Academic literature on the topic 'Degree Discipline: Theatre'

This paper explores the relevance to industry's needs of operations management (OM) teaching in higher education, by researching the content of OM modules delivered by UK academics and comparing the results of this research with the views of business practitioners having had first-hand experience of OM teaching on MBA programmes. To determine whether a gap exists in terms of the importance placed on key content areas, the views of OM academics and practitioners were empirically tested using an online survey instrument. The findings indicate that although there is a broad degree of cohesion among academics relating to module content there are gaps between academics and practitioners in terms of the relative importance of key content areas. Such differences are most evident with regard to supply chain management, capacity management, inventory control and lean production tools and techniques. In this regard, the results provide a backdrop for the development of this important subject discipline to ensure that what is taught in the lecture theatre is valued in the business environment.

Abstract Mar Gómez Glez’s 2014 site-specific and fact-inspired play Bajo el agua portrays the governing presence of the disciplinary mechanisms that operate upon the construction of the female body and feminine subjectivity through the unique focus on the microcosm of synchronized swimming. By deliberately placing a singular emphasis on a sport dominated by women, Gómez Glez calls attention to the gendered nature of disciplinary practices, inviting the reader/spectator to take stock of and better understand the degree of implementation and perpetuation within a wider social frame. This article proposes a reading of Bajo el agua through the theoretical writings of Michel Foucault and Sandra Lee Bartky, employing this critical prism as a means of elucidating the ways in which discipline is both implemented and gendered. My analysis additionally examines the inclusion of elements of performativity as well as the use of multimedia as crucial components of the play’s structural and thematic construction. Gómez Glez’s combination of dramatic fictions and real-life referents, together with contemporary experimental staging techniques further serve to actualize both the form and the content for modern audiences. My reading of Bajo el agua thus stands at the crossroads of studies on feminism, sports sociology, and contemporary theatre practices.

Jesuit boarding schools did not fulfil only social roles. They were educational institutions shaping discipline, morality and religiousness of their pupils. The monks organized various activities for their students which were conducive for acquiring and consolidating knowledge. Students’ time was filled with the review of school material, literary exercises, debates or production of theatre performances. The offer depended on the degree of exclusivity of a given establishment. In the Second Republic of Poland, there functioned three Jesuit schools for laymen: in Khyriv (Pol. Chyrów), Vilnius and Gdynia. Only the first two ran boarding schools. Both boarding schools offered very good living conditions, and the life of the alumni passed according to a similar, clearly defined day rhythm. The institutions in busy urban Vilnius and peripheral Khyriv were very much different. The educational process used for the boarding students from Vilnius lacked special rigours, which was different from the methods generally accepted at that time. The behaviours of boarding students from Khyriv, in turn, were regulated in the minutest detail by Statutes and regulations and the system of punishments was very elaborate. The schools tried to restore order by the method of overcoming the resistance of the more independently feeling and thinking pupils.

Abstract. In the era of ‘Smart Cities’, Planning Support Systems play an important role in providing a suite of digital tools to support evidenced based planning and design (Pettit et al. 2019). Planning Support Theatres vary from the traditional City Command Control Centres which are used to manage the real-time city (Kitchin 2014) in that they look at planning and design of future of cities and regions through collaboration (Healey 2003) between various stakeholders. Such methodologies which lend themselves to collaborative planning and design including Geo-design (Steinitz 2012; Pettit et al. 2019) and Co-design (Punt et al. 2020). There has been a plethora of virtual learning environments applicable to any discipline-specific application, each with their own names, terminology, feature sets and degrees of interoperability. In addition to providing the regular set of advantages such as ease of use across large geographies, improving collaboration between diverse set of stakeholders, these virtual platforms have become essential in the current world with travel restrictions and social distancing. In this context, it is imperative to explore the use of virtual systems for the purpose designing and implementing planning support theatre for city planning and design. This research builds a prototype for web based, 3D, immersive, planning support theatre and evaluates its functionality against similar physical theatres.

