Relevant bibliographies by topics / Theatre and Media Studies

Academic literature on the topic 'Theatre and Media Studies'

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Published: 10 December 2022
Last updated: 28 January 2023

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Journal articles on the topic "Theatre and Media Studies"

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Brilli, Stefano, and Laura Gemini. "Trailers as mediatized performances: Investigating the use of promotional videos among Italian contemporary theatre artists." Journal of Italian Cinema & Media Studies 10, no. 1 (January 1, 2022): 77–95. http://dx.doi.org/10.1386/jicms_00103_1.

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In the theatre sector, many companies, festivals and theatres have integrated promotional videos into their communication strategies. This recent development is undoubtedly due to the rise of social media and the increasing accessibility of video technologies, but also to the need for theatre companies to publicize their work in a media that combines creative autonomy with economic efficiency. Despite this widespread use, trailers in the performing arts have received little attention in academic literature. This article offers the first, exploratory study on the use of promotional videos in the field of contemporary theatre in Italy and on the connections between the current creation of digital promotional clips and the heritage of the Italian video-theatre. Through in-depth interviews with sixteen of the leading Italian companies, this research aims to bring out the role theatre trailers play for performance artists.
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Pavis, Patrice. "Theatre Studies and Interdisciplinarity." Theatre Research International 26, no. 2 (June 14, 2001): 153–63. http://dx.doi.org/10.1017/s0307883301000165.

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Two broad areas within Theatre Studies have been characterized as interdisciplinary. The first concerns approaches inspired by the human and social sciences, and, more recently, cultural studies. The second concerns artistic practices that may be described as interartistic, intermedial (since they involve different media and, thus, different technological developments), and intercultual. It is argued that the epistemological paradigm for theatre studies has changed over the last thirty years, and can be broken down roughly according to decades, each defined by its particular contribution to the interdisciplinary thrust of theatre studies. Most current theoretical debates no longer deal with epistemology or methodology, but almost exclusively with the extension of the field of performance. It is suggested that the theoretical and practical worlds must be connected more closely, ‘actor’ and ‘text’ here serving as examples.
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Łuksza, Agata. "‘Orgies of the upper gallery’: Preliminary reflections on nineteenth-century theatre fans." Journal of Fandom Studies 6, no. 3 (September 1, 2018): 263–78. http://dx.doi.org/10.1386/jfs.6.3.263_1.

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Since the very beginning, fan studies have challenged common assumptions about media fans, gradually opening the research field onto different aspects and dimensions of fan culture. So far, however, little has been done regarding both fandom history and theatre fandoms, which would significantly enrich the landscape of fan studies. This article assesses the current state of research on historical audiences, and how historical knowledge on theatre audiences and methodologies, developed within these studies, can be further explored from a fan studies perspective. It is an attempt to look at nineteenth-century theatre through the lenses of the most engaged spectators, whom I call simply ‘theatre fans’, and recover their experiences, behaviours and practices. Broadly speaking, this article seeks to discuss the challenges and opportunities of fan history research by investigating some examples of historical fan practices in Warsaw Theatres and focusing on the early case of ‘fandom war’ between the czakiści and wisnowczycy, as the groups of fans of two actresses – Jadwiga Czaki and Maria Wisnowska – identified themselves. The aim is to re-evaluate fan practices and media engagements in the nineteenth century to recover the then emerging matrix of meanings essential to the understanding of fandom.
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Boenisch, Peter M. "coMEDIA electrONica: Performing Intermediality in Contemporary Theatre." Theatre Research International 28, no. 1 (February 17, 2003): 34–45. http://dx.doi.org/10.1017/s0307883303000130.

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Although the concept of ‘intermediality’ recently has gained prominence within the discourse of Theatre Studies, still various contradictory definitions of that term circulate, none of which applies insight from the field of Media Theory to theatre. Rather than clinging to the banal formula ‘theatre + media = intermedial theatre’ and thus perpetuating the idea of medial specificity, an approach to intermediality informed by Media Theory stresses underlying strategies of processing all kinds of information, including the aesthetic, within a certain period. Consequently, theatre's genuine ‘mediality’ already implies its ‘intermediality’, which in fact can be traced back all the way to classical Greek drama. Within the present transformation from McLuhan's ‘Gutenberg Galaxy’ into an ‘electrONic culture’, theatre now trains its spectators in cognitive strategies of that emerging cultural paradigm. The performance Circulation Module by the Japanese group NEST reflects these significant repercussions of electrONic culture on theatrical performance at the turn of the twenty-first century.
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Harun, Afrizal, Kurniasih Zaitun, and Susandro Susandro. "Postdramatik: Dramaturgi Teater Indonesia Kontemporer." Dance and Theatre Review 4, no. 2 (January 11, 2022): 57–69. http://dx.doi.org/10.24821/dtr.v4i2.6450.

