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Academic literature on the topic 'Theater rehearsals Case studies'

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Published: 10 December 2022
Last updated: 29 January 2023

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Journal articles on the topic "Theater rehearsals Case studies"

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Szuster, Magdalena. "Theater Without a Script—Improvisation and the Experimental Stage of the Early Mid-Twentieth Century in the United States." Text Matters, no. 9 (December 30, 2019): 374–92. http://dx.doi.org/10.18778/2083-2931.09.23.

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It was in the mid-twentieth century that the independent theatrical form based entirely on improvisation, known now as improvisational/improvised theatre, impro or improv, came into existence and took shape. Viola Spolin, the intellectual and the logician behind the improvisational movement, first used her improvised games as a WPA worker running theater classes for underprivileged youth in Chicago in 1939. But it was not until 1955 that her son, Paul Sills, together with a college theater group, the Compass Players, used Spolin’s games on stage. In the 1970s Sills made the format famous with his other project, the Second City. Since the emergence of improv in the US coincides with the renaissance of improvisation in theater, in this paper, I will look back at what may have prepared and propelled the emergence of improvised theater in the United States. Hence, this article is an attempt to look at the use of improvisation in theater and performing arts in the United States in the second half of the 20th century in order to highlight the various roles and functions of improvisation in the experimental theater of the day by analyzing how some of the most influential experimental theaters used improvisation as a means of play development, a component of actor training and an important element of the rehearsal process.
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Downing, Pat Bromilow, Fiona MacPherson, and William Davies King. "Global O'Neill:." Eugene O'Neill Review 36, no. 1 (March 1, 2015): 73–79. http://dx.doi.org/10.5325/eugeoneirevi.36.1.73.

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Abstract Production and rehearsal photographs from the 2014 Baxter Theatre Centre's Cape Town production of Desire under the Elms suggest the rich possibilities of an intercultural translation of Eugene O'Neill's play in a South African context. The Eugene O'Neill Review editor issues a call for studies of O'Neill's plays in a global context.
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Parmaksız, Ergün, and Hüseyin Demirbilek. "The ımportance of art therapy ın the qualıty of lıfe ın hemodıalysıs patıents." Ukrainian Journal of Nephrology and Dialysis, no. 1(69) (October 18, 2020): 27–33. http://dx.doi.org/10.31450/ukrjnd.1(69).2021.04.

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Dialysis causes many psycho-social problems in patients with chronic renal failure and decreases their quality of life by increasing their anxiety. We aimed to determine the influence of artistic activities on quality of life and reducing or eliminating dialysis anxiety.Methods. Among 180 hemodialysis patients, 8 patients were randomly selected as a study group and 8 patients as a control group. We performed our theater rehearsals in 16 sessions, two hours per week. State-Trait Anxiety Inventory (STAI), STAII and Social Anxiety Scales (SAS) were employed in both groups before and after the play. Results. The means of the eighth-month SAS fear and avoidance measures of the study group were found to be significantly lower than the control group and significantly lower than the baseline. The mean difference of the initial eighth-month SAS fear and avoidance in the study group was statistically significantly higher than the control group.Initial and eighth month SAS fear and avoidance difference averages of the study group were found statistically significantly higher than the control group.Conclusions. We determined that the therapies to be done with art have an important place in relieving or reducing anxiety in hemodialysis patients. In addition, it was the opinion that our patients would make positive contributions to their quality of life. However, further studies are needed to demonstrate whether theater rehearsals reduce anxiety in hemodialysis patients.
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Coffman, Victoria T., and Stephen L. Coffman. "Behavioral Rehearsal: A Way of Talking about the Dying Process." OMEGA - Journal of Death and Dying 32, no. 1 (February 1996): 63–76. http://dx.doi.org/10.2190/e1mh-wgwh-h475-ma2u.

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The authors suggest that theater activities can be used as a helpful approach to initiating more complex reflection about death among university students as well as hospice volunteers. Included in the article is an activity description and accompanying texts from a death-contemplation exercise which support this advocation. This performance skills activity produced serious student responses which were varied, articulate, and rich. Imagining and rehearsing death allows people to “act as if” and fantasize the circumstances surrounding one's death in a removed and relatively safe manner. These presentations can make the performance of life more meaningful, and the drama of death perhaps softer and more acceptable.
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Crossley, Tracy. "Active Experiencing in Postdramatic Performance: Affective Memory and Quarantine Theatre's Wallflower." New Theatre Quarterly 34, no. 2 (April 19, 2018): 145–59. http://dx.doi.org/10.1017/s0266464x18000052.

