Relevant bibliographies by topics / European theatre

Contents

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

Academic literature on the topic 'European theatre'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "European theatre"

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Mercer, Wendy S., and Elizabeth Woodrough. "Women in European Theatre." Modern Language Review 92, no. 4 (October 1997): 985. http://dx.doi.org/10.2307/3734266.

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Leims, Thomas. "Japanese Theatre: European Performances and European Research." Maske und Kothurn 35, no. 2-3 (September 1989): 7–10. http://dx.doi.org/10.7767/muk.1989.35.23.7.

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Thorbergsson, Magnus Thor. "Being European." Nordic Theatre Studies 25, no. 1 (November 15, 2018): 22–33. http://dx.doi.org/10.7146/nts.v25i1.110895.

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During the campaign for Iceland’s independence in the nineteenth and early twentieth centuries, theatre was considered an important site for the representation of the nation. Emphasis was placed on producing and staging local plays dealing with the nation’s folklore, myths and history, thereby strengthening a sense of the roots of national identity. The article examines the longing for a representation of the nation in late nineteenth-century theatre as well as the attempts of the Reykjavik Theatre Company to stage the nation during theso-called ‘Icelandic Period’ (1907-20), before analyzing the distinctive changes in the company’s repertoire following the decision of the Icelandic parliament to build a national theatre in 1923. The staging of the nation, which had been dominated by nineteenth-century cultural nationalism, took a turn in the late 1920s towards representing the nation as a member of European metropolitan culture through an increased focus on international contemporary drama, bourgeois bedroom farce and classical drama. The image of the modern Icelanders, as represented on the stage in the 1920s, was that of the middle-class bourgeoisie.
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Thorbergsson, Magnus Thor. "Being European." Nordic Theatre Studies 25, no. 1 (November 15, 2018): 22–33. http://dx.doi.org/10.7146/nts.v25i1.110895.

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During the campaign for Iceland’s independence in the nineteenth and early twentieth centuries, theatre was considered an important site for the representation of the nation. Emphasis was placed on producing and staging local plays dealing with the nation’s folklore, myths and history, thereby strengthening a sense of the roots of national identity. The article examines the longing for a representation of the nation in late nineteenth-century theatre as well as the attempts of the Reykjavik Theatre Company to stage the nation during theso-called ‘Icelandic Period’ (1907-20), before analyzing the distinctive changes in the company’s repertoire following the decision of the Icelandic parliament to build a national theatre in 1923. The staging of the nation, which had been dominated by nineteenth-century cultural nationalism, took a turn in the late 1920s towards representing the nation as a member of European metropolitan culture through an increased focus on international contemporary drama, bourgeois bedroom farce and classical drama. The image of the modern Icelanders, as represented on the stage in the 1920s, was that of the middle-class bourgeoisie.
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Barzilai, Reut. "Being European: "Hamlet" on the Israeli Stage." Multicultural Shakespeare: Translation, Appropriation and Performance 21, no. 36 (June 30, 2020): 27–53. http://dx.doi.org/10.18778/2083-8530.21.03.

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One of the most prolific fields of Shakespeare studies in the past two decades has been the exploration of local appropriations of Shakespeare’s plays around the world. This article, however, foregrounds a peculiar case of an avoidance of local appropriation. For almost 60 years, repertory Israeli theaters mostly refused to let Hamlet reflect the “age and body of the time”. They repeatedly invited Europeans to direct Hamlet in Israel and offered local audiences locally-irrelevant productions of the play. They did so even though local productions of canonical plays in Israel tend to be more financially successful than those directed by non-Israelis, and even when local national and political circumstances bore a striking resemblance to the plot of the play. Conversely, when one Israeli production of Hamlet (originating in an experimental theatre) did try to hold a mirror up to Israeli society—and was indeed understood abroad as doing so—Israeli audiences and theatre critics failed to recognize their reflection in this mirror. The article explores the various functions that Hamlet has served for the Israeli theatre: a rite of passage, an educational tool, an indication of belonging to the European cultural tradition, a means of boosting the prestige of Israeli theatres, and—only finally—a mirror reflecting Israel’s “age and body.” The article also shows how, precisely because Hamlet was not allowed to reflect local concerns, the play mirrors instead the evolution of the Israeli theatre, its conflicted relation to the Western theatrical tradition, and its growing self-confidence.
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Barzilai, Reut. "Being European: "Hamlet" on the Israeli Stage." Multicultural Shakespeare: Translation, Appropriation and Performance 21, no. 36 (June 30, 2020): 27–53. http://dx.doi.org/10.18778/2083-8530.21.03.