Purpose This study aims to assess current academic library services to theater students through an examination of online research guides. Design/methodology/approach This study uses a representative sample of 100 universities that offer theater degrees; the library website at each of these institutions is examined for the existence of a theater research guide. Each research guide was analyzed in depth. Findings The vast majority of the universities in the sample did create research guides for theater students, though the contents of these guides varied greatly. The study highlights findings including popular databases and journals for theater students, as well as media resources and common subjects for subsections or course guides. Research limitations/implications This study only examined a sample of 100 institutions; many theater research guides were not examined for this study. Additionally, analysis of online content is a time-specific endeavor: a guide may look significantly different from one month to the next, though the recommendations in this article might prove useful even if the sites at these institutions have since been updated. Practical implications Through an examination of a great number of guides, a few practical suggestions emerge for librarians looking to create theater research guides, such as highlighting playscripts and other print materials and including hyperlocal information (such as university production history). Originality/value Though several studies have been performed on research guides in various disciplines, this article is the first on those to theater students.

The high level of development of culture and art in modern Russia requires appropriate training of employees for the theater and concert complex. Well-trained specialists will be able to find a job and employment. In the labor market in the field of art and culture, there is creative competition. Therefore, the training of bachelors at the higher educational institutions should be guided by the requirements of the labor market in this area, and the higher educational institutions should produce competitive specialists in creative professions. In the higher education system of modern Russia, the issue of improving the quality of teaching of special (major) disciplines, as well as all subjects included in the training program, is on the agenda of the department collectives. The program trajectory, which is set through the Federal State Educational Standards, is associated with a certain experiment in modeling competencies based on accepted professional standards. An important component is the position of the higher educational institution and the right to develop competencies based on the experience, profile of the university and the composition of the teaching staff. Higher educational institutions have certain academic freedoms and use their opportunities to achieve a higher quality of bachelor's and master's degree training. The article deals with various aspects of vocal pedagogy, the formation of the necessary professional and general cultural competencies, and individual work with students. Such problems are raised by teachers of creative higher educational institutions. We considered it possible to enter into the discussion and conduct a friendly polemic.

The functional characteristics of urban systems vary predictably with Metropolitan Statistical Area (MSA) population, with certain metrics increasing apace with population (e.g., housing stock), some increasing faster than population (e.g., wealth), and others increasing slower than population (infrastructure elements). Culture has been designated the fourth pillar of sustainability. The population-dependent scaling of operating revenue, work space, and number of employees was investigated for almost 3000 arts organizations in the US, both in aggregate and by arts discipline (music, theater, visual and design arts, dance, and museums). Unlike general measures of creativity, the three measures of economic footprint did not scale supra-linearly with the population of metropolitan areas. Rather, operating revenue scaled linearly (e.g., like amenities), and work space and employee number scaled sub-linearly (e.g., like infrastructure). The cost of living, proxied by housing costs, increased with MSA population, though not as rapidly as did arts organization operating revenue, indicating a degree of uncoupling. The generally higher educational attainment of adults in larger cities, coupled with the growth of the education-dependent arts patronage, suggest a funding focus on less populous (50,000–1,000,000), as well as on under-performing, cities.

The uptake of virtual simulation technologies in both military and civilian surgical contexts has been both slow and patchy. The failure of the virtual reality community in the 1990s and early 2000s to deliver affordable and accessible training systems stems not only from an obsessive quest to develop the ‘ultimate’ in so-called ‘immersive’ hardware solutions, from head-mounted displays to large-scale projection theatres, but also from a comprehensive lack of attention to the needs of the end users. While many still perceive the science of simulation to be defined by technological advances, such as computing power, specialized graphics hardware, advanced interactive controllers, displays and so on, the true science underpinning simulation—the science that helps to guarantee the transfer of skills from the simulated to the real—is that of human factors, a well-established discipline that focuses on the abilities and limitations of the end user when designing interactive systems, as opposed to the more commercially explicit components of technology. Based on three surgical simulation case studies, the importance of a human factors approach to the design of appropriate simulation content and interactive hardware for medical simulation is illustrated. The studies demonstrate that it is unnecessary to pursue real-world fidelity in all instances in order to achieve psychological fidelity—the degree to which the simulated tasks reproduce and foster knowledge, skills and behaviours that can be reliably transferred to real-world training applications.

