the problem of the development of musical thinking of modern artists and directors in a situation of transformation of the musical background in the socio-cultural domain, which leads to a decrease in children's and adolescents' understanding of the internal dramaturgy of musical melody. Based on specific examples of trainings, musical exercises and sketches with music in the workshops of the Music Theatre Faculty of the Russian Institute of Theatre Arts (GITIS), the author considers methodological stages and approaches that can help future actors and directors develop an understanding of music and its inner content. This can lead to the disclosure of the “musicalization of the body and consciousness” of students in theatre institutes, as well as assist in the perception of music as an impulse to stage creativity that can be found through the search for an individual way of non-verbal expression of the impression of its perception.

APA, Harvard, Vancouver, ISO, and other styles

39

손증상. "KAPF's Controversy of Theatre-Popularization And Project of Sonyeon Gurumakkun of Children's Play." Journal of Korean drama and theatre ll, no. 45 (September 2014): 35–62. http://dx.doi.org/10.17938/tjkdat.2014..45.35.

Full text

APA, Harvard, Vancouver, ISO, and other styles

40

Fletcher-Watson, Ben. "From stage to screen: adapting a children's theatre production into a digital toy." Scottish Journal of Performance 1, no. 2 (June 13, 2014): 37–62. http://dx.doi.org/10.14439/sjop.2014.0102.04.

Full text

APA, Harvard, Vancouver, ISO, and other styles

41

Patonay, Anita. "The Development of Children’s and Youth Theatre in Hungary: the Path of Institutionalization and Beyond the Professional Sphere (1949–1989/1992)." Theatron 17, no. 4 (2023): 40–52. http://dx.doi.org/10.55502/the.2023.4.40.

Full text

Abstract:

It was after the Second World War and the nationalisations that autonomous theatres for children and youth and theatre performances targeting this age group were first established in Hungary. In my study, I will present the institutional history of children’s and youth theatres in the period 1949–1989/1992 and the children’s and youth theatre-makers who were amateur theatre-makers alongside the institutionalised theatres. I will give an insight into the productions that were produced during this period, the problems faced by the children’s and youth theatre community, and the contradictions that creators had to face during the period of state socialism. I will look at decisions, decrees, and laws on the medium of children’s and youth theatre productions from 1949 to 1989/1992, in order to gain a better understanding of the cultural context in which amateur theatre groups produced performances in the context of children’s and youth theatre culture, alongside the institutionalised children’s and youth theatres.

APA, Harvard, Vancouver, ISO, and other styles

42

Радионова, M. S. "Fairy tale group in the children's psycho-neurological sanatorium." Клиническая и специальная психология 5, no. 1 (2016): 127–47. http://dx.doi.org/10.17759/cpse.2016050109.

Full text

Abstract:

The article is devoted to conducting a psychotherapy group performing a combined fairy-tale plot. The participants were primary schoolers with neurotic symptoms and developmental delay, they were patients of a psycho-neurological sanatorium (Moscow). The group was working through rehearsing in a fairy tale puppet theatre. General theoretical and methodical basis of fairy-tale performing as a psychotherapy approach is described. Three levels of the psychotherapeutic work are developed: 1) working with a group as a whole with common problems of participants, 2) working on problems of a child as an individual and 3) working on a fairy tale individually. The assessment of the therapeutic approach effectiveness is discussed in the context of children’s being at the institution. As the result of the psychotherapy the children’s proneness to conflict, anxiety, neuroticism, neurotic symptoms were observed to have decreased and their self-esteem appeared to have become more realistic.

APA, Harvard, Vancouver, ISO, and other styles

43

FISEK, EMINE. "I want to be the Palestinian Romeo!Arna's Childrenand the Romance with Theatre." Theatre Research International 37, no. 2 (May 3, 2012): 104–17. http://dx.doi.org/10.1017/s0307883312000028.

Full text

Abstract:

This article focuses onArna's Children, a 2004 documentary about the children's activities and theatre group founded in 1989 by Israeli activist Arna Mer Khamis in the Jenin Refugee Camp of the occupied West Bank. While the documentary provides an in-depth look at how theatrical practices can prove restorative in the face of destruction, my discussion suggests that its portrayal of the aesthetic medium also interrogates the limits of the relationship between theatrical practice and emancipatory ideals.