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One of the most prolific fields of Shakespeare studies in the past two decades has been the exploration of local appropriations of Shakespeare’s plays around the world. This article, however, foregrounds a peculiar case of an avoidance of local appropriation. For almost 60 years, repertory Israeli theaters mostly refused to let Hamlet reflect the “age and body of the time”. They repeatedly invited Europeans to direct Hamlet in Israel and offered local audiences locally-irrelevant productions of the play. They did so even though local productions of canonical plays in Israel tend to be more financially successful than those directed by non-Israelis, and even when local national and political circumstances bore a striking resemblance to the plot of the play. Conversely, when one Israeli production of Hamlet (originating in an experimental theatre) did try to hold a mirror up to Israeli society—and was indeed understood abroad as doing so—Israeli audiences and theatre critics failed to recognize their reflection in this mirror. The article explores the various functions that Hamlet has served for the Israeli theatre: a rite of passage, an educational tool, an indication of belonging to the European cultural tradition, a means of boosting the prestige of Israeli theatres, and—only finally—a mirror reflecting Israel’s “age and body.” The article also shows how, precisely because Hamlet was not allowed to reflect local concerns, the play mirrors instead the evolution of the Israeli theatre, its conflicted relation to the Western theatrical tradition, and its growing self-confidence.
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Stefanova, Kalina. "Eastern European theatre: theatre in search of a face." South African Theatre Journal 14, no. 1 (January 2000): 174–84. http://dx.doi.org/10.1080/10137548.2000.9687707.

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Brett, Margaret, and Sue Vincent. "European developments in theatre nursing." Nursing Standard 7, no. 3 (October 7, 1992): 53–54. http://dx.doi.org/10.7748/ns.7.3.53.s60.

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Balme, Christopher. "European Theatre and Performance Studies." Forum Modernes Theater 28, no. 2 (2013): 103–4. http://dx.doi.org/10.1353/fmt.2013.0013.

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Decheva, Violeta. "Theatre in the Digital World. The Experiment of Theater Treffen 2020." Sledva : Journal for University Culture, no. 41 (August 19, 2020): 8–17. http://dx.doi.org/10.33919/sledva.20.41.2.

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An overview and analysis of Berliner Theater Treffen 2020. Existing already for 56 years, this major European theatre festival and the most representative one for the Germanspeaking world ventured on its first online edition. COVID-19 situation has not only activated the ongoing discussions on the influence of digital technologies on theatre, but has made it a most urgent topic. It has become central because of the isolation, the sudden flood of streamings of concerts, performances, films, etc. Two topics seem especially important in the festival context. First, how to make theatre in a digital format and what kind of theatre phenomena are produced in consequence of such experiments. Second, what are the possibilities when streaming theatre productions.
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Dissertations / Theses on the topic "European theatre"

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Salazar-Sutil, Nicolas. "Theatres of the Surd : a study of mathematical influences in European avant-garde theatre." Thesis, Goldsmiths College (University of London), 2010. http://research.gold.ac.uk/4754/.