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Postdramatic approaches to performance and Stanislavsky's methodology seemingly occupy divergent performance traditions. Nonetheless, both traditions often require performers to mine their own lives (albeit to different ends) and operate in an experiential realm that demands responsiveness to and within the live moment of performing. Tracy Crossley explores this realm through an analysis of Quarantine Theatre's Wallflower (2015), an example of postdramatic practice that blends a poetics of failure with a psycho - physical dramaturgical approach that can be aligned with Stanislavsky's concepts of affective memory and active analysis.Wallflower provides a useful case study of practice that challenges the binary opposition between the dramatic and postdramatic prevalent in theatre and performance studies scholarship. Aspects of Stanislavsky's system, nuanced by cognitive neuroscience, can expand the theorization of postdramatic theatre, which in turn generates techniques that can prove valuable in the rehearsal of dramatic theatre itself. Tracy Crossley is a Senior Lecturer in Theatre and Performance at the University of Salford, Manchester. She is currently developing a practical handbook, Making Postdramatic Theatre, for Digital Theatre Plus.
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Barker, Clive. "Games in Education and Theatre." New Theatre Quarterly 5, no. 19 (August 1989): 227–35. http://dx.doi.org/10.1017/s0266464x00003304.

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In his major work on Theatre Games (Methuen, 1987), Clive Barker provided both a practical textbook on the uses of game-playing for actors, and some theoretical background to its value. There, he largely stressed the function of games as a means to an end - the development of acting skills through the enrichment of the rehearsal process. In NTQ14 (1988). he described how he came to develop ‘games workshops’ for non-theatrical purposes, and considered the value of games-playing for adults by analogy with the function of the ‘kissing games’ of his own childhood and adolescence. In this article (based on a paper presented in November 1988 at the conference on theatre and education in Mohammédia, Morocco), he considers our changing perception of the relationship between the two senses of ‘play’, and the way in which ‘games’ have been institutionalized to avoid their inherent threat to an organized, work-disciplined society-a trend still being reinforced, as the improvisatory element of drama in schools becomes subject to the rigours of evaluation and examination. Clive Barker, whose career in the professional theatre began with Joan Littlewood's Theatre Workshop company, is co-editor of New Theatre Quarterly, and now teaches in the Joint School of Theatre Studies at the University of Warwick.
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nikiforova, sargylana valentinovna. "The formation of the theater spectator subculture in the cultural space of a provincial town." Человек и культура, no. 3 (March 2022): 69–82. http://dx.doi.org/10.25136/2409-8744.2022.3.37940.

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In order to determine the specifics and nature of the formation of the subculture of the theater spectator in Yakutsk, the history of relations between the theater and the spectator is considered. Variants of a strategy for the formation of a subculture of theatergoers in the youth environment of a provincial city (students of colleges and universities as the "backbone" of the audience) are proposed. The specifics of the subject of the study led to the use of interdisciplinary, sociocultural and cultural approaches, which made it possible to integrate the methods of cultural studies, sociology, art history, folklore and pedagogy. The culturological approach made it possible to determine the nature of changes in the cultural space. The synchronic method provided an opportunity to analyze in a slice mode and identify three stages in the formation of the subculture of the theatrical spectator. The dynamics of the formation of the subculture of theatergoers in Yakutsk in 1960-2020s is considered in detail. This is the time when the theater was formed as an organic institution of modern Yakut culture, but not something artificially introduced into the national culture. An indirect criterion base is determined, indicating the growth of the theater audience's competence: a change in the repertoire, problems, directing styles, participation in theater competitions and festivals, touring policy, pricing. Convergence of different types of cultural "consumption" is proposed: hybrid forms of work in cooperation with museums, philharmonic society, libraries; organization of creative meetings, excursions to rehearsals, pre-premiere screenings, charity events, etc. The regional specificity of the communication "theater - spectator" influences the formation of both moral and aesthetic views of the spectator; influences the national consciousness of the people, contributes to the strengthening of spiritual guidelines.
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Aquilina, Stefan. "Acts of Recognition: The Political Dimension of Terminology." Maska 31, no. 177 (June 1, 2016): 68–85. http://dx.doi.org/10.1386/maska.31.177-178.68_1.

