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Relevant bibliographies by topics / Dance-drama

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Academic literature on the topic 'Dance-drama'

Author: Grafiati

Published: 4 June 2021

Last updated: 11 February 2022

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Journal articles on the topic "Dance-drama"

1

Kernan, Alvin, James Redmond, and Alan Brissenden. "Drama, Dance and Music." Modern Language Review 80, no. 2 (April 1985): 407. http://dx.doi.org/10.2307/3728679.

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Nelson, Margaret F., Frank G. Speck, Leonard Broom, and Will West Long. "Cherokee Dance and Drama." American Indian Quarterly 12, no. 1 (1988): 70. http://dx.doi.org/10.2307/1183796.

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Triomphe, Jeannette. "Dance and Drama—The Connection." Journal of Physical Education, Recreation & Dance 57, no. 5 (June 1986): 24–25. http://dx.doi.org/10.1080/07303084.1986.10606119.

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Wijayanti, Okto. "Multiple Intelligences in Learning Musical Dramas for Prospective Primary School Teachers." JOURNAL OF TEACHING AND LEARNING IN ELEMENTARY EDUCATION (JTLEE) 4, no. 1 (February 20, 2021): 98. http://dx.doi.org/10.33578/jtlee.v4i1.7872.

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Prospective teachers who get the 7th semester of Drama and Dance Education courses must have competence, one of which is that the teacher can present interesting learning for children with a drama approach, as a multidisciplinary knowledge that can be taught using role playing methods that are taught more interesting, fun, meaningful, interactive and rich experience. As a student, you can develop multiple intelligence in this subject. Programmed and scheduled musical drama training systems are indeed interesting, because each student is given the freedom to give assessments, provide reinforcement, support, correct weaknesses, mistakes and even object to the work of other groups with the strengths and points of view of the subjectivity expressed by each. students. As a result, sportsmanship is needed in this regard. Through an empirical qualitative approach, with lesson study-based inductive thinking logic. This study aims to describe the various intelligences that appear in learning dance drama, especially the work practice of dance drama projects (musical dramas), both individually and in groups obtained from the performance appraisal contained in the instrument. Important notes in the discussion found several findings about the application of Multiple Intelligences in learning dance and drama, namely: 1) Tools to achieve success that are more concerned with the process of achieving results, 2) Integrative Learning dance drama combines various intelligences, 3) Learning dance and dance drama becomes full of challenges, and more fun, 4) Care for the individual differences of students so that emotional management is needed, 5) Instructional based learning is firm and clearly measurable, 6) The importance of reflection for further improvement, 7) Clarity of goals, achievement of competence and each student's feedback needs to be done.

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Grow, Mary L., and Mattani Mojdara Rutnin. "Dance, Drama, and Theatre in Thailand." Asian Theatre Journal 12, no. 2 (1995): 361. http://dx.doi.org/10.2307/1124117.

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., I. Nyoman Narawidia, I. Gede Mahendra Darmawiguna, S. Kom, M. Sc ., and Gede Saindra Santyadiputra, S. T. ,. M. Cs . "Film Dokumenter Sejarah Drama Tari Gambuh Desa Batuan." Kumpulan Artikel Mahasiswa Pendidikan Teknik Informatika (KARMAPATI) 6, no. 1 (February 20, 2017): 103. http://dx.doi.org/10.23887/karmapati.v6i1.9393.