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This doctoral dissertation deals with the somewhat neglected relationship between mathematics and theatre. Specifically, the focus of this study is the penetration of modern mathematical thinking into European avant-garde theatre during the late 19th and early 20th century, particularly as regards the revolutionary experiments on scenic space and dramatic logic that occurred at the time. I will argue that modern European theatre underwent a period of crisis, whereby a number of avant-garde practitioners renounced the axioms of traditional theatre, particularly in relationship to the rule of mimesis, representation, and verbal speech. Theatres of the Surd argues for a penetration of symbolic languages in the wake of a decline of word-based textuality in the theatre, combined with a cultural shift toward more abstract, technologically mediated and autonomous forms of theatrical practice. This work focuses on three seminal theatre practitioners of the late 19th and early 20th century avant-garde; namely, Alfred Jarry, Stanislaw Witkiewicz and Samuel Beckett, and the impact of non-Euclidean geometry and modern mathematical logic in their work. I will claim that the mathematisation of cultural practices in the late modern era marked a crucial watershed that played an important role in the transformation of the axiomatics of theatrical practice, and the emergence of a truly modern, post-Aristotelian and post-representational form of theatrical praxis. Thus, mathematics may be said to function within the ambit of cultural dynamics, insofar as its penetration into culture discourse and practice has helped modernise the way theatre is conceptualised and visualised.
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Bucciarelli, Melania. "Italian opera and European theatre, 1680-1720 : plots, performers, dramaturgies." Thesis, King's College London (University of London), 1998. https://kclpure.kcl.ac.uk/portal/en/theses/italian-opera-and-european-theatre-16801720--plots-performers-dramaturgies(c1235462-b549-497d-aff7-34b0658ea912).html.

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Brown, Mark. "Modern Scottish theatre : the creation of a tradition." Thesis, University of Dundee, 2017. https://discovery.dundee.ac.uk/en/studentTheses/c8c2bf08-f3ad-470a-933e-613725aefddf.

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Scotland has enjoyed a late and significant flowering of theatre since the late 1960s. This project explores what I believe to have been a Renaissance that has occurred in Scottish theatre since 1969 and tests my thesis that at the core of this revival lie profound connections to the related concepts of Europeanness and Modernism. The work combines a considerable quantity of new material, generated through exclusive interviews conducted with major players in this Renaissance (both theatre directors and dramatists), with my own analyses and interaction with the existing critical and academic literature. The thesis begins with a Preface addressing various facets of European Modernism and their relations to the development of Scottish theatre since the late Sixties. Chapter 1 of the work offers a detailed consideration of the role played in Scottish theatre's revival by Giles Havergal's thirty-four year reign as artistic director at Glasgow's Citizens Theatre, and explores the manner in which Havergal's work was, or was not, taken forward by his successors Jeremy Raison (2003-2010) and Dominic Hill (2010 to the present).Moving on from the establishing of a European Modernist aesthetic at the Citizens in the 1970s, the thesis contends (in Chapter 2) that this aesthetic was disseminated more widely in Scottish theatre in the 1980s, and that the driving force in that dissemination was Communicado theatre company. Chapter 3 addresses the emergence of a generation of Scottish theatremakers in the 1990s whose work, arguably, represents the clearest and strongest reflection of European Modernist aesthetics in new theatre produced in Scotland. This chapter comprises interviews (in question and answer format) with the five artists who I consider to be the leading figures in the "golden generation" of the Nineties, followed by analyses of the interviews. The interviewees are writers David Greig, Zinnie Harris, David Harrower and Anthony Neilson, and the auteur director/designer Stewart Laing. Finally, in Chapter 4 and the Conclusion, the thesis considers the way in which the National Theatre of Scotland (established in 2006) has mapped onto and contributed towards the European Modernist strand in Scottish Theatre. This is followed by an analysis of the possible future for this tradition in live drama in Scotland.
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Mur, Maria-Christina [Verfasser]. "The Physiognomical Discourse and European Theatre : Theory, Performance, Dramatic Text / Maria-Christina Mur." Frankfurt a.M. : Peter Lang GmbH, Internationaler Verlag der Wissenschaften, 2017. http://d-nb.info/1136247696/34.

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Chamberlain, Franc. "Embodying the spirit : Nihilism and spiritual renovation in the European theatre (1890-1914)." Thesis, University of East Anglia, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.317568.

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Street, Anna. "Comedy of the Impossible : The Power of Play in Post-war European Theatre." Thesis, Paris 4, 2016. http://www.theses.fr/2016PA040179.