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This article uses theories on the Politics of Recognition to attach a political dimension to terminology. More than a practice that facilitates communication in rehearsal or studio situations, terminology is a tool that aids in the recognition of one’s work and identity. Two case studies frame the discussion, namely, certain scholarly material written about theatre in Africa and the laboratorial practice developed by Frank Camilleri, a practitioner-academic whose work has featured in recent publications. (These choices are framed around the theories on recurrent practices as developed by Michel De Certeau.) Two terminological approaches are delineated, namely, the appropriation of terms and the formulation of alternative nomenclatures. The relevance of terminology to contemporary discourses on hybridity, creation of lineages and academic accreditation is also evaluated.
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Basuki, Ribut, and Meilinda Meilinda. "The Use of Dramatic Theater in BIPA (Bahasa Indonesia untuk Penutur Asing) Classes: A Case in Petra Christian University, Surabaya, Indonesia." SHS Web of Conferences 76 (2020): 01044. http://dx.doi.org/10.1051/shsconf/20207601044.

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The teaching-learning techniques of BIPA (Bahasa Indonesia untuk Penutur Asing - Indonesian for Speakers of Other Languages) for language skills are oftentimes separated from that of ‘cultural’ skills. Even worse, BIPA teachers tend to devote only a little attention to students’ cultural sensitivity. Dramatic Theatre, when used appropriately, offers engaging techniques for the teaching-learning of both language and cultural skills. Dramatic theatre’s ‘production process’ is very useful in developing linguistic and cultural sensitivities to the students. The teaching-learning of BIPA using the Dramatic Theatre production process at Petra Christian University, Surabaya, Indonesia has shown that it is a promising teachnique to be developed and implemented. The students’ involvement in the process from the preparations, rehearsals, and finally performance gives them a chance to enjoy and, especially, learn the Indonesian linguistic as well as cultural nuances more or less authentically. This paper is an evaluation of BIPA through dramatic theatre at PCU. It will show how students are involved in the production process, learn Bahasa Indonesia, and grasp Indonesian culture both from the play they perform and the process of production itself. It finally gives evaluation and recomendation for further use of dramatic theatre for BIPA at PCU.
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Vejvodová, Veronika. "Poprvé na scéně. K premiéře Dvořákovy Rusalky v Národním divadle v roce 1901." Muzeum Muzejní a vlastivedná práce 60, no. 2 (2022): 39–51. http://dx.doi.org/10.37520/mmvp.2022.016.

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The study brings a new perspective and unknown facts about the world premiere of Dvořák’s most famous opera Rusalka, which was first performed on 31 March 1901 at the National Theatre in Prague. Through previously unheeded sources and literature, the text provides a detailed description of the circumstances of the premiere and the dramatic situation in the management of the National Theatre, which underwent a major change in 1900. The premiere of Rusalka was given exceptional care by the theatre: the composer attended rehearsals of the orchestra led by the newly elected head of the opera, Karel Kovařovic, who had a reputation as an excellent conductor. Great attention was also paid to the costume and stage design. However, the premiere was jeopardised on the day of its performance by the main character of the prince, the European renowned tenor Karel Burian, who cancelled the performance on the same day. He was replaced by Bohumil Pták, who, according to his recollection of these events, had studied the role with Burian. The issue of the premiere of Rusalka also opens up the topic of the relationship between Kovařovic and Dvořák, two prominent figures of Czech opera at the end of the 19th century, which is discussed against the background of the later so-called struggle for Dvořák (1913).
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Dissertations / Theses on the topic "Theater rehearsals Case studies"

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Sanders, Jennifer Lynn. "Audience development of theatres: a case study of Contemporary American Theatre Company Columbus, OH." The Ohio State University, 1999. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392308090.