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Tujuan dari penelitian ini adalah untuk: (1) menghasilkan rancangan dan mengimplementasikan hasil rancangan Film Dokumenter Sejarah Drama Tari Gambuh Desa Batuan; (2) mengetahui respon masyarakat terhadap Film Dokumenter Sejarah Drama Tari Gambuh Desa Batuan. Jenis penelitian yang digunakan dalam penelitian ini adalah penelitian dan pengembangan dengan menggunakan metode cyclic strategy. Film dokumenter sejarah drama tari Gambuh Desa Batuan menganut jenis film dokumenter sejarah, namun dalam beberapa bagian akan dimunculkan unsur rekonstruksi berbantuan animasi 2D, di mana film ini nantinya akan menceritakan bagaimana awal mula drama tari Gambuh muncul hingga berkembang sampai sekarang di Desa Batuan. Dalam film ini tipe film dokumenter yang diusung yaitu tipe interactive, di mana nantinya akan ada beberapa tokoh yang menyampaikan langsung fakta dilapangan lewat wawancara yang ditampilkan dalam film ini. Teknik pengumpulan data dilakukan dengan cara observasi, wawancara, studi literatur, angket, dan dokumentasi. Penelitian ini diimplementasikan menggunakan Adobe Premiere Pro CS 6 sebagai aplikasi pengedit video dan Adobe After Effect CS 6 sebagai aplikasi penambahan efek serta animasi pada video. Hasil penelitian dan pengembangan menunjukkan bahwa Film Dokumenter Sejarah Drama Tari Gambuh Desa Batuan dalam kriteria baik. Hasil yang diperoleh berdasarkan analisis uji ahli isi, uji ahli media, dan uji respon penonton. Untuk isi dari film dokumenter Sejarah Drama Tari Gambuh Desa Batuan sudah sesuai dengan realitas. Respon penonton terhadap film dokumenter Sejarah Drama Tari Gambuh Desa Batuan dapat dikategorikan baik dengan persentase 89.51%.Kata Kunci : Cyclic Strategy, Film Dokumenter, Drama Tari Gambuh. The aims of this research are; (1) to produce and to implement the result design of documentry film the historical of drama Gambuh dance of Batuan village, (2) to know about responses from audiens about documentry film the historical of drama Gambuh dance of Batuan village. This research use cyclic strategy method. Documentry film the historical of drama Gambuh dance of Batuan village genre is historical’s film, but on some scene there’s will be showed a recontruction use on 2D animation, where’s this film will let’s us know how drama Gambuh dance raise and grow up untill now at Desa Batuan. Film type of this documentry is interactive, where’s there will be some people who will bring the facts that’s exist with live interview that’s shown up on this film. The technique that use for collecting data are observation, interview, study literature, questionnaire and documentation. The implementation of this research is uses Adobe Primer Pro CS 6 as the application in editing the video and Adobe After CS 6 as the application that use to adding the effect and animation into the video. This research show that documentry film the historical of drama Gambuh dance of Batuan village has an good criteria. The result of this research are based on the analyzes; test of the content, test of the media and test of the audiens response. The content from documentry film the historical of drama Gambuh dance of Batuan village is based on reality. The category of this film is good with percentages 89.51% that stated by audiens. keyword : Cyclic Strategy, Documentary Film, drama Gambuh dance.

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Sandi, Noviea Varahdilah, and Ririn Setyorini. "Analisis Pembelajaran Drama untuk Meningkatkan Kreativitas Mahasiswa dalam Penulisan Lakon Di Perguruan Tinggi." Jurnal Darussalam: Jurnal Pendidikan, Komunikasi dan Pemikiran Hukum Islam 10, no. 2 (April 19, 2019): 304. http://dx.doi.org/10.30739/darussalam.v10i2.376.

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The aim of this research is to examine process of writing in act of drama, that doing by students in college. The write of script is for developing students creativity and knowledge in order to imagine in field of drama script writing.. Design in this research using qualitative, and the method using descriptive method, that will learn and describe learning of act writing as proponent the running of show in order to developing students creativity in field of dance and drama class. Subject of this research are students of VI semester that take dance and drama class in Peradaban University year of 2017/2018.The analysis technique used interactive model analysis. The results of this study showed that from several students involved in the PGSD1 and PGSD2 classes in making play scripts, only two students passed the selection, two play scripts which were chosen to be performed in dance and drama performances, while the results of this writing showed almost all students cannot develop ideas, experiences and pour creative thoughts into text.

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Enache, Lorette. "Part II. Drama / Choreography5. Theater Dance Atelier." Review of Artistic Education 13, no. 1 (March 1, 2017): 125–29. http://dx.doi.org/10.1515/rae-2017-0016.