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Postdramatic: The Dramaturgy of Contemporary Indonesian Theater. The research attempts to explain a new possibility in theatre practice in Indonesia, which was initially formed through the power of words in the form of dialogue depicted in drama scripts. Since then, there was another tendency which was a matter of fact, in the early 1920s, for which Antonin Artaud initiated. Various terms have been used to describe new trends in the dramaturgy of Indonesian theatre since the 1970s up to now, such as cutting-edge theatre, avant-garde theatre, experimental theatre, body theatre, visual/visual theatre, postmodern theatre, contemporary theatre, and so on. Therefore, the appearing terms show doubts in determining the identity of the currently developing Indonesian theatre. This study aims to explain the potential for postdramatic theatre works that have been performed by Indonesian theatre directors, such as WS Rendra, Putu Wijaya, Boedi S. Otong, Dindon WS, Rahman Sabur, Yudi A Tajudin, including Yusril with a Postdramatic theatre approach. This research method is dominated by literature studies that take references such as books, journal-based articles, and online and printed media. The results of the study indicate that postdramatic dramaturgy in the practice of theatre in Indonesia is necessary from the spirit of the times that formed it, including the possibility of creating a new form of post-dramatic theatre developing in the current era of the Covid-19 pandemic.Keywords: postdramatic; dramaturgy; theatre; Indonesia; contemporary
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Speckenbach, Jan, and Thomas Irmer. "In Interview: On the Development of Video in the Theatre." New Theatre Quarterly 38, no. 3 (July 19, 2022): 234–41. http://dx.doi.org/10.1017/s0266464x22000161.

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German film artist Jan Speckenbach ingeniously contributed to the development of live video on the stage, and this discussion focuses on his education, as well his as experimental collaborations with director Frank Castorf at the Volksbühne Berlin, starting in 2000. Speckenbach’s background in film and media studies facilitated his explorations of uncharted territory in the theatre, going from a set of fixed cameras on the stage to the use of a camera crew with live-editing for augmented images as part of the whole directing concept and process. His first-hand insights into how actors have interacted with this new technology and how filmmaking can be an integral part of the theatre indicate clearly that filmmaking has played an invaluable role in recent theatre history. Speckenbach here also speaks of his collaborations with other directors, notably Sebastian Hartmann and René Pollesch, and about the future perspectives of this technology, which has changed the theatre altogether.Jan Speckenbach studied art history, philosophy, and media in Karlsruhe, Munich, and Paris during the 1990s. At the beginning of the new millennium he participated in the development of video theatre with Frank Castorf and, now a successful filmmaker, he also continues to work in the theatre. His short film Gestern in Eden [Yesterday in Eden] premiered at Cannes in 2008, while the full-length feature film Die Vermissten [The Missing] was shown at the 2012 Berlinale and Freiheit [Freedom] at the 2017 film competition at Locarno. In 2020 he directed the live-stream of Der Zauberberg [The Magic Mountain, after Thomas Mann’s novel] at the Deutsches Theater in Berlin (premiered online in November 2019), which was subsequently invited to the Berlin Theatertreffen. Thomas Irmer is the editor-in-chief of the Berlin-based monthly Theater der Zeit. He has co-edited two books on the work of Frank Castorf – Zehn Jahre Volksbühne Intendanz Frank Castorf (2003) and Castorf (2016). During the last forty years he has authored, among other significant writings, numerous analytical articles and interviews on Castorf’s creative output.
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Mpofu, Mandlenkosi, and Cletus Moyo. "Theatre as alternative media in Zimbabwe: Selected case studies from Matabeleland." Journal of African Media Studies 9, no. 3 (September 1, 2017): 507–20. http://dx.doi.org/10.1386/jams.9.3.507_1.

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Mirecka, Agata. "Polski krytyk teatralny Andrzej Wirth – mistrz przemieszczania się i jego rola w kształtowaniu nowego oblicza teatru w Niemczech." Annales Universitatis Paedagogicae Cracoviensis | Studia Historicolitteraria 22 (December 31, 2022): 173–84. http://dx.doi.org/10.24917/20811853.22.10.