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Van, Zyl Lionel. "A critical investigation of the effectiveness of warm-ups as technical exercises for the improvement of choral tone : a case study of the Eastern Cape Children's Choir." Thesis, Nelson Mandela Metropolitan University, 2006. http://hdl.handle.net/10948/634.

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This is a research project based on the author’s experience of more than 20 years as conductor of the Eastern Cape Childrens Choir. It investigates the effectiveness of technical exercises - with special reference to selected “warm-up” exercises - in creating a superior choral tone in the children’s choir. The investigation is motivated by the fact that it is an ongoing challenge to effectively overcome problems with intonation and poor choral tone, problems which are mostly caused by lack of attention to pure vowel formation. Toward this end, a practical “tool box” of vocal exercises for the children’s choir is ultimately proposed. The toolbox is based on one single exercise with different variations. Each variation is designed to address multiple vocal needs and to correct vocal production during singing. In this manner a great many technical aspects are covered with the simplest of means and in the shortest possible time, bearing in mind that the rehearsal session allows limited time to focus on such matters to the exclusion of all else.
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Majid, Asif. "The symbiotic embeddedness of theatre and conflict| A metaphor-inspired quartet of case studies." Thesis, Georgetown University, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1586921.

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This study seeks to demonstrate connections between theatre and conflict, as inspired by metaphor and embodied by case studies of four theatrical organizations working in conflict zones: The Freedom Theatre in Palestine, Ajoka Theatre in Pakistan, DAH Teater in Serbia, and Belarus Free Theatre in Belarus. In so doing, it attempts to name the overlaps and relationships as sub-concepts that exist as connective tissue between conflict and theatre, writ large. These sub-concepts - subverting to play, imagining hidden histories, embodying the unspeakable, and blurring illusion and reality - offer a taxonomy of various dimensions of the theatre-conflict relationship. This taxonomy explores the symbiotic embeddedness of theatre and conflict as a possible explanation for the existence of theatrical organizations in conflict zones.

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Shorter, Smith Toni. "A Case Study of the Lincoln Theater in Columbus, Ohio: A Participatory Social Action Study." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1293746024.

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Chan, Ping-hung Joseph, and 陳炳雄. "New Chinese opera house in Temple Street." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B31985063.

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Lane, Michelle I. ""Why do hurt people hurt people?" A SERIES OF CASE STUDIES EXPLORING ABUSIVE RELATIONSHIPS IN DRAMATIC TEXTS AND ONSTAGE WITH TONI KOCHENSPARGER'S MILKWHITE." Ohio University Honors Tutorial College / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1492704228702652.

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Patrick, Holly. "Challenging legitimacy in cultural fields : the case of Dundee Rep." Thesis, University of St Andrews, 2013. http://hdl.handle.net/10023/4111.

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This thesis argues for a dualistic, epistemological, framework for the study of legitimacy which recognises the different ways it might be understood to exist, and as such be managed, within organisations. It is based on an ethnography of a Scottish professional theatre, Dundee Rep, undertaken over a 30 month period. The research adopts a social constructionist ontology and an epistemological framework based on the knowing that / knowing how framework of Gilbert Ryle to present three accounts of the legitimacy of the theatre – as belonging, becoming and integrated- and to challenge the notion implicit in the organisation studies literature that legitimacy is treated (and should be treated) as a belonging by organisations. The proposed integrated epistemological framing of legitimacy explains how notions of legitimacy as an emergent, negotiated perception and as a competitive resource possessed are both crucial to developing an integrated understanding of how legitimacy is produced at the organisational level.
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Ruane, Richard T. "Performing "Camp, Vamp & Femme Fatale": Revisiting, Reinventing & Retelling the Lives of Post-Death, Retro-Gothic Women." Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc2239/.

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This thesis examines the production process for "Camp, Vamp and Femme Fatale," performed at the University of North Texas in April of 1997. The first chapter applies Henry Jenkins's theory of textual poaching to the authors' and cast's reappropriation of cultural narratives about female vampires. The chapter goes on to survey the narrative, cinematic and critical work on women as vampires. As many of the texts were developed as part of the fantasy role-playing game Vampire: The Masquerade, this chapter also surveys how fantasy role-playing develops unpublished texts that can make fruitful ground for performance studies. The second chapter examines the rehearsal and production process in comparison to the work of Glenda Dickerson and other feminist directors.
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Gaunce, Rachel. "Seeking Alternative Research and Development Methods Through Theatre: A Case Study on Sanitation Issues Affecting Women in the Mathare Slum." Ohio University Honors Tutorial College / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1524844274577085.