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Abstract The substance of the spiritual and cultural life is the syncretism of the arts from the performer-spectator division, that was made concurrently with the “dance” segmentation into work and pleasure. Words were held in formulas, gestures and dance in rhythm. Today, dance is mostly seen as the art of gesture. However, it is remarkable to reflect at to what extent the dance, as an organic necessity, it could further develop into hermetic structures that would still require analyses and studies from researchers in the field. In today‟s theatrical landscape, this formula of artistic expression which was called theatre dance evolved so much so that gesticulations and body exploration became its core components.

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Лепишева, Елена, and Maciej Pieczyński. "Танец в художественной структуре пьес русских, белорусских и польских драматургов 1990-х – 2010-х годов." Studia Wschodniosłowiańskie 20 (2020): 43–62. http://dx.doi.org/10.15290/sw.2020.20.04.

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In this paper, dance is considered as an element of the artistic structure of dramatic works of Russian, Belarusian and Polish authors of the 1990s–2010s. It was revealed that this element represents the level of the chronotope: it becomes one of its expressive modes (creating an atmosphere due to emotional «charge»), manifests itself as a «non-everyday form of behavior» of a character (J. Faryno), as a «spatial motive» (O. Bagdasaryan) as a sense-forming centre of the artistic universe. A comparative analysis of the plays written by Russian, Belarusian and Polish playwrights of the indicated period showed that in Russian drama the transition occured from the dance – a «spatial motive» to the dance – a semantic center representing author’s model of the world and a Nietzschean man in the terms of a spontaneous, unstable world order. That was caused by the strengthening of the performative and receptive potential of modern drama. At the same time, in the Belarusian drama, due to more strong genetic ties with folklore, the dance for a long time has been manifesting itself as a game form of non-everyday behavior, however, since the mid-1990s it is often introduced as a «spatial motive» representing the extremely deformed consciousness of characters. If it comes to Polish drama, despite the actualization of the dance in the significant for its development works, in the latest plays it rarely functions as a semantic center, because of political and social themes predomination. The authors of this paper made an attempt to clarify the reasons for differents of the dance in the Russian, Belarusian, Polish drama of the 1990s–2010s, based on sociocultural factors, as well as on the logic of the development of the literary proces.

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Martin, Kathryn A., and Alison Lee. "A Handbook of Creative Dance and Drama." Theatre Journal 46, no. 2 (May 1994): 300. http://dx.doi.org/10.2307/3208477.

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Dissertations / Theses on the topic "Dance-drama"

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Kiriwat, Amolwan. "Khon: masked dance drama of the Thai epic Ramakien." Fogler Library, University of Maine, 2001. http://www.library.umaine.edu/theses/pdf/KiriwatAX2001.pdf.

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Murdoch, J. L. "Unmasking Talchum: An Embodied Inquiry into Korea’s Masked Dance-Drama." Bowling Green State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1300734669.

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Igweonu, Kenechukwu Nicholas. "Performing Africa: Dance and drama in some recent Yoruba performances." Thesis, Royal Holloway, University of London, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.497544.

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Baker, Heidi G. "A Christian dance-drama curriculum for ministry training in Hong Kong." Theological Research Exchange Network (TREN), 1985. http://www.tren.com.

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Theodoridou, Danae. "Short (research) stories : drama and dramaturgy in experimental theatre and dance practices." Thesis, Roehampton University, 2013. http://hdl.handle.net/10142/283932.