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En retraçant le développement des théories de la comédie dans la philosophie occidentale, cette thèse avance que des préjugés l’ont empêchée d’être reconnue comme un genre littéraire sérieux. Il est montré que la place donnée à la comédie comme genre mineur pendant plus de deux mille ans correspond à un modèle éthique qui affirme, en distinguant le réel de l'Idéal, une vision néo-platonicienne de l'existence. Partant de l’analyse d’un phénomène théâtral précis dans l’Europe de l’après-guerre et à travers de nombreux exemples choisis parmi des pièces de cinq dramaturges différents, cette thèse propose trois principaux critères de la comédie : le statut ontologique des personnages comiques, la relation paradoxale de la comédie au monde des apparences, et son aptitude à permettre l'impossible. Opérant ainsi un renversement total des systèmes de valeurs et remettant en question une vision binaire, la comédie brouille les clivages entre l’abstrait et le concret, le mécanique et l’organique, et au bout du compte entre la vie et la mort. Il est démontré comment ce renversement s’accomplit de manière linguistique, métaphorique ou encore dramaturgique. L’étude conclut que la comédie bouleverse l'ordre socio-symbolique qui repose sur la logique du possible
By tracing the development of theories of comedy within Western philosophy, this thesis claims that anti-comic prejudices prevented comedy from being recognized as a serious genre. Comedy’s inferior status for over two thousand years is shown to correspond to an ethical model that distinguishes the real from the Ideal and affirms a Neo-Platonic vision of existence. Through numerous examples taken from a particular phenomenon of post-war European theatre comprising five different playwrights, this thesis proposes three primary characteristics of comedy: the ontological instability of comic characters, comedy’s paradoxical relation to the world of appearances, and comedy’s willingness to accommodate the impossible. By throwing binaries into question and promoting a complete reversal of dominant value systems, comedy blurs the lines of distinction between the abstract and the concrete, the mechanical and the organic and, ultimately, between life and death. Demonstrating how this reversal is accomplished linguistically, metaphorically, or dramaturgically, this study concludes that comedy subverts the socio-symbolic order that relies upon the logic of possibility
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Bocianowski, Cécile. "Les dramaturgies du grotesque en Europe au XXe siècle." Thesis, Paris 4, 2015. http://www.theses.fr/2015PA040066.

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La thèse propose une lecture comparée de l’emploi du grotesque dans les théâtres français, polonais, belge francophone, germanophone, italien et espagnol. L’analyse comparée des écritures dramatiques comme du discours littéraire permet de dégager les spécificités du grotesque et de sa réception dans les diverses aires culturelles. La première partie est consacrée à la mise en place théorique de la notion dans les arts, des arts décoratifs à l’art dramatique, de la Renaissance au vingtième siècle. Une attention particulière est portée à la danse grotesque, jusque-là peu étudiée, ainsi qu’aux divergences entre les discours critiques occidental et oriental. La seconde partie constitue le cœur du travail par l’étude comparée des procédés grotesques selon trois axes : la déformation, la démesure et l’hybridité. Celle-ci permet de mettre en valeur les fonctions dramatiques de l’emploi de la marionnette et de la pantomime ainsi que l’inspiration des arts du cirque, de la foire et du cabaret. La troisième partie analyse l’hypothèse du genre dramatique grotesque en Europe au vingtième siècle. Une fois établi le cadre théorique de la réflexion sur le genre et au regard de la production dramatique la plus contemporaine, l’étude s’achève sur la détermination de la place du grotesque dans la création artistique comme dans la critique littéraire actuelle. En remettant en cause la périodisation traditionnelle du théâtre européen du siècle dernier, la thèse entend rendre sa place au grotesque dans la critique dramatique contemporaine comme mise en forme du difforme
This thesis proposes a comparative reading of the use of grotesque in French, Polish, French-speaking Belgian, German-speaking Italian and Spanish theatre so as to determinate the specificities of the grotesque and its reception in different cultural areas. It focuses in the first part on the theory of the notion in arts, from decorative to dramatic art, from Renaissance to the twentieth century. Special attention is given to the grotesque dance, which has been thus far insufficiently studied, and to the discrepancies between western and eastern critical discourses. The comparative analysis of the grotesque is conducted along three axes: deformation, excessiveness and hybridity. It emphasises the function of marionette, pantomime and the inspiration of circus, carnival and cabaret. The last part of the thesis concentrates on the hypothesis of a grotesque dramatic genre in Europe in twentieth century. Once established the theoretical basis of the reflexion upon genre, and in view of contemporary dramatic production, the thesis closes with the determination of the place of the grotesque in the creation and in the criticism. By calling into question traditional periodisation of European twentieth theatre, this thesis aims at giving its place to the grotesque in contemporary dramatic criticism as the shaping of the misshapen
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Fearon, Fiona Kavanagh. "The Selection, Production and Reception of European Plays at the National Theatre of Great Britain from 1963-1997." Thesis, University of Sheffield, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.486716.