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Pate, Ronald David. "Narrative Processes in Urban Planning: A Case Study of Swamp Gravy in Colquitt, Georgia." PDXScholar, 2012. https://pdxscholar.library.pdx.edu/open_access_etds/469.

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In 1990 many in Colquitt, Georgia considered themselves to be a dying town due to the loss of jobs and outmigration that occurred when labor intensive farming transitioned to the machine. In response citizens brought in a theater director from Chicago who helped them launch a performance series of inclusive stories that were acted by local volunteers. The resulting series called Swamp Gravy has run from 1992 to present (2012), and has led to purported claims of community revitalization. The purpose of this study was to discover what this ongoing narrative community engagement meant to the people of Colquitt in regards to: community experiences that produced new relationships (including those between Blacks and Whites); personal empowerment; the coproduction of an emerging and diverse community identity; and institutional and economic development. Methods for this case study included narrative interviews of participants, attendees and local citizens, as well as observation of the town and the performances, and document analysis. Many participant volunteers and attendees became Swamp Gravy enthusiasts, and describe their experiences as coming out into a meaningful experience of community, which included forming relationships with diverse others (including those of a different race). The enthusiasts speak of growing into larger community responsibilities with others for the common good, and feel that ongoing and inclusive storytelling is very important to coproducing a diverse heritage that informs the future of their city. Other attendees (predominantly the business community) describe the benefits of Swamp Gravy as instrumental to having given the town recognition (identity) as an entertaining tourist attraction that exposed individual talent, boosted individual confidence, and enhanced social connectivity. Others in Colquitt were indifferent or resistive to the coming out that the performances invite. Most everyone recognizes that Swamp Gravy has attracted outside tourists which has boosted economic development, occasioned the renovation of downtown Colquitt square and the formation of institutions to continue to attract and accommodate visitors from afar. This case is theorized in terms of the emerging communicative turn in planning that juxtaposes the planner as mediator or facilitator, and stakeholders as co-producers. The findings in this case study support that the Swamp Gravy form of narrative process has some potential for guiding stakeholders to a just diversity in cities, neighborhoods and towns, and as such should be studied further. Urban planning in situations of urban renewal may be one place where utilizing this form of meaningful engagement could lead to discovery of new identities, which may both inform and motivate a just plan to be coproduced.
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Books on the topic "Theater rehearsals Case studies"

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Lanipekun, Jennifer. Communication in theatre directing and performance: From rehearsal to production. Amherst, NY: Cambria Press, 2011.

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Kamlongera, Christopher F. Theatre for development in Africa, with case studies from Malawi and Zambia. Bonn, Federal Republic of Germany: Education, Science, and Documentation Centre, 1987.

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Inc, ebrary, ed. Applied theatre: International case studies and challenges for practice. Bristol, UK: Intellect, 2009.

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Tocci, Laurence. The proscenium cage: Critical case studies in U.S. prison theatre programs. Youngstown, N.Y: Cambria Press, 2007.

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Tocci, Laurence. The proscenium cage: Critical case studies in U.S. prison theatre programs. Youngstown, N.Y: Cambria Press, 2007.

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Strong, Judith. Encore: Strategies for theatre renewal. London: Theatres Trust Charitable Fund, 1998.

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Abah, Oga S. Performing life: Case studies in the practice of theatre for development. Zaria, Nigeria: Shekut Books, 1997.

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Tesselaar, Suzanne. Theatermarketing: Met cases uit proeftuinen. Delft: Eburon, 1996.

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Buricke, Olaf. Kulturelle Infrastruktur in Städten mit Theatergastspielen. Darmstadt: Mykenae-Verlag Rossberg, 1992.

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coordinator, Pantoja Palacios Josefina, ed. Mujeres y teatro: Su empoderamiento y construcción subjetiva. León, Gto., México: Universidad Iberoamericana León, Promoción de la Cultura y la Educación Superior del Bajio A.C., 2013.