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Andrzej Wirth, a 20th century Polish essayist, philosopher and theatre critic, is one of the often forgotten theatre and drama scholars in Poland, perhaps due to his long life in exile. A recognized expert in theatre studies and philosophy, he has lectured at many universities around the world, especially in the United States and Europe. He gained particular recognition as the founder and director of the Institute for Applied Theatre Studies at the University of Giessen in Germany. The aim of this article is to introduce Wirth’s personality, outline his life between cultures and highlight his importance for the development of theatre studies in Germany, as well as his great contribution to the promotion of Polish literature in Germany in the mid-20th century. Andrzej Wirth’s life was beyond borders and divisions, although with a particular attachment to the culture of his homeland and Germany; he was rooted in childhood memories and a desire for theatre as a liberated art in an age of evolving media technologies.
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Xu, Sicheng, and Gedong Zhang. "Integrated Application of AR Technology Development and Drama Stage Design." Mobile Information Systems 2022 (September 24, 2022): 1–8. http://dx.doi.org/10.1155/2022/5179451.

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With the continuous development of science and technology in China, more and more high-tech tools are appearing in our lives, one of which is AR technology. Augmented reality is now widely used in gaming, e-commerce shopping, and interior design. With the development of digital media technology, contemporary theatre design often incorporates new technologies, one of which is augmented reality, which uses Internet of Things (IoT) technology to build different devices onstage, allowing images from computers to be shown virtually on stage. Augmented reality technology can enhance the appeal of theatre and create a new theatre atmosphere for the audience. At the same time, the deep involvement in the narrative is conducive to the creative transformation and innovative development of the art of theatre in the new media era. The following question is how to make AR technology more suitable to enter the theatre without dramatically affecting the core content of the play. This study will elaborate on the media characteristics and interactive relationship of AR technology and analyse and demonstrate the expansion space brought by augmented reality technology to theatre art by some case studies. In addition, it also attempts to put forward some ideas and suggestions on design aspects such as presentation, communication, and styling and to study the pros and cons of the new technology on theatre stage design so as to make a judgement on the future prospects of AR technology in a wide range of entertainment applications.
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Yu, Eun Hye, and Jeongbae Park. "A Study on the Audience Perception of Liveness and Viewing Immersion in the performing arts video." Global Knowledge and Convergence Association 5, no. 2 (December 31, 2022): 85–107. http://dx.doi.org/10.47636/gkca.2022.5.2.85.

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This study examined the liveness of the digital theatre in the academic world by applying qualitative analysis techniques, focusing on the effect on the audience's viewing immersion based on previous studies. The conclusions are following: First, viewing immersion was analyzed from the general characteristics of the respondents. In addition, the research questions were derived by analyzing the qualitative contents of the relationship between the digital theatre and the liveness variable. It was confirmed that there is a certain relationship between liveness of the digital theatre and viewing immersion by analyzing watching experiences of the digital theatre in research question 1.2.3, the influencing relationship between liveness and audience's perception in research question 4.5, and the future assignments associated with viewing immersion in research question 6.7.8.9.10. For the future development of the performing arts industry, the following is suggested from the implications of the study. First, the paradigm of the performing arts industry is changing under the technological progress and the digital revolution made up of the development of technology. Audiences are no longer watching at the theater or concert hall only, but they are using various media such as smartphones, computers, TVs, movie theaters, and VR devices everywhere. Therefore, the communication method and interaction with the audiences in the digital era should be different from the previous performing arts. Next, the digital theatre that occurred in a pandemic situation is not a complete substitute for the existing on-site theatre, but a diversified into a new type of performing arts industry, which suggests setting up countermeasures. There are several limitations indicated in this study, therefore follow-up studies are needed. The reasons are not only that it has a limitation of generalization by setting respondents’ pool for in-depth interviewing in order to make a qualitative analysis but also that it was not able to be more intensive discussion due to the lack of previous studies directly related to the digital theatre·liveness·viewing immersion. In particular, there are limitations that there was not specific statistics or data set suggested which is able to indicate the difference between the audiences of a face-to-face performance (i.e., offline theatre) and the audiences of a non-face-to-faceperformance (i.e., online theatre).
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Dissertations / Theses on the topic "Theatre and Media Studies"

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Lay, Ruth Ann. "The Memory and the Legacy: The Whittlin' Whistlin' Brigade -- The Young Company 1974-2001." BYU ScholarsArchive, 2002. https://scholarsarchive.byu.edu/etd/2838.