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This research presents a diachronic and synchronic analysis of European plays produced at the National from 1963 to 1997 and seeks to situate their selection, production and reception within the socio-cultural context of Britain's changing relationship with the representation of Europe during that time, Building on the theoretical understanding of the selection, production and reception process suggested by Stanley Fish, Jauss, Susan Bennett and Maria Shevtsova, this thesis evaluates the relationship between the 'interpretive community' of the producers, critics and audiences of the National Theatre, This analysis has been undertaken through three main activities. Firstly I have examined the selection process of the three Artistic Directors between 1963 and 1997 through interviewing the main participants, Sir Peter Hall and Sir Richard Eyre, as well as research into published letters, diaries and autobiographies, Through access to the Tynan and Olivier Archives in the British Library, it has been possible to closely examine the selection process between 1963 and 1973. The process of production has been examined through the analysis of Prompt Books, programmes and photographs that are held by the National Theatre Archive, as well as biographies and autobiographies. The reception process has been examined through two interpretive communities, that of the critics and the audience: firstly by comparing the reception of the interpretive community of critics who received the productions for British newspapers and periodicals between 1963 and 1997, and then by contrasting that reception with the actual number of people who attended each production. I have accessed the Box Office returns, Annual Reports, Board Minutes and Director's reports at the National Theatre Archive in order to complete this analysis. This research explores Britain's relationship with Europe through qualitative and quantitative analysis, and proves the effectiveness of reception analysis as a methodology for understanding historical and contemporary culture.
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Halfyard, Janet Katherine. "Only connect : European music theatre in the context of Wagner's Gesamtkunstwerk and the early twentieth-century avant-garde." Thesis, University of Birmingham, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.397944.

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Dawood, Rasha Ahmed Khairy Hafez. "Critical discourse within European plays in the first half of the twentieth century and the manifestations of a similar phenomenon in modern Egyptian drama." Thesis, University of Exeter, 2014. http://hdl.handle.net/10871/15359.

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This thesis closely examines the utilisation of dramatic characters’ comments on matters of literary and theatrical criticism. This phenomenon shaped a trend in European theatre during the first half of the twentieth century, and Egyptian theatre in the second half of the century. My main hypotheses are, firstly, that dramatic characters’ comments on literary and theatrical matters of criticism respond to specific problems that challenge theatre practice. Thus, my reading of literary and theatrical criticism within the dramatic texts studied in my thesis focuses on this criticism’s reformative function to rectify the crisis that faces theatre practice in general, rather than playwrights’ individual motives, such as responding to their critics. Secondly, socio-political, economic, and cultural aspects shape historical circumstances, which influence the current state of the theatre industry. Therefore, although Egyptian plays are noticeably influenced by European metatheatre, Egyptian playwrights utilise these borrowed techniques to highlight specific problems of Egyptian theatre such as the corrupt administration of governmental theatre and censorship. Finally, while Egyptian plays exploit European metatheatrical techniques, Egyptian playwrights claimed their works as a revival of intrinsically anti-illusionist traditional forms of entertainment such as the shadow play and Karagöz. This claim reflected increasing calls for pure Egyptian theatre, as part of the anti-Western jingoistic discourse of the political regime of the 1950s. In order to examine these assumptions, my theoretical approach draws from the fields of metatheatrical studies; literary and performance studies of parody and intertextuality; the history of European and Egyptian theatre; sociological, political and cultural studies; theories of modern criticism, and critical reviews. My contribution to the field of metatheatrical studies is in highlighting the reformative function of literary and theatrical criticism, whether as a discourse or a metatheatrical device, within a group of European plays that belong to different movements of the avant-garde during the first half of the twentieth century. More significantly, my study investigates the same phenomenon in Egyptian plays that, since the 1980s, have gradually been marginalised as fringe theatre and neglected by academic studies.
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Books on the topic "European theatre"

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Contemporary European theatre directors. London: Routledge, 2010.