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Book chapters on the topic "Theater rehearsals Case studies"

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Gorman, Tom, Mikko Kanninen, and Tiina Syrjä. "Immersive telepresence in theatre: performing arts education in digital spaces." In Designing and implementing virtual exchange – a collection of case studies, 23–35. Research-publishing.net, 2020. http://dx.doi.org/10.14705/rpnet.2020.45.1112.

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This case study examines a joint project in performer training and rehearsal conducted between Coventry University (UK) and Tampere University (Finland) using a variety of telepresence and app-based technologies. In this project, two identical spaces, equipped with rear projection screens and linked by videoconferencing technology, were created in both institutions. This study reports on the adaptation of the pedagogical practices to a digital setting.
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"The Bestsellers of the French Revolution, or, Why Sentimentality Dominated the Revolutionary Stage: Four Case Studies." In The Sentimental Theater of the French Revolution, 19–64. Routledge, 2016. http://dx.doi.org/10.4324/9781315552996-2.

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Klimasmith, Betsy. "Drama Uncloseted in Boston." In Urban Rehearsals and Novel Plots in the Early American City, 32–67. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780192846211.003.0003.

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Chapter 1, “Drama Uncloseted in Boston,” argues that American urbanity began at home. The cosmopolitanism practiced in elite domestic spaces after the American Revolution signaled an urban future; in opening these homes to a broader public, novels would transform it. But not without serious resistance. Instead of embracing urbanity after the revolution, Bostonians strained to negotiate competing desires for republican equality and cosmopolitan sophistication. This tension found a fitting narrative in a public scandal of incestuous infidelity, pregnancy, and suicide involving Perez Morton, a prominent Boston lawyer and drama aficionado; his wife, poet Sarah Wentworth Morton; and her sister, Fanny Apthorp, whose published suicide notes were widely read. I trace the scandal’s circulation through Boston newspapers, as a subplot in William Hill Brown’s 1789 novel The Power of Sympathy, and in three plays, two by Brown himself, that were printed for private performances in Boston, where public theater remained illegal. These texts offer a fascinating case study of the formally diverse and multivocal print culture in which cosmopolitan culture clashed with new ideas about American urbanity. The epistolary novel emerged as a form concerned not with the past or present, I argue, but with the future—a future that writes out of existence the varied voices, especially female and Black voices, present in the plays, poetry, and papers.
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Agirrezabalaga, Elizabete Manterola. "Heterolingualism in the Novel: Soinujolearen semea and its Adaptations for Theater and Cinema." In Iberian and Translation Studies, 189–208. Liverpool University Press, 2021. http://dx.doi.org/10.3828/liverpool/9781800856905.003.0010.

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Focusing on contemporary Iberia, this chapter examines the shifts that occur between a literary work and its film and stage versions in order to delve into the presence of heterolingualism in adapted artistic products. The case study for this investigation is the 2003 Basque novel Soinujolearen semea [The Accordionist’s Son] by Bernardo Atxaga and its Spanish collaborative (self-)translation, its Basque and Spanish adaptations for stage, and the feature film in Basque. The chapter analyzes the way in which multilingualism has been reflected both in the Spanish translation and in the dramatized reinterpretations of the story, as it needs to be adjusted to the language(s) of each medium. The aim is therefore twofold: on the one hand, to investigate the extent to which adaptations between modalities shift the way language is used to narrate a story; and on the other, to study the Basque author’s role when intervening in intersemiotic processes.
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Denning, Dorothy E. "Cyber Conflict as an Emergent Social Phenomenon." In Corporate Hacking and Technology-Driven Crime, 170–86. IGI Global, 2011. http://dx.doi.org/10.4018/978-1-61692-805-6.ch009.

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This chapter examines the emergence of social networks of non-state warriors launching cyber attacks for social and political reasons. It examines the origin and nature of these networks; their objectives, targets, tactics, and use of online forums; and their relationship, if any, to their governments. General concepts are illustrated with case studies drawn from operations by Strano Net, the Electronic Disturbance Theater, the Electrohippies, and other networks of cyber activists; electronic jihad as practiced by those affiliated with al-Qa’ida and the global jihadist movement associated with it; and operations by patriotic hackers from China, Russia, and elsewhere.
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Lantz, Edward. "Immersion Domes." In Advances in Media, Entertainment, and the Arts, 314–46. IGI Global, 2020. http://dx.doi.org/10.4018/978-1-7998-2433-6.ch016.