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The Memory and The Legacy: The Whittlin' Whistlin' Brigade - The Young Company 1974-2001, is a history of the children's theatre of Brigham Young University. The Whittlin' Whistlin' Brigade - The Young Company acts as a training ground for graduate students working in theatre for young audiences. Then directing a production for The Whittlin' Whistlin' Brigade - The Young Company, students are instructed to perform all functions required of a professional company. As the The Whittlin' Whistlin' Brigade - The Young Company (WWB-TYC) spends much of its performance time on tour, those responsibilities are relegated to the students. Developed and headed by Dr. Harold R. Oaks of Brigham Young University, WWB-TYC produced children's theatre for local, regional, national and international audiences. The history includes production photos, budgets and business plans. A survey of former company members was conducted assessing the long-term affect on participants in relationship to their personal and professional life. This thesis is also in electronic form using animation, musical and narrative audio, an interactive menu and a photo-gallery. Text is available in HTML and PDF format with 'print' capability. A tutorial is included to aid in possible navigational concerns. Working within an electronic medium has facilitated the accessibility of a considerable collection of material highly diverse in nature. Twenty-seven years of production notes, performance programs, production photos, music, scripts, budgets, permissions, required licensing, travel arrangements and itineraries, performance schedules, educational/clientele data and historical developmental notes of the children's theater program itself presented not only volumes of material but also brought specific inclusion needs. In addition, the results of a program survey of the program will be presented in graph and chart format. Determined needs include: 1. A history of children's theater both nationally and at Brigham Young University. 2. Supporting documentation of program development and implementation. 3. Survey results of WWB-TYC participants.
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Lauritzen, Chareen Hardy. "The Roberta Jones Junior Theatre : a model children's theatre /." Diss., CLICK HERE for online access, 2009. http://contentdm.lib.byu.edu/ETD/image/etd2882.pdf.

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Fernández-Vara, Clara. "Orson Welles' intermedial versions of Shakespeare in theatre, radio and film." Thesis, Massachusetts Institute of Technology, 2004. http://hdl.handle.net/1721.1/44294.

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Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Comparative Media Studies, 2004.
Includes bibliographical references (p. 153-156). Filmography: p. 157.
In addition to being a keyfigure in the history of filmmaking, Orson Welles was an original theatre director and radio performer and producer. The aim of this thesis is to study Welles' achievements and failures in theatre, radio and film, as well as comparing his craft and techniques in each medium during his early career. Welles' adaptations of Shakespeare will provide the guiding thread of this intermedial exploration. Close reading of these texts will show the recurrence of intermediality in Welles' work, namely, the way techniques from one medium feed into the other two. Borrowing conventions and devices that are proper to other media and importing them into a target medium is his basic innovative strategy. This use of intermediality brings about innovative effects that favour agile and gripping storytelling, though it can also hamper the understanding of the piece.
by Clara Fernández-Vara.
S.M.
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Briggs, Terese C. "What You Will: An Endeavor in Adapting Shakespeare to New Media." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/778.

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These scripts are the attempt to take three of Shakespeare's plays, Coriolanus, All's Well that Ends Well, and Much Ado About Nothing, and adapt them to create a type of video game called a visual novel.
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Silva, Deleah Vaye Emery Waters. "Nothing To Be Done: The Active Function of Samuel Beckett's Text." BYU ScholarsArchive, 2012. https://scholarsarchive.byu.edu/etd/3261.

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Fintan O'Toole states: "Plays survive not by being carefully preserved, not by being exhibited from time to time in theatrical museums, but by being tried and tested, taken apart and reassembled" (Game Without End).One of the great misconceptions and critiques of Samuel Beckett is of his presumed unrelenting control over his works. Artists, hoping to creatively collaborate with Beckett as they move his texts to performance, feel limited by his strict enforcement of that which he has written in his texts. Traditional relationships and functions allow directors to interpret an author's text. Not so with Beckett. Beckett demands that directors follow his authorial intentions as stated by his 'direct expression,' the indissoluble link between form (the text's physical nature) and content (the ideas expressed) within his texts. Beckett's control of his 'direct expression' is not a method of forcing meanings and interpretations upon his collaborators and his audience members. Rather, his purpose in protecting his 'direct expression' throughout the production process is to ensure the text's 'lack' of meaning and to preserve its ambiguities in performance. In this thesis I will analyze and argue that by preserving this 'direct expression' in Beckett's texts, the active relationships between author and reader (audience members) will be preserved throughout the production process and ultimately in the performance. Through this relationship, the viewer of the performance has the opportunity to become what Jacques Ranciere refers to as a more "active participant," composing their own poem with elements of the poem before them (Ranciere 13).
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Hidaka, Maho. "An exploration of doubleness through Kieslowski's films and my theatre practice." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2001. https://ro.ecu.edu.au/theses/1017.