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Edited by Delgado, Maria M., and Dan Rebellato. Contemporary European Theatre Directors. Edited by Maria M. Delgado and Dan Rebellato. Abingdon, Oxon ; New York, NY : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780429400285.

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Wien, Don Juan Archiv, ed. Ottoman Empire and European theatre. Wien: Hollitzer, 2013.

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Prentki, Tim. The Fool in European Theatre. London: Palgrave Macmillan UK, 2012. http://dx.doi.org/10.1057/9780230357501.

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Theatre. London: [Hodder and Stoughton], 2002.

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Fischer-Lichte, Erika. History of European Drama and Theatre. London: Taylor & Francis Inc, 2004.

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Fischer-Lichte, Erika. History of European Drama and Theatre. London: Taylor & Francis Group Plc, 2004.

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Lee, Briant Hamor. European post-Baroque neoclassical theatre architecture. Lewiston: E. Mellen Press, 1996.

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Fischer-Lichte, Erika. History of European drama and theatre. London: Routledge, 2001.

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Fischer-Lichte, Erika. History of European drama and theatre. London: Routledge, 2002.

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Book chapters on the topic "European theatre"

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Schumacher, Claude. "Arrabal’s Theatre of Liberation." In Twentieth-Century European Drama, 124–45. London: Palgrave Macmillan UK, 1994. http://dx.doi.org/10.1007/978-1-349-23073-0_9.

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Singleton, Brian. "Ariane Mnouchkine." In Contemporary European Theatre Directors, 39–60. Abingdon, Oxon ; New York, NY : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780429400285-1.

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Reinelt, Janelle. "Jan Lauwers." In Contemporary European Theatre Directors, 229–57. Abingdon, Oxon ; New York, NY : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780429400285-10.

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Delgado, Maria M., and Dan Rebellato. "Revised Introduction to The First Edition 1." In Contemporary European Theatre Directors, 1–28. Abingdon, Oxon ; New York, NY : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780429400285-101.

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Rebellato, Dan, and Maria M. Delgado. "Introduction to the second edition." In Contemporary European Theatre Directors, 29–38. Abingdon, Oxon ; New York, NY : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780429400285-102.

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Knapper, Stephen. "Simon Mcburney." In Contemporary European Theatre Directors, 259–74. Abingdon, Oxon ; New York, NY : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780429400285-11.

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Flannery, Denis. "Ivo Van Hove." In Contemporary European Theatre Directors, 275–98. Abingdon, Oxon ; New York, NY : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780429400285-12.

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Ledger, Adam J. "Deborah Warner." In Contemporary European Theatre Directors, 299–323. Abingdon, Oxon ; New York, NY : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780429400285-13.

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Read, Alan. "Romeo Castellucci." In Contemporary European Theatre Directors, 325–40. Abingdon, Oxon ; New York, NY : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780429400285-14.

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Miller, Judith G. "Kristian Frédric." In Contemporary European Theatre Directors, 341–54. Abingdon, Oxon ; New York, NY : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780429400285-15.

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Conference papers on the topic "European theatre"

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Petrovic, Dominik, Luka Kicinbaci, Frano Petric, and Zdenko Kovaaic. "Autonomous Robots as Actors in Robotics Theatre - Tribute to the Centenary of R.U.R." In 2019 European Conference on Mobile Robots (ECMR). IEEE, 2019. http://dx.doi.org/10.1109/ecmr.2019.8870908.

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Apostolopoulos, G., G. Amolochitis, S. Stamataki, A. Giannopoulos, and P. Kofakis. "Combined Geophysical Survey for the Detection of an Archaeological Theatre in Amphiareion of Oropos, Attica, Greece." In Near Surface Geoscience 2014 - 20th European Meeting of Environmental and Engineering Geophysics. Netherlands: EAGE Publications BV, 2014. http://dx.doi.org/10.3997/2214-4609.20141970.

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Hassan, A., J. Parmar, E. Mulvaney, and N. Bedforth. "ESRA19-0140 Outreach nerve block, a quality improvement project for providing out of theatre regional anaesthesia services." In Abstracts of the European Society of Regional Anesthesia, September 11–14, 2019. BMJ Publishing Group Ltd, 2019. http://dx.doi.org/10.1136/rapm-2019-esraabs2019.110.