The article deals with the main aspects of organizational-pedagogical, scientific- research and theatrical-critical activity of the candidate of art studies A. V. Pletniov. Little-known biographical data on the life of the theater scientist and the creative environment, in which his professional formation took place, are presented. It is noted that A. V. Pletniov was one of the first graduates of the State Institute of Theatrical Arts named after A. V. Lunacharsky (now – RUTM). He studied there in 1934–1938, surrounded by highly-qualified students, many of whom subsequently became the pride of Russian theater studies. A. V. Pletniov entered the history of the theatrical culture of Kharkiv as a talented scientist-researcher, a well-known theater critic and teacher. He stood at the origins of theater studies in Kharkiv and for almost 30 years he headed the department of the History of the Theater (now – the Department of Theater Studies) of the higher theater educational institution in the city. However, the value of his activity is much wider. The formation of the Kharkiv State Theater Institute is closely linked with the personality of A. V. Pletniov, since 1963 he wax also connected with the theater department of the Kharkiv Institute of Arts named after I. P. Kotliarevsky, and in general – with the theatrical culture of our city. However, until this time his organizational-pedagogical, scientific-research, and theatrical-critical heritage has not been properly investigated and objectively not covered. The purpose of the research is to analyze the organizational, pedagogical, scientific, research and theatrical-critical activity of A. V. Pletniov, writing it into the socio-political and artistic context of time and, at the same time, into the history of theater studies of Ukraine. A. V. Pletniov started his pedagogical activity in 1938 at the Kharkiv Theater School as a teacher of the history of the theater and the head of the educational department. With the beginning of the war, the school, which merged with the Kyiv State Theater Institute, was evacuated to the city Saratov, where A. Pletniov as a teacher worked until January 1942. From this time until the end of the war he was on the front in the field force. In 1945 he returned to the newly founded Kharkiv State Theater Institute and was immediately appointed Deputy Director of Educational and Scientific Work and a senior lecturer at the Department of History of the Theater. Together with the director of the institute Z. Smoktiy, A. Pletniov was making considerable efforts to organize the educational process in the time of economic trouble, lack of staff with the corresponding education, and provided basic conditions of work and education in the newly created higher education. Existing and new departments were supplemented and opened, the prominent artists from Kharkiv theaters and leading scientists from other universities were invited to work. Among them: D. Antonovych, O. Serdiuk, M. Krushelnytsky, O. Kramov, L. Dubovyk, V. Chystiakova and others. The peculiarity of the organization of research and methodological work was its focus on providing educational process. Several comprehensive topics on the methodology of actor education, stage language teaching, encyclopedic dictionary of theatrical terms, and a study on the history of theater development in Kharkiv were planned. It was at that time that several dissertations were planned, including A. Pletniov’s “Kharkiv Theater of the Second Quarter of the 19th Century”, which he successfully presented in 1952 in his alma mater – State Institute of Theater Art after A. V. Lunacharsky, and he was awarded a degree Doctor of Arts. In 1960, the completed dissertation study was published in the form of a monograph titled “At the Origins of the Kharkiv Theater”, which until now has not lost its relevance and is actively used in the educational process. In 1947, while being the Deputy Director of the Institute, A. Pletniov also headed the Department of Theater History. It was with him as the head of the department, the actual renewal of the department as a theatrical research center and methodological center began, it largely determined the main directions of its activities for the future. Under the direction of A. V. Pletniov, the department trained a lot of talented theatrical scholars who successfully worked and work as teachers of higher educational institutions, heads of literary units of creative groups, heads of leading theaters, heads of cultural management, members of mass media staff, well-known theatrical critics. A. Pletniov headed the department for almost 30 years – until 1976 (with a brief break in 1961–1962), giving a significant impetus to the development of theater studies in Kharkiv, in particular, theatrical criticism. He himself was actively involved in the illumination of the theatrical process in Kharkiv, leaving after himself dozens of highly professional reviews, articles, notes, sometimes controversial, bearing the imprint of time. The article emphasizes that A. Pletniov was one of the most skilled and highly educated teachers. He taught a whole range of theater studies disciplines: the history of Russian theater, the history of foreign theater, the theory of drama, theatrical criticism. Until the last years of his life, A. Pletniov conducted active scientific research, methodological, theatrical-critical and public activity. In 1968–1972, he was the Vice-Rector of the Kharkiv State Institute of Arts named after I. P. Kotliarevsky for the scientific work and theatrical department. In 1975, he finished a doctoral dissertation “From the History of the Establishment of the Soviet Theater in Ukraine”, in which he for the first time thoroughly recreated the extremely complex and multifaceted theatric life of Kharkov in the October decade (1917–1927) in the socio-cultural context, but he did not have time to defense this study. Nowadays this scientific work is striking by its multidimensional and enormous amount of material. Conclusions. As a result of the research was established that with A. Pletniov personality as a well-known teacher, a scientist and theater critic, one of the leaders of the Kharkiv Theater Institute (1945–1953), later the Kharkiv Institute of Arts named after I. P. Kotliarevsky, more than thirty years of theater education in Kharkiv were connected. Particularly remarcable the role of A. Pletniov was in the development of theater studies and theater education in such a significant theatrical center as Kharkiv, where he nearly thirty years was heading the specialized department of the history of theater (now the department of theater studies). It was under his leadership that a methodology for preparing theatrical scholars of a broad profile was formed, based on a high level of general culture and education of future specialists, on the possession of a wide spectrum of theatrical research tools. Despite some contradictions inherent in A. Pletniov’s scientific and theatrical- critical activity and reflected in his heritage, that was typical for most scholars of the humanitarian sphere of the 1930–1970s, he remains one of the decisive figures in the development of theater education and theater researches in Kharkiv. All the above motivates for a further, more profound study of the scientific-pedagogical and theatrical-critical activity of A. Pletniov and, more broadly, the development of theater studies in Kharkiv.