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This thesis explores the theme of doubleness in the fields of film and theatre. I would like to use the word, “doubleness,” to refer to the wide range of states which contain any dual or overlapping aspects, beyond the normal association of the word, “double,” as meaning, “a person who looks exactly like another.” I also use the word, “doubling,” when I would like to emphasise the act of repeating or overlapping states. I will examine the doubleness not only within or in between characters but also within relationships between the created film world and the real world in which the creators have produced the film reality. The thesis consists of two parts. Part I deals with films by a Polish film director, Krzysztof Kieslowski, in three chapters. Kieslowski is a Polish film director who was born in 1942 and died in 1996. He started his career as a documentary filmmaker and shifted to become a feature film director, which has earned him a great international acclaim. The first chapter will examine the issue of doubleness in The Double Life of Veronlque, focusing on the doubled relation between Weronika and Veronique as well as on Veronique's boyfriend, Alexandre's interaction within this doubled relationship. The significance of Alexandre's occupation as a puppeteer is considered as part of the argument. The doubleness found in the process of the production is also discussed. The second chapter will be divided into three sections in order to discuss different types of doubleness in the three works that constitute a trilogy, Three Colours: Blue, White, Red. The final chapter of Part I will consider the doubling between the creators and the created of these films, focusing on some of the film characters who are seen as doubles of the director and the musical director. His earlier works will also be discussed when relevant throughout these three chapters... Part II introduces my own theatre creations and includes some comparisons with Kieslowski’s films. My theatrical work created during the course mainly concerns the scriptwriting and staging of Cui de Sac and Requiem. Cui de Sac was written and staged and deals with the main characters self-discovery through encounters with her doubles in dream. Requiem was produced in the following year and features an integration of classical piano performance as part of a theatrical piece. Here the central issue is the double personality of her dead twin sister inside her mind. The whole thesis deals with the issue of doubleness in order to explore the significance of understanding this subject for a richer comprehension of films and theatre works; for a better understanding of one's own identity; and for acknowledging the connections between people beyond time and space through this mysterious mediation of doubles.
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Read-Fisher, Kathryn. "One Size Fits No One: The Dramatic Truth About Size Discrimination in the Performing Arts." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/scripps_theses/1023.

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American theatre and media contribute to the violent systems of thinking around size and weight and its correlation to health. The argument that correlates higher body mass to lower overall health has been continuously disproved, and yet is still used as a tool to shame and justify sizeism. Educating the general public about health and size can assist in creating new models of representation and bodies can start to reclaim the space they deserve to take up, moving beyond the societal shame they currently face. In this thesis, sizeism is explored and unpacked through careful analysis of contemporary plays, television shows, and movies.
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Haas, Tara Nicole. "Critiquing the Critic: A Case for Journalistic Criticism in the Theatre." BYU ScholarsArchive, 2015. https://scholarsarchive.byu.edu/etd/5512.

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This thesis suggests that journalistic theatre criticism is a necessary and vital aspect of the theatre, promoting a healthy theatre community and culture. A healthy theatre community is supported by critics and artists alike, and is one where citizens are excited about the theatre, desiring to participate and engage with it often. It is one where artists and spectators listen, respect, and trust one another, being open to opinions and suggestions that may enhance and improve the theatre community. A healthy theatre community strives to provide theatre that may be multi-faceted in purpose, but allows for opportunities to challenge, uncover, teach, or simply entertain to become magnified, creating transformative experiences within the viewers. In the most utopic state, healthy theatre causes epiphanies that provide glimpses of a better world, one where individuals and societies may know peace. These interactions, with the magic that theatre can bring, may benefit communities on a level ultimately akin to changing the world. Journalistic criticism supports such healthy theatre by increasing interest and viewership, contributing to the theatre's growth, and recognizing ways in which it can utilize its deepest potential. In this thesis, I have performed qualitative and action research in order to evaluate myself as a critic. The thesis also explores how criticism functions in our society and, further, how it should function. I have analyzed various theatrical reviews I have written, and placed them into three sections, each representing a distinct element of theatre criticism. These elements comprise the most fundamental and vital functions of a review that leads to a healthy and improved theatre community. These sections are: “Increasing Promotion,” “Honest and Specific Feedback,” and “Emphasizing Social Justice.” Grouping the reviews into these sections, I will identify how I have contributed to the field of theatre criticism, and to these three realms in particular. I will also be able to recognize and indicate how I can progress as a critic to help support the field of journalistic theatre criticism. This thesis is very insular, personal, and beholden to me, presenting distinct limitations. The value of this work lies primarily in giving aspiring critics the opportunity to learn from my experiences and insights. Above all, this thesis holds value because of the improved critic I have become from completing it, ultimately able to better serve people in my writing for years to come.
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Saxton, Brian N. "The Media Production Experience: a Phenomenological Study of Student Media Production in a Secondary Education Environment." BYU ScholarsArchive, 2007. https://scholarsarchive.byu.edu/etd/1014.