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Large-scale immersion domes are specialized embodiments of spatial augmented reality allowing large groups to be immersed in real-time animated or cinematic virtual worlds with strong sense-of-presence. Also called fulldome theaters, these spaces currently serve as giant screen cinemas, planetariums, themed entertainment attractions, and immersive classrooms. This chapter presents case studies for emerging applications of digital domes, reviews dome theater design basics, and suggests that these venues are on track to become mainstream arts and entertainment centers delivering global impact at scale. Standard venue designs will be necessary to realize the full potential of an immersive media arts and entertainment distribution network. This chapter provides rationale for standardization of immersion domes for multi-use events spaces, immersive cinemas, and live performing arts theaters.
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Hanich, Julian. "An Invention with a Future." In The Oxford Handbook of Film Theory, C29—C29.N80. Oxford University Press, 2022. http://dx.doi.org/10.1093/oxfordhb/9780190873929.013.31.

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Abstract Since it is first and foremost the cinema that enables—or at least facilitates—concentrated and focused film experiences, this article makes a strong plea for the ongoing importance of the movie theater as a vital cultural practice and social institution. Although we better engage some films privately and alone at home, we do better to watch other films in the public space of the cinema and in the company of others. The latter is especially the case for challenging modernist art films, slow cinema, avant-garde films, and the like. Among the phenomena that make me think so is “joint deep attention.” Due to its spatial and technological features, the cinema allows us to follow more challenging films with deep attention, in part because of the co-presence of other viewers: Their deep attention can contagiously rub off on ours and help us keep focused. Tentative evidence for the contagious joint-deep-attention effect of the cinema exists in empirical studies dealing with analogous experiences: studying in a library and collectively meditating in a meditation retreat. But apart from the social aspect of the movie theater, three further characteristics of the cinema dispositive contribute, at least implicitly, to the joint-deep-attention effect, characteristics hardly available when we watch a DVD or stream a film at home: its nonmundane space, the impossibility of manipulating the film, and the silence of the auditorium. The chapter revisits—and positively reevaluates—these features as forms of freedom: from the everyday, from having to act, and from noise.
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Akhavan, Niki. "To See and be Seen." In Football in the Middle East, 281–302. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780197659670.003.0012.

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Abstract Given football's popularity, one might expect the Iranian state to embrace football and the opportunities it affords for mobilizing nationalist sentiments and exercising state symbolic power. Yet football has become a site for contestation and not consensus. Iranian football is both a literal and figurative arena for challenging the state's social policies, particularly as they pertain to women. The state's policies on football and football spectatorship--in-person spectatorship or broadcasting--reflect both the inconsistencies of an internally divided power structure and the attempts of that power structure to maintain control on how Iranian sport and society are defined. To show these dynamics at work, this chapter addresses key developments and debates inside Iran around football stadium and broadcasting policies. Using two football-related incidents from 2019 as case studies, the chapter also shows how football in contemporary Iran has become a central site for political action and social change enacted by the state, activists, and ordinary citizens. It concludes that while contemporary Iranian football is a game, political theater, and a powerful opportunity for challenging the state, the state has not relented in its attempts to claim football as a site for asserting state power and state legitimacy.
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Trumper, Camilo D. "Conclusion." In Ephemeral Histories. University of California Press, 2016. http://dx.doi.org/10.1525/california/9780520289901.003.0007.

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The concluding chapter returns to the book’s different subjects, and studies how they took new shape in the early moments of the regime that toppled Allende and inaugurated a military dictatorship that ruled for close to two decades. It then turns to street photography as a case study for transformation and continuity in political practice and visual culture. It shows how photographers responded to political repression by fashioning a visual language that played upon the “objectivity” of the lens and the “transparency” of the image, fashioning an innovative genre of “creative testimony.” Street photographers ultimately turned images into the preeminent medium around which they could organize an active resistance movement. This perspective suggests that citizens responded to political violence by reimagining the tactics of political conflict they had developed in democracy into a rich visual and material culture of political resistance. In the absence of generalized armed conflict, ephemeral acts and visual culture became the most effective form of political engagement and resistance in Chile. They scrawled slogans and images on buildings, distributed leaflets, acted out fleeting forms of furtive political street theater, and crashed empty pots and pans as an ongoing form of aural protest. Developed in democracy but reimagined under dictatorship, these ephemeral practices were essential to the creation of clandestine networks of political association and organization after the coup.
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Trumper, Camilo D. "Epilogue." In Ephemeral Histories. University of California Press, 2016. http://dx.doi.org/10.1525/california/9780520289901.003.0008.