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This practice-as-research project discusses modes, processes and aesthetics of contemporary dramaturgy, as practiced in experimental theatre and dance works in Europe from the 1990s onwards. In order to do this, the project draws particularly on discourses around ‘drama’ and suggests that the term can be redefined and usefully rehabilitated for both analysis and the creation of experimental performances. More specifically, this project defines drama (deriving from the Greek dro=act) as stage action, and dramaturgy (deriving from the Greek drama + ergo= work) as a practice that works endlessly for the creation of this drama/action on stage and is therefore always connected with it. In order to approach the newly proposed notion of ‘experimental drama’, this research uses the six main dramatic elements offered by Aristotle in his Poetics: plot, character, language, thought, the visual and music. Furthermore, it adds a seventh element: the spectator and contemporary understandings around the conditions of spectatorship. It then offers an analysis of dramaturgical processes and aesthetics of experimental stage works through these elements. Given that this is a practice-as-research project, it is accordingly multi-modal and offers its perspectives on dramaturgy and experimental drama through both critical and performance texts, documentation traces (photographs and video recordings) of artistic practice – all present in this thesis – and a live event; all these modes complement each other and move constantly between the stage and the page to proceed with the research’s inquiries. The current thesis has borrowed the dramaturgical structure of two artistic projects, created within the frame of this research practice, to generate its writings. The introductory parts of this text place the work within the discourse on practice-as-research and discuss the project’s proposal for an analysis of contemporary dramaturgy through drama. The Short (Research) Stories that follow analyze experimental works, created both within the frame of this research practice and outside it, by other artists, following the Aristotelian model. The element of spectatorship intervenes in this analysis instead of standing separately in the thesis. The project’s closing live event returns from the page to the stage to continue and add to discussions around central issues of the work, in its various distinct modes.

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Cvejic, Bojana. "Choreographing problems : expressive concepts in European dance." Thesis, Kingston University, 2012. http://eprints.kingston.ac.uk/25084/.

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This dissertation explores how a recent set of practices III contemporary choreography in Europe (1998-2007) give rise to distinctive concepts of its own, concepts that account for processes of making, performing, and attending choreographic perfonnances. The concepts express problems that distinguish the creation of seven works examined here (Self unfinished and Untitled by Xavier Le Roy, Weak Dance Strong Questions by Jonathan Burrows and Jan Ritsema, heatre-elevision by Boris Charmatz, Nvsbl by Eszter Salamon, 50/50 by Mette Ingvartsen, and It's In The Air by Ingvartsen and Jefta van Dinther). The problems posed by these choreographers critically address the prevailing regime of representation in theatrical dance, a regime characterized by an emphasis on bodily movement, identification of the human body, and the theater's act of communication in the reception of the audience. In the works considered here, the synthesis between the body and movement-as the relation of movement to the body as its subject or of movement to the object of dance-upon which modem dance is founded is broken. Choreographing problems, in the sense explored in this dissertation, involves composing these ruptures between movement, the body and duration in perfonnance such that they engender a shock upon sensibility, one that inhibits recognition. Thus problems "force" thinking as an exercise of the limits of sensibility that can be accounted for not by representation, but by the principle of expression that Gilles Deleuze develops from Spinoza's philosophy. "Part-bodies," "part-machines," "movement-sensations," "headbox," "wired assemblings," "stutterances," "powermotion," "crisis-motion," "cut-ending," and "resonance" are proposed here as expressive concepts that account for the construction of problems and compositions that desubjectivize or disobjectivize relations between movement, body, and duration, between performing and attending (to) performance. Developed through a careful analysis of how problems structure these performances, this thesis on expressive concepts further contributes to a redefinition of performance in general by making two additional claims. The first concerns the disjunction between making, performing and attending as three distinct modes of performance that involve divergent temporalities and processes. The second regards the shift from performance as the act in the passing present towards the temporalization of perfonllance qua process, where movement and duration are equated with ongoing transformation, a process that makes the past persist in the present.

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Botha, Estelle. "Where dance and drama meet again : aspects of the expressive body in the 20th century." Thesis, Stellenbosch : University of Stellenbosch, 2006. http://hdl.handle.net/10019.1/1704.

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Thesis (MDram (Drama))—University of Stellenbosch, 2006.
Acknowledging theatrical styles such as physical theatre, Tanztheater and poor theatre as forms of ‘total theatre’, and recognizing that there has been a prolonged process of development to reach such a point, the first chapter investigates the historical divide between dramatic dance and drama as starting point. Subsequently, in considering the body as expressive medium, the impact of content and form on the training of the performers’ body for the theatrical context is also evaluated.