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Many media education researchers have pointed out the benefits of incorporating a production element into a media literacy program. In fact, the simple use of the word “literacy" alludes to both critical analysis of (“reading") media and creative expression through (“writing") media. However, many of those same researchers have found that there are serious difficulties with student media production from a practical standpoint. The lack of equipment, the lack of class time, poor educator training, and the possibility that students may produce school-inappropriate or offensive texts create doubts about whether or not the effort is worth the reward. This qualitative, phenomenological study seeks to provide an answer to those doubts from the standpoint of secondary education (high school) students who participated in a short film production project. The students were surveyed, interviewed, observed, and asked to keep journals about their experiences. That experiential data was then analyzed for significant themes or patterns that could illuminate the essence of the students' experiences. The relative value and the difficulties of the project from the perspective of the students are then evaluated.
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Gunoe, Andrea M. "The Physical Theatre of War: Language, Memory, and Gender in Black Watch and War Horse." BYU ScholarsArchive, 2013. https://scholarsarchive.byu.edu/etd/3725.

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The public's perception of war is influenced by every media story they see, every account they read, and every story they hear. News telecasts and newspapers tend to lean towards a focus of the grand narratives of war such as political involvement and overarching strategy. Media such as books and film can tell a more personal narrative of the events of war and attempt to display how war "really is" through the use of written and visual language that focuses more on how things happened as opposed to simply what happened. Theatre provides a unique perspective on war as the audience and performers are in a shared space with performed events of war that are live and embodied by individual performers. Theatre's unique attributes focus the audience towards a perception of the individual and his/her experience in war through the embodiment that is happening right in front of the audience. Physically based theatre narrows that existing theatrical focus to the body specifically in a way that makes the individual physical experience of the soldier the primary narrative. The politics and strategies of war will always be a secondary focus to the human body in the theatrical context. In this thesis, I examine two productions that come out of the United Kingdom in 2007: The National Theatre of England's War Horse and The National Theatre of Scotland's Black Watch. Through a close reading of these two productions I demonstrate physical-theatre's ability to highlight the human experience and importance in war as it focuses on the individual body and its relationships with other individuals. As these works are accessed through an examination of the visual and stylized language of physical theatre, the creation and recollection of memory in war stories, and the significance of gender in war, the humanizing representations imbedded in physical-theatre become evident. This thesis comes as the United States and the United Kingdom are involved in conflicts across the globe; some in continuation of the same conflicts that existed at the time these two productions were produced. Soldiers have continued to face astonishing hardships in these endeavors. By highlighting the individual experience and human involvement in war, theatre going public perception can be drawn towards an awareness of the individuals who go to war and away from alienating images of and idealized soldier figures fighting for an overarching political cause.
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Books on the topic "Theatre and Media Studies"

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Stefan, Bläske, Kirchmann Kay, Ruchatz Jens, Schoenmakers Henri, Bläske Stefan, Kirchmann Kay, and Ruchatz Jens, eds. Theater und Medien / Theatre and the Media: Grundlagen - Analysen - Perspektiven. Eine Bestandsaufnahme. Bielefeld: transcript Verlag, 2008.

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Wagner, Meike. Nähte am Puppenkörper: Der mediale Blick und die Körperentwürfe des Theaters. Bielefeld: transcript Verlag, 2003.

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Bory, Paolo. The Internet Myth: From the Internet Imaginary to Network Ideologies. London: University of Westminster Press, 2020.

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1945-, Winn Conrad, ed. The theater of terror: Mass media and international terrorism. New York: Longman, 1994.