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YARYMOVYCH, MICHAEL, and JAMES WRIGHT. "EUROPEAN THEATER MISSILE DEFENSE - ISSUES AND OPTIONS." In Space Programs and Technologies Conference. Reston, Virigina: American Institute of Aeronautics and Astronautics, 1995. http://dx.doi.org/10.2514/6.1995-4017.

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Kennedy-Karpat, Colleen. "Adaptation studies in Europe." In 6th International e-Conference on Studies in Humanities and Social Sciences. Center for Open Access in Science, Belgrade, 2020. http://dx.doi.org/10.32591/coas.e-conf.06.02015k.

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Adaptation is a creative process that crosses and blurs boundaries: from page to stage, from small screen to big screen – and then, sometimes, back again. Beyond questions of form and medium, many adaptations also cross national borders and language barriers, making them important tools for intercultural communication and identity formation. This paper calls for a more intensive, transnational study of adaptation across print, stage, and screens in EU member and affiliate countries. For the highest possible effectiveness, interdisciplinarity is key; as a cultural phenomenon, adaptation benefits from perspectives rooted in a variety of fields and research methods. Its influence over transnational media flows, with patterns in production and reception across European culture industries, offers scholars a better understanding of how narratives are transformed into cultural exports and how these exchanges affect transnational relationships. The following questions are proposed to shape this avenue for research: (1) How do adaptations track narrative and media flows within and across national, linguistic, and regional boundaries? (2) To what extent do adapted narratives reflect transnational relationships, and how might they help construct Europeanness? (3) How do audiences in the EU respond to transnational adaptation, and how are European adaptations circulated and received outside Europe? (4) What impact does adaptation have in the culture industries, and what industrial practices might facilitate adaptation across media platforms and/or national boundaries? The future of adaptation studies and of adaptation as a cultural practice in Europe depends on the development of innovative, comparative, and interdisciplinary approaches to adaptation. The outcomes of future research can hold significant value for European media industries seeking to expand their market reach, as well as for scholars of adaptation, theater, literature, translation, and screen media.
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Kennedy-Karpat, Colleen. "Adaptation studies in Europe." In 6th International e-Conference on Studies in Humanities and Social Sciences. Center for Open Access in Science, Belgrade, 2020. http://dx.doi.org/10.32591/coas.e-conf.06.02015k.

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Adaptation is a creative process that crosses and blurs boundaries: from page to stage, from small screen to big screen – and then, sometimes, back again. Beyond questions of form and medium, many adaptations also cross national borders and language barriers, making them important tools for intercultural communication and identity formation. This paper calls for a more intensive, transnational study of adaptation across print, stage, and screens in EU member and affiliate countries. For the highest possible effectiveness, interdisciplinarity is key; as a cultural phenomenon, adaptation benefits from perspectives rooted in a variety of fields and research methods. Its influence over transnational media flows, with patterns in production and reception across European culture industries, offers scholars a better understanding of how narratives are transformed into cultural exports and how these exchanges affect transnational relationships. The following questions are proposed to shape this avenue for research: (1) How do adaptations track narrative and media flows within and across national, linguistic, and regional boundaries? (2) To what extent do adapted narratives reflect transnational relationships, and how might they help construct Europeanness? (3) How do audiences in the EU respond to transnational adaptation, and how are European adaptations circulated and received outside Europe? (4) What impact does adaptation have in the culture industries, and what industrial practices might facilitate adaptation across media platforms and/or national boundaries? The future of adaptation studies and of adaptation as a cultural practice in Europe depends on the development of innovative, comparative, and interdisciplinary approaches to adaptation. The outcomes of future research can hold significant value for European media industries seeking to expand their market reach, as well as for scholars of adaptation, theater, literature, translation, and screen media.
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Cailliez, Matthieu. "Europäische Rezeption der Berliner Hofoper und Hofkapelle von 1842 bis 1849." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.50.