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Mckee, Tori Lynn. "A rich reward in tears : Hippolytus and Phaedra in drama, dance, opera and film." Thesis, Open University, 2017. http://oro.open.ac.uk/48796/.

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This thesis is a study of thematic clusters in the performance reception of the Hippolytus and Phaedra tradition – the body of reception material based on Euripides’ Hippolytus, Seneca’s Phaedra, and/or Racine’s Phèdre. This is the first comprehensive study of these three major source texts as a collective whole, challenging not only the idea of a single original ‘source text’, but also the idea of a directly linear reception pattern. I visualise the reception of the Hippolytus and Phaedra tradition as a porous membrane, containing a number of different items, from texts to performances, interacting in a multi-dimensional, fluid way, manifesting itself in different forms depending on the political, social, historical or literary context in which this story has emerged since Racine himself reworked Euripides and Seneca in the late seventeenth century. Each chapter has a particular thematic focus, within which I provide more detailed case study analyses from particular works across multiple genres. The Introduction provides close readings of the source texts and outlines my cross-genre theoretical framework. The second chapter focusses on the question of consanguinity and the impact of the incest motif on early adaptations. In the third chapter, I explore two 20th-century adaptations, both of which emerged during a decade dominated by Freud’s discoveries. In the fourth chapter, I focus on adaptations that explore and problematise Hippolytus’ sexuality. My fifth chapter focuses exclusively on the operatic and dance traditions, arguing that these genres lead to a prioritisation of the Phaedra character. The thesis concludes with a final chapter which traces the role of the divine within the reception tradition of Hippolytus and Phaedra examining in particular how recent adaptations move away from an earlier focus on psychology and human emotion to a new emphasis on the supernatural forces in the wider world.

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Grogan, Samuel. ""I'm doing it, but I'm so in the moment ..." : an articulation and understanding of 'absorption' for the performer towards an 'optimal' 'mode of being/doing' in 'dance theatre'." Thesis, University of Exeter, 2014. http://hdl.handle.net/10871/16004.

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This thesis explores how we understand and articulate the idea of ‘absorption’ as a necessary aspect of an ‘optimal’ ‘mode of being/doing’ for the performer. By drawing upon pertinent aspects of the fields of phenomenology, consciousness studies, cognitive neuroscience and play theory coupled with Csikszentmihalyi’s notion of ‘flow’, the study develops a lexicon of terminology with which to articulate and understand the nature of ‘absorption’ for the performer in the context of ‘dance theatre’. By developing a focused articulation of the actual nature of ‘absorption’ for the performer in performance, seen as necessary to an ‘optimal’ ‘mode of being/doing’, the study intends to contribute to the language of discourse in this area of performance studies, and, importantly become a useful resource for the enquiring performer and practitioner. Consequently, in developing an understanding of ‘absorption’ for the performer, in order to edge closer to articulating an ‘optimal’ ‘mode of being/doing’ for the performer, the work and actions of the performer remain the focus of the study. The study is anchored in practice through examination of the work of three companies working within the genealogy of ‘dance theatre’. This multi-company approach gives a chronological and genealogical overview of ‘dance theatre’ practices useful in understanding ‘absorption’ for the performer, whilst also facilitating examination of individual points of practice within that overview. The companies profiled are: Pina Bausch, DV8 and Vincent Dance Theatre (VDT). The examination of work by Bausch and DV8 draws upon and reframes extant documentation of performance currently in the public domain. Examination of VDT’s work draws on original footage and interviews undertaken by the researcher during fieldwork.

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Skelton, Gerald P. ""Unpack my heart with words" : a proposal for an integrated rehearsal methodology for Shakespeare (and others) combining active analysis and viewpoints." Thesis, Kingston University, 2016. http://eprints.kingston.ac.uk/38119/.