Over the last 100 years since the planetarium was invented and began to spread across the planet, discipline-based planetarium education researchers have worked diligently to catalog what concepts are taught in the planetarium and what audiences learn when attending a planetarium show. What is not clearly known is precisely ‘who’ it is that are teaching astronomy in planetaria. Numerous small-scale studies give hints about who plantarians are, but the existing participant demographics provided shed precious little insight about them as broad field of professional experts. Knowing “who planetarians are” is critical to education researchers who need to know when they are studying planetarium educators who are more or less typical of most people in the field and when, instead, they are studying people who are unusual outliers and far less representative of the broader population. As a first step toward obtaining a glimpse of who planetarium educators are, a brief survey was broadly distributed through contemporary social media networks frequented by planetarium educators posing the question, “who are you?” The results from 61 respondents showed that 90% had undergraduate degrees, half of which were in physics or astronomy, and 38% hold graduate degrees. Additionally, only 8% have amateur astronomy or hobbyist backgrounds or any substantive K-12 classroom teaching experience. Perhaps unique to planetarium-based astronomy educators, 38% report having extensive backgrounds in theater and performance, These findings suggest that planetarium educators are a fundamentally different sort of individual than those who teach K-12 astronomy or do outreach as an amateur astronomer and, as such, perhaps have very different professional development requirements and expectations from those other astronomy-education related professional development consumers.

This chapter explores the theater as a site of chaos and unruly behavior, and examines the role of the state in managing the Cantonese opera theater as a public space. It considers the many scars of physical violence borne by the opera community, some inflicted from the outside, and others occasioned by eruptions of factionalism. The division from within became chronic especially in the mid-1920s when politics in Guangzhou took a radical turn. This development was no small irony in an age of state-building when different government authorities—including the British in colonial Hong Kong, the successive warlord regimes in control of South China, and the Chinese Nationalist government after 1927—all, to various degrees, sought to police the theater and assert control in the interest of mobilization, discipline, and order.