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The subject of this contribution is the European reception of the Berlin Royal Opera House and Orchestra from 1842 to 1849 based on German, French, Italian, English, Spanish, Belgian and Dutch music journals. The institution of regular symphony concerts, a tradition continuing to the present, was initiated in 1842. Giacomo Meyerbeer and Felix Mendelssohn Bartholdy were hired as general music directors respectively conductors for the symphony concerts in the same year. The death of the conductor Otto Nicolai on 11th May 1849, two months after the premiere of his opera Die lustigen Weiber von Windsor, coincides with the end of the analysed period, especially since the revolutions of 1848 in Europe represent a turning point in the history of the continent. The lively music activities of these three conductors and composers are carefully studied, as well as the guest performances of foreign virtuosos and singers, and the differences between the Berliner Hofoper and the Königstädtisches Theater.
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Hoffmann, Anne. "A trainer's guideline to teaching soft skills using improvisation theater." In the 16th European Conference. New York, New York, USA: ACM Press, 2011. http://dx.doi.org/10.1145/2396716.2396720.

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Novello, Giuseppa, and Maurizio Marco Bocconcino. "Dal Theatrum Sabaudiae: disegni di fortificazioni nelle raffigurazioni celebrative di una dinastia." In FORTMED2020 - Defensive Architecture of the Mediterranean. Valencia: Universitat Politàcnica de València, 2020. http://dx.doi.org/10.4995/fortmed2020.2020.11522.

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From the Theatrum Sabaudiae: drawings of fortifications in celebratory representations of a dynastyIn order to make the lands and places of their possessions known to European courts and communities, first Duke Carlo Emanuele II of Savoy (1634-1675) and then the Duchess Regent Maria Giovanna Battista of Savoy Nemours (1644-1724) published in 1682, in Amsterdam, at the printing works founded by the publisher and cartographer Joan Blaeu (1596-1673), the publication Theatrum Statuum Regiae Celsitudinis Sabaudiae Ducis, Pedemontii Principis, Cypri Regis. The contribution extracts and comments the graphic transcription made to represent the fortifications depicted in the views, comparing within synoptic paintings divided by theme or components, the recurrent codes of an iconographic nature contained in the one hundred and forty-five plates.
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Senenga, Praise. "Researching the Business and Management of Theater in Africa: A Mixed Methods Approach." In 18th European Conference on Research Methodology for Business and Management Studies. Academic Conferences and Publishing Limited, 2019. http://dx.doi.org/10.34190/rm.19.118.

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Reports on the topic "European theatre"

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Kelleher, C. M. Offensive versus defensive tradeoffs in the European theater. Office of Scientific and Technical Information (OSTI), April 1989. http://dx.doi.org/10.2172/6101007.

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Zubov, Andrey, and Tatiana Novichkova. The East European and Balkan theaters in 1914). Edited by Andrey Zubov, Nikolay Komedchikov, and Aleksandr Khropov. Astrel, November 2009. http://dx.doi.org/10.15356/dm2016-01-14-8.

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Zubov, Andrey, and Tatiana Novichkova. The East European and Balkan theaters in 1915. Edited by Andrey Zubov, Nikolay Komedchikov, and Aleksandr Khropov. Astrel, November 2009. http://dx.doi.org/10.15356/dm2016-01-19-1.

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Zubov, Andrey, and Tatiana Novichkova. The East European and Balkan theaters in 1916. Edited by Andrey Zubov, Nikolay Komedchikov, and Aleksandr Khropov. Astrel, November 2009. http://dx.doi.org/10.15356/dm2016-01-19-2.

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Schmidt, Axel, and Frits Verschuur. The European Theater Missile Defense Program - A Field for International Cooperation. Fort Belvoir, VA: Defense Technical Information Center, April 1997. http://dx.doi.org/10.21236/ada397290.

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Terstegge, Stephen D. Ballistic Missile Defense in the European Theater: Political, Military and Technical Considerations. Fort Belvoir, VA: Defense Technical Information Center, April 2007. http://dx.doi.org/10.21236/ada468576.

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Frichtl, Paul J. Limitations of the Conventional Role of the B-1B in the European Theater. Fort Belvoir, VA: Defense Technical Information Center, May 1989. http://dx.doi.org/10.21236/ada220571.

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Prysyazhnyi, Mykhaylo. UNIQUE, BUT UNCOMPLETED PROJECTS (FROM HISTORY OF THE UKRAINIAN EMIGRANT PRESS). Ivan Franko National University of Lviv, March 2021. http://dx.doi.org/10.30970/vjo.2021.50.11093.

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