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The performance of Shakespeare represents a distinct challenge for actors versed in the naturalistic approach to acting as influenced by Stanislavsky. As John Barton suggests, this tradition is not readily compatible with the language-based tradition of Elizabethan players. He states that playing Shakespeare constitutes a collision of 'the Two Traditions' (1984, p. 3). The current training-based literature provides many guidelines on analysing and speaking dramatic verse by Shakespeare and others, but few texts include practical ways for contemporary performers to embrace both traditions specifically in a rehearsal context. This research seeks to develop a new actor-centred rehearsal methodology to help modern theatre artists create performances that balance the spontaneity and psychological insight that can be gained from a Stanislavsky-based approach with the textual clarity necessary for Shakespearean drama, and a physical rigour which, I will argue, helps root the voice within the body. The thesis establishes what practitioner Patsy Rodenburg (2005, p. 3) refers to as the need for words, or the impulse to respond to events primarily through language, as the key challenge that contemporary performers steeped in textual naturalism confront when approaching Shakespeare and other classical playwrights. The research offers a rehearsal methodology to meet this challenge. The methodology synthesises Stanislavsky's late-career extension of the 'system' referred to as Active Analysis, and Viewpoints, a technique of movement improvisation derived from contemporary dance by choreographer Mary Overlie and further adapted by directors Anne Bogart and Tina Landau. Active Analysis is an innovative method of textual analysis that centres on a series of improvisations, or études, which serve as successive blueprints toward performance. Viewpoints is a technique that offers a clear and accessible vocabulary related to principles of time and space as a way to create and evaluate stage movement. My study illustrates how these two techniques might be used in tandem to invite actors to discover the need for words in a rehearsal context. This combined methodology was developed through a series of three practical research laboratories related to The Comedy of Errors, As You Like It, and Romeo and Juliet by Shakespeare. A fourth laboratory served to extend the combined methodology to a pre-Shakespearean classical text by focusing on the unattributed medieval morality play Mankind. Accounts of these laboratories are used to illustrate a 'director's anatomy' of the development and implementation of the methodology. The thesis concludes with my proposal for an integrated rehearsal practice that can help contemporary actors experience the language-based performance tradition related to Shakespeare and other classical playwrights. The research contributes to the current literature on playing Shakespeare and others by offering a set of principles and a responsive rehearsal model informed by those principles, whilst also providing illustrations of how they might be employed in the production process. The methodology can be utilised in both educational and professional settings. My deep engagement with Active Analysis and Viewpoints means that I am able to contribute to practice, training and scholarship related to each, extending previous enquiries into these systems. The findings can also be applied more generally to the literature and practice of acting, directing and textual analysis.

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Books on the topic "Dance-drama"

1

Zarrilli, Philli. Kathakali Dance-Drama. London: Taylor & Francis Inc, 2004.

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Dance and drama. Leamington Spa: Scholastic, 1998.

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Kathakali Dance-Drama. London: Taylor & Francis Group Plc, 2004.

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Dway, Ye. Myanmar dance and drama. Hlaing, Yangon: Today Pubhishing House, 2014.

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Zoete, Beryl De. Dance and drama in Bali. Singapore: OUP, 1986.

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ill, Adams Liz, ed. Faith and the dance drama. North Mankato, Minn: Capstone Stone Arch Books, 2012.

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Dictionary of music, dance, and drama. Delhi: Raj Publications, 2003.

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Dance drama: In theory and practice. New Delhi: Munshiram Manoharlal Publishers, 2015.

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Quality Assurance Agency for Higher Education. University of Ulster: Drama, dance and cinematics. Gloucester: QAA, 1998.

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Janicka-Swiderska, Irena. The function of dance in modern drama. Łódź: LaSociété, 1987.

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Book chapters on the topic "Dance-drama"

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Sellers-Young, Barbara, Rosina McCutcheon, and Kathy Foley. "Her-stories in Indonesian Dance Drama." In Narrative in Performance, 53–71. London: Macmillan Education UK, 2019. http://dx.doi.org/10.1057/978-1-352-00417-5_4.