APA, Harvard, Vancouver, ISO, and other styles

44

فوزي عبد الخالق, هالة. "صور التنمُّر في مسرح الطفل مسرح جمال ياقوت نموذجًا Forms of bullying in the children's theatre Gamal yaqoot's theatre as a model." المجلة العلمية لعلوم التربية النوعية 16, no. 16 (December 1, 2022): 628–63. http://dx.doi.org/10.21608/sjsep.2022.307467.

Full text

APA, Harvard, Vancouver, ISO, and other styles

45

Sansonetti, Annie. "Girl Talk and Hold Music." TSQ 10, no. 3-4 (November 1, 2023): 527–43. http://dx.doi.org/10.1215/23289252-10900998.

Full text

Abstract:

Abstract In this article, the author visits filmmaker Wu Tsang's 2015 short film Girl Talk at the New Museum in New York. The film's documentation of a dance, the author's fieldwork in the museum, and Tsang's cinematography evidence how feminine boyhood and trans girlhood are better supported in the music, conversation, and dance of what the author calls “girlfriend performance.” Against the violence of adult-authored accounts of trans feminine childhood, this article argues that children's friends should tell the story of trans feminine childhood instead. The author examines Tsang's film for its depiction of friendship in queer and trans feminine childhood and develops a transfeminist educational theatre exercise inspired by its repertoire of conviviality—of “girl talk and hold music”—for applied theatre artists, drama educators, and art therapists working with queer and trans youth, specifically feminine boys and transgender girls, and their friends.

APA, Harvard, Vancouver, ISO, and other styles

46

Lavrysh, I. "THE EDUCATIONAL AND UPBRINGING FUNCTIONS OF CHILDREN'S MUSICAL THEATRE IN THE INCLUSIVE EDUCATION ENVIRONMENT." Aesthetics and Ethics of Pedagogical Action, no. 27 (June 20, 2023): 227–40. http://dx.doi.org/10.33989/2226-4051.2023.27.282152.

Full text

Abstract:

The initial hypothesis of this article is to determine the educational and upbringing functions of children's musical theatre in the conditions of inclusive education as a triad: supervisor-director, participants-performers, and parent audience. Each of these links in the triad creates an expressive subsystem, and its comprehensive complex is subordinated to the sphere of the educational-artistic context of the emergence and implementation of both literary and musical creative concepts since the multifaceted problem of synthesizing arts has been and remains an actual problem of scientific research. A detailed description of the musical sound palette confirmed the validity of our research regarding the objective realization of musical works in performance as a procedural process in the formation of art images of sounds and words, the diversity of their perception of meaning by performers, which is an extraordinary factor in the formation of stage images in a play involving children and adolescents with special needs. Taking this into account, the director should rely on his entire previous background, worldview, general cultural, aesthetic, and pedagogical experience to develop the creative activity of children through theatrical activities, considering their psychological and physical peculiarities. The purpose of the article is to actualize the role of children's musical theatre as a genre-forming extracurricular institution in the conditions of inclusive education, to determine its educational and upbringing functions, to study the peculiarities of stage action in the artistic reproduction of images, to reveal the significance of the musical palette as an expression of the artistic idea for creating a creative atmosphere of the performance based on artistic-pedagogical experience, and to determine the cognitive needs of children and adolescents with special developmental needs through theatrical activity.

APA, Harvard, Vancouver, ISO, and other styles

47

Lethbridge, M., A. Bouckley, and N. A. Chambers. "Patterns of Sevoflurane use in a Children's Hospital: The Effects of a Simple Educational Intervention." Anaesthesia and Intensive Care 35, no. 4 (August 2007): 550–57. http://dx.doi.org/10.1177/0310057x0703500414.

Full text

Abstract:

We conducted a prospective observational study of sevoflurane use over a four-week period at our tertiary referral children's hospital. Sevoflurane vaporisers were weighed before and after all general anaesthesia sessions and anaesthesia time intervals recorded. Midway through the audit, the initial findings were presented to the department with a brief reminder of ways to reduce sevoflurane use. These included recommendations for fresh gas flows and use of alternative agents during maintenance. Sevoflurane use then continued to be audited over a further two-week period. Anaesthesia in induction rooms accounted for 60% of total sevoflurane use but involved only 15% of total general anaesthetic time. Thus sevoflurane was used eight times faster in the induction rooms when compared to operating theatres. There was a 53% reduction in the rate of use of sevoflurane after the educational intervention, with an 87% reduction in in-theatre use and a 31% reduction in induction room use. This represents a potential saving of $108, 120 per annum in our institution. Workloads before and after the educational intervention were comparable. A more complete cost benefit analysis of this initiative would include the costs of alternative agents and any clinical disadvantages incurred and would be seen in the context of the overall health budget. This was beyond the scope of this project. Clinicians can be relatively complacent about financial accountability. In this study, a simple educational reminder halved sevoflurane use in the short term. This study suggests that specific reminders or recommendations about anaesthetic technique in the induction rooms may be indicated.