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European, Conference on Modern South Asian Studies (11th 1990 Amsterdam Netherlands). Literature, language, and the media in India: Proceedings of the 11th European Conference on South Asian Studies, Amsterdam, 1990, Panel 13. New Delhi: Manohar Publications, 1992.

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Die deutschen Kanzler im Fernsehen: Theatrale Darstellungsstrategien von Politikern im Schlüsselmedium der Nachkriegsgeschichte. Bielefeld: Transcript, 2009.

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Mapping intermediality in performance. Amsterdam: Amsterdam University Press, 2010.

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Pickering, Kenneth, and Mark Woolgar. Theatre Studies. London: Macmillan Education UK, 2009. http://dx.doi.org/10.1007/978-1-349-92330-4.

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Mark, Woolgar, ed. Theatre studies. Houndmills: Palgrave Macmillan, 2009.

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Lonergan, Patrick. Theatre & Social Media. London: Macmillan Education UK, 2016. http://dx.doi.org/10.1007/978-1-137-46371-5.

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Book chapters on the topic "Theatre and Media Studies"

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Hills, Matt. "Implicit Fandom in the Fields of Theatre, Art, and Literature." In A Companion to Media Fandom and Fan Studies, 477–94. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2018. http://dx.doi.org/10.1002/9781119237211.ch30.

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Gruber, Klemens, and David Martín-Krems. "The Intermedial Image Archive of the Department of Theatre, Film and Media Studies (TFM)." In Academic Showcases, 167–68. Wien: Böhlau Verlag, 2015. http://dx.doi.org/10.7767/9783205201519-048.

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Noble, Katie. "The Medea Network: Adapting Medea in Eighteenth-Century Theatre and Visual Culture." In Palgrave Studies in Adaptation and Visual Culture, 155–81. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-09596-2_8.

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Rocker, Kailey, and Jonathan Eaton. "Acting Out the Future of the Albanian National Theatre: New Heritage at the Intersection of Resistance and New Media." In Palgrave Studies in Cultural Heritage and Conflict, 41–69. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-77708-1_3.

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Pavis, Patrice. "Postdramatic Theatre." In Performance Studies, 258–72. London: Macmillan Education UK, 2014. http://dx.doi.org/10.1007/978-1-137-46315-9_30.

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Pickering, Kenneth, and Mark Woolgar. "Introduction." In Theatre Studies, 1–2. London: Macmillan Education UK, 2009. http://dx.doi.org/10.1007/978-1-349-92330-4_1.

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Pickering, Kenneth, and Mark Woolgar. "Audiences and Spectators." In Theatre Studies, 152–73. London: Macmillan Education UK, 2009. http://dx.doi.org/10.1007/978-1-349-92330-4_10.

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Pickering, Kenneth, and Mark Woolgar. "The Study of Theatre." In Theatre Studies, 174–87. London: Macmillan Education UK, 2009. http://dx.doi.org/10.1007/978-1-349-92330-4_11.

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Pickering, Kenneth, and Mark Woolgar. "Initial Explorations." In Theatre Studies, 3–19. London: Macmillan Education UK, 2009. http://dx.doi.org/10.1007/978-1-349-92330-4_2.

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Pickering, Kenneth, and Mark Woolgar. "Exploring Theatre Spaces." In Theatre Studies, 20–35. London: Macmillan Education UK, 2009. http://dx.doi.org/10.1007/978-1-349-92330-4_3.

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Conference papers on the topic "Theatre and Media Studies"

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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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"Defining Verbatim Theatre as a Form of Documentary Theatre." In International Visible Conference on Educational Studies and Applied Linguistics. Tishk International University, 2021. http://dx.doi.org/10.23918/vesal2021v12.

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Roihankorpi, Riku. "Session details: Theatre, performance and media." In AcademicMindtrek'16: Academic Mindtrek Conference 2016. New York, NY, USA: ACM, 2016. http://dx.doi.org/10.1145/3248652.

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Khaustova, Dariya. "THEATRE AND MASS MEDIA: NOW AND THEN." In 5th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS SGEM2018. STEF92 Technology, 2018. http://dx.doi.org/10.5593/sgemsocial2018/6.2/s27.075.

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Pape, Dave, Sarah Bay-Cheng, Josephine Anstey, and Dave Mauzy. "WoyUbu: Experiments with video-gaming in live theatre." In 2015 IEEE Games Entertainment Media Conference (GEM). IEEE, 2015. http://dx.doi.org/10.1109/gem.2015.7377241.