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Dunham, Richard. "Traditional Areas of Theatrical Design (Drama, Dance, Opera, and Musical Theatre)." In Stage Lighting, 347–66. Second edition. | New York, NY : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315454696-15.

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Griffiths, Fleur. "Introduction." In Supporting Children’s Creativity through Music, Dance, Drama and Art, 1–6. Second edition. | New York : Routledge, 2018. | “First edition published by Routledge 2010”—T.p. verso.: Routledge, 2017. http://dx.doi.org/10.4324/9781315460413-1.

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Typadi, Evi, and Karen Hayon. "Storytelling and story-acting." In Supporting Children’s Creativity through Music, Dance, Drama and Art, 87–103. Second edition. | New York : Routledge, 2018. | “First edition published by Routledge 2010”—T.p. verso.: Routledge, 2017. http://dx.doi.org/10.4324/9781315460413-10.

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Foley, Angela. "Musical movers." In Supporting Children’s Creativity through Music, Dance, Drama and Art, 107–22. Second edition. | New York : Routledge, 2018. | “First edition published by Routledge 2010”—T.p. verso.: Routledge, 2017. http://dx.doi.org/10.4324/9781315460413-12.

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Reding, Catherine. "The Sounds of Leaping." In Supporting Children’s Creativity through Music, Dance, Drama and Art, 123–34. Second edition. | New York : Routledge, 2018. | “First edition published by Routledge 2010”—T.p. verso.: Routledge, 2017. http://dx.doi.org/10.4324/9781315460413-13.

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Kirkbride, Tracy. "The Jam Jar Project." In Supporting Children’s Creativity through Music, Dance, Drama and Art, 135–37. Second edition. | New York : Routledge, 2018. | “First edition published by Routledge 2010”—T.p. verso.: Routledge, 2017. http://dx.doi.org/10.4324/9781315460413-14.

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Griffiths, Fleur, and Pat Triggs. "Coda." In Supporting Children’s Creativity through Music, Dance, Drama and Art, 138–46. Second edition. | New York : Routledge, 2018. | “First edition published by Routledge 2010”—T.p. verso.: Routledge, 2017. http://dx.doi.org/10.4324/9781315460413-15.

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Cant, Annabella. "‘Welcome’, ‘wonder’ and ‘magic’." In Supporting Children’s Creativity through Music, Dance, Drama and Art, 9–16. Second edition. | New York : Routledge, 2018. | “First edition published by Routledge 2010”—T.p. verso.: Routledge, 2017. http://dx.doi.org/10.4324/9781315460413-2.

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Rooks, Kay. "Listening more and talking less." In Supporting Children’s Creativity through Music, Dance, Drama and Art, 19–32. Second edition. | New York : Routledge, 2018. | “First edition published by Routledge 2010”—T.p. verso.: Routledge, 2017. http://dx.doi.org/10.4324/9781315460413-4.

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Conference papers on the topic "Dance-drama"

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"Suankularb Palace Opera Oriented Dance Drama of Teacher Chaleue Sukhavanich." In Aug. 2017 Thailand International Conferences. URUAE, 2017. http://dx.doi.org/10.17758/uruae.iah0817417.

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Rahayuningtyas, Wida, Jazuli Jazuli, Tjetjep Rohendi Rohidi, and Totok Sumaryanto. "Inheriting the Values of Mask Puppet Dance-Drama in Malang, Indonesia." In Proceedings of the International Conference on Art and Arts Education (ICAAE 2018). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icaae-18.2019.55.

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"Exploration on the Effective Shaping of Characters in Folk Dance Performances -- Taking the Dance Drama "A Handful of Sour Jujube" For Example." In 2020 International Conference on Social Science and Education Research. Scholar Publishing Group, 2020. http://dx.doi.org/10.38007/proceedings.0001635.

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Wang, Heqing. "Application of Traditional Chinese Makeup and Ornament Elements in the Image-shaping of the Dance Drama “Ling · Hua Guzi”." In 4th International Conference on Culture, Education and Economic Development of Modern Society (ICCESE 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200316.046.

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