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The concluding chapter returns to the book’s different subjects, and studies how they took new shape in the early moments of the regime that toppled Allende and inaugurated a military dictatorship that ruled for close to two decades. It then turns to street photography as a case study for transformation and continuity in political practice and visual culture. It shows how photographers responded to political repression by fashioning a visual language that played upon the “objectivity” of the lens and the “transparency” of the image, fashioning an innovative genre of “creative testimony.” Street photographers ultimately turned images into the preeminent medium around which they could organize an active resistance movement. This perspective suggests that citizens responded to political violence by reimagining the tactics of political conflict they had developed in democracy into a rich visual and material culture of political resistance. In the absence of generalized armed conflict, ephemeral acts and visual culture became the most effective form of political engagement and resistance in Chile. They scrawled slogans and images on buildings, distributed leaflets, acted out fleeting forms of furtive political street theater, and crashed empty pots and pans as an ongoing form of aural protest. Developed in democracy but reimagined under dictatorship, these ephemeral practices were essential to the creation of clandestine networks of political association and organization after the coup.
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Conference papers on the topic "Theater rehearsals Case studies"

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Chronopoulou, Anna. "Music in the service of the directorial vision: The case study of the theatrical performance of Acharnians in 1976 by the Greek Art Theatre (Theatro Technis)." In 8th International e-Conference on Studies in Humanities and Social Sciences. Center for Open Access in Science, Belgrade, 2022. http://dx.doi.org/10.32591/coas.e-conf.08.03033c.

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Someone could claim that a well prepared, contemporary theatrical production consists of a thorough planning, a period of rehearsals and the final presentation of the work before the audience. Whether we talk about a collective theatrical organization or a hierarchical one, we should agree upon the fact that the directorial vision could be considered as the motivating gear of a theatrical performance. It is the director’s or the team’s directorial vision – in the cases of alternative, collective theatrical productions – which guides those who participate in a theatrical performance and, therefore, it is commonly accepted by actors and actresses that one should follow instructions, find his path and “build” his role as part of a team which serves a certain objective. Because of the diversity and complexity of modern productions as well as the increasing need for high quality, original performances – in terms of mise-en-scène, acting, stage and costume design, lightning and music – certain professional collaborates are called to participate in the stage of the preparation and contribute to the final aesthetics of a production. In the case of preparing the theatrical performance of an ancient Greek Comedy, the musician plays a significant role, as the choruses of ancient comedy are an integral part of this genre. The performance of the ancient Greek Comedy Acharnes in 1976 by the theatrical group of Greek Art Theatre (Theatro Technis), under the directorial guidance of Karolos Koun and the music which Christos Leontis composed for its needs, is a case study for the current thesis, the analysis of which intends to reveal the way the composer collaborated with the director and the members of the theatre company. The play, written by Aristophanes, was first taught and presented to the ancient Athenian audience in 425 B.C. The choral parts, accompanied by music and sang by the members of the chorus, have since antiquity been considered to be of significant importance for this ancient theatrical genre. It is, therefore, quite intriguing to thoroughly and methodologically examine the way the music composed for the needs of a specific performance contributed to the overall outgrowth of a contemporary attempt to present the ideas and the beliefs of an ancient Greek poet to the modern Greek theatrical audience. Did the composer follow the instructions of the director? Did he serve the directorial vision? Did he interact with the director and the members of the Greek Art Theatre? In what ways and up to what extent was music co-responsible for the commonly accepted success of this particular performance? It will be attempted to answer the above questions with the help of the composer’s personal testimony, his kind contribution of archival material from his personal files, accompanied by the simultaneous, cross-examined analysis of the performance which was filmed in 1976.
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