This chapter considers emerging forms of radio speech developed for formats ranging from scheduled talks to professional announcing. Disrupting established styles of public speaking, radio offered rich subject matter for the new discipline of speech communication, which helped to formalize new rules favoring a well-modulated delivery with restrained, natural speech and careful control over rate, pitch, and enunciation. Three larger sets of cultural tensions impacted these emerging announcing practices: (1) tensions surrounding a standardized national speech movement and its implicit regional, gender, and class biases; (2) concerns over an emergent culture of personality that informed debates on desired degrees of formality and informality in radio speech; and (3) long-standing concerns over disembodied communication-at-a-distance exacerbated by radio’s severing of voices from speakers' physical bodies. Resulting efforts to discipline the radio voice spurred important shifts in period voice culture that resonated across fields from rhetoric and theater to film and phonograph entertainment.

Theater and neuroscience: What could these two have in common? What could their historical developments tell us about modernity and the modern subject? The Nervous Stage argues that, to a significant degree, modern theater emerged out of a dialogue with the neurological sciences. Beyond this, the book demonstrates that an understanding of this dialogue sheds new light on the emergence of modern notions of embodiment and subjectivity. This wide-ranging study encompasses artists as diverse as Joanna Baillie, Percy Shelley, Georg Büchner, Charles Dickens, Richard Wagner, Émile Zola, August Strindberg, and Antonin Artaud—and recreates their conversations with a wide range of nineteenth-century neurologists. It is during the nineteenth century that the conception of the subject as essentially nervous went through what was its most intense period of formation and development, and thus it is during the same century that we discover the formation of a subject largely comprehensible, interpretable, and transformable through neurophysiological networks. This subject was magnetic; felt vibrations; was thrilled, electrified, and shocked; became hysterical; succumbed to neurasthenia and was re-energized. It was a site for the influx and efflux of nervous sensations, a site that was also understood as a subjectivity, a personality, and a person. Working between disciplines of theater studies and medical history, the book ultimately describes the formation of a new idea of personhood. We are already neural subjects, the book suggests, and have been for a long time.

What does freedom sound like in the context of traditional Japanese theater? Where is the space for innovation, and where can this kind of innovation be located in the rigid instrumentation of the Noh drama? This book investigates flute performance as a space to explore the relationship between tradition and innovation. This first English-language monograph traces the characteristics of the Noh flute (nohkan), its music, and transmission methods and considers the instrument's potential for development in the modern world. The book examines the musical structure and nohkan melodic patterns of five traditional Noh plays and assesses the degree to which Issō School nohkan players maintain to this day the continuity of their musical traditions in three contemporary Noh plays influenced by William Butler Yeats. The book's ethnographic approach draws on interviews with performers and case studies, as well as the author's personal reflection as a nohkan performer and disciple under the tutelage of Noh masters. The book argues that traditions of musical style and usage remain influential in shaping contemporary Noh composition and performance practice, and the existing freedom within fixed patterns can be understood through a firm foundation in Noh tradition.

This chapter traces the roots of a musical theater aesthetic in Mormonism by arguing that vocal theatricality is a theological principle in the faith, to the degree that Mormonism is built upon a theology of voice. Two stories of vocal theatricality in early Mormon lore--namely, when Brigham Young mimics the voice of slain Mormon prophet Joseph Smith and when Book of Mormon prophet Nephi impersonates his slain ecclesiastical leader in order to obtain a set of sacred records--exemplify the Mormon ideal of a disciplined voice capable of speaking literally the voice of another person. This practice of vocal modeling is understood by Mormons to be a divine trait, one practiced by Jesus and other spiritual leaders in Mormon mythology, including modern-day Mormon prophets; learning how to do this well in effect prepares the faithful Mormon to someday be god-like himself. This chapter argues that it is a short leap from vocal theatricality in everyday contexts to vocal theatricality on the musical stage and suggests that Mormons turned to musical theater so readily in the twentieth century in part because it offered a secular platform to practice vocal theatrics.