APA, Harvard, Vancouver, ISO, and other styles

48

Featherstone, Simon. "Spiritualism as Popular Performance in the 1930s: the Dark Theatre of Helen Duncan." New Theatre Quarterly 27, no. 2 (May 2011): 141–52. http://dx.doi.org/10.1017/s0266464x11000273.

Full text

Abstract:

In this essay the social historian Simon Featherstone examines the theatre of the Scottish medium Helen Duncan and argues that her strange, illicit performances offer a way of re-reading British popular performance in the 1930s and 1940s. This critically neglected period has been characterized by the decline of the radical energies of nineteenth-century music hall and the variety theatre which displaced it. Duncan's performances, however, with their extravagant display and management of her body and deployment of a range of references to popular materials, including puppetry, melodrama, children's games, and sentimental narratives, suggest the existence of other trajectories. Like the ‘dark village’ that Eric Hobsbawm identified as the illegal shadow of nineteenth-century social practices, Duncan's ‘dark theatre’ can be seen as a shadow world of mid-century performance styles. It provided a knowing yet emotionally fulfilling theatrical experience for her audiences while at the same time posing radical questions about the limits and meanings of the representation of gender and class in the unregulated venues of the spiritualist circuit. Politically ambiguous in their mixture of entrepreneurial exploitation and willingness to offer forthright challenges to social and legal authorities, Duncan's performances indicate the persistence of complex spaces and traditions of popular theatricality in the period.

APA, Harvard, Vancouver, ISO, and other styles

49

Gupta, Tanika. "As Long as the Punters Enjoy It." New Theatre Quarterly 24, no. 3 (August 2008): 260–69. http://dx.doi.org/10.1017/s0266464x08000316.

Full text

Abstract:

Tanika Gupta is one of the most prolific and outstanding new writers in contemporary British theatre. Born in Chiswick in 1965, she is a bilingual British Bengali who – after reading modern history at Oxford University – began her career in 1991, when her Radio 4 play, Asha, was part of the BBC Young Playwrights Festival. In 1995, her BBC film, The Rhythm of Raz, was nominated for a Children's BAFTA and the following year her film Bideshi won an award at the Bombay Short Film Festival. Meanwhile, although she made a living writing for Grange Hill and EastEnders, her play Voices on the Wind was being developed and, in 1996–98, she was Writer-in-Residence at the Soho Theatre. In 1997, A River Sutra was staged at Three Mills Island, London, and Skeleton at the Soho Theatre. In 1998, Flight, her BBC2 screenplay, won an EMMA. The Waiting Room (2000), staged by the National, won the John Whiting Award, and was followed by Sanctuary (National) and Inside Out, toured by Clean Break (both 2002). In 2003, Gupta's Fragile Land opened the new Hampstead Theatre's education space, her Asian version of Hobson's Choice was staged at the Young Vic, and she won the Asian Woman of Achievement Award. Later, she had further success with her campaigning play about the Zahid Mubarek case, Gladiator Games (Sheffield Crucible, 2005), and Sugar Mummies (Royal Court, 2006). A year later came a play for the National Youth Theatre, White Boy (Soho). What follows is an edited transcript of Aleks Sierz's ‘In Conversation with Tanika Gupta’, part of the ‘Universal Voices’ festival held at Rose Bruford College, Sidcup, Kent, in April 2007, organized by Nesta Jones.

APA, Harvard, Vancouver, ISO, and other styles

50

Bacova, Daniela. "The Position of Children's Theatre and Drama in Education in Slovakia during the last 15 Years." Research in Drama Education: The Journal of Applied Theatre and Performance 4, no. 1 (February 1999): 91–100. http://dx.doi.org/10.1080/1356978990040109.

Full text

APA, Harvard, Vancouver, ISO, and other styles

We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!