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Kuksa, Iryna. "Three dimensional knowledge visualization in the theatre studies classroom." In the 3rd international conference. New York, New York, USA: ACM Press, 2008. http://dx.doi.org/10.1145/1413634.1413651.

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Ribeiro, Pedro, Anna Michel, Ido Iurgel, Christian Ressel, Cristina Sylla, and Wolfgang Müller. "Empowering children to author digital media effects for reader's theatre." In IDC '18: Interaction Design and Children. New York, NY, USA: ACM, 2018. http://dx.doi.org/10.1145/3202185.3210793.

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Vishnyakova, Elizaveta, Olga Vishnyakova, Alla Minyar-Beloroucheva, and Polina Sergienko. "L2 teaching to PR undergraduates through theatre techniques elements." 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.06.01001v.

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Modern methods of L2 teaching aimed at improving its efficiency to overcome language barriers require the construction of the learning climate for undergraduates to develop professional skillsand competencies essential for their academic communication with ease and pleasure. The purpose of this article is to demonstrate one of the ways of achieving educational goals by creating positive emotions that PR undergraduates experience during L2 classwork through the introduction of the elements of theatrical techniques, which can help educators perform the tasks required to instill creativity. Effective L2 acquisition by PR undergraduates is allegedly best achieved through neutral emotions. Expressive and emotional actions in class create theatre-like atmosphere that disseminates positive emotions fostering education. The research has demonstrated the necessity to introduce theatre techniques elements into L2 teaching to PR undergraduates.
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Vishnyakova, Elizaveta, Olga Vishnyakova, Alla Minyar-Beloroucheva, and Polina Sergienko. "L2 teaching to PR undergraduates through theatre techniques elements." 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.06.01001v.

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Modern methods of L2 teaching aimed at improving its efficiency to overcome language barriers require the construction of the learning climate for undergraduates to develop professional skillsand competencies essential for their academic communication with ease and pleasure. The purpose of this article is to demonstrate one of the ways of achieving educational goals by creating positive emotions that PR undergraduates experience during L2 classwork through the introduction of the elements of theatrical techniques, which can help educators perform the tasks required to instill creativity. Effective L2 acquisition by PR undergraduates is allegedly best achieved through neutral emotions. Expressive and emotional actions in class create theatre-like atmosphere that disseminates positive emotions fostering education. The research has demonstrated the necessity to introduce theatre techniques elements into L2 teaching to PR undergraduates.
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Reports on the topic "Theatre and Media Studies"

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Alfieri, Paul, Gary Bender, Gregg Clark, John W. Coleman II, and Christos Dellas. 2002 Industry Studies: News Media. Fort Belvoir, VA: Defense Technical Information Center, January 2002. http://dx.doi.org/10.21236/ada425304.

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Silin, Dmitriy. Digital Rock Studies of Tight Porous Media. Office of Scientific and Technical Information (OSTI), August 2012. http://dx.doi.org/10.2172/1174160.

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Duxbury, P. M. Theoretical studies of breakdown in random media. Office of Scientific and Technical Information (OSTI), January 1993. http://dx.doi.org/10.2172/6277388.

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Chandler, D. Theoretical studies of electron transfer in complex media. Office of Scientific and Technical Information (OSTI), August 1991. http://dx.doi.org/10.2172/6256870.

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Homsy, George M. Fundamental Studies of Fluid Mechanics: Stability in Porous Media. Office of Scientific and Technical Information (OSTI), February 2014. http://dx.doi.org/10.2172/1120125.

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George M. Homsy. Fundamental Studies of Fluid Mechanics: Stability in Porous Media. Office of Scientific and Technical Information (OSTI), April 2005. http://dx.doi.org/10.2172/839241.

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Homsy, G. M. Fundamental Studies of Fluid Mechanics: Stability in Porous Media. Office of Scientific and Technical Information (OSTI), September 2003. http://dx.doi.org/10.2172/839277.

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Chandler, D. Theoretical studies of electron transfer in complex media. Progress report. Office of Scientific and Technical Information (OSTI), August 1991. http://dx.doi.org/10.2172/10102289.

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Christodoulides, Demetrios N. Theoretical Studies of Self-Trapped Optical Beams in Photorefractive Media. Fort Belvoir, VA: Defense Technical Information Center, May 2002. http://dx.doi.org/10.21236/ada402725.

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Homsy, G. M. Fundamental studies of fluid mechanics and stability in porous media. Office of Scientific and Technical Information (OSTI), August 1991. http://dx.doi.org/10.2172/6038250.

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