Relevant bibliographies by topics / Theatre arts

Contents

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

Academic literature on the topic 'Theatre arts'

Author: Grafiati
Published: 4 June 2021
Last updated: 20 February 2023

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Journal articles on the topic "Theatre arts"

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Heinrich, Anselm. "Theatre in Britain during the Second World War." New Theatre Quarterly 26, no. 1 (February 2010): 61–70. http://dx.doi.org/10.1017/s0266464x10000060.

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In this article Anselm Heinrich argues for a renewed interest in and critical investigation of theatre in Britain during the Second World War, a period neglected by researchers despite the radical changes in the cultural landscape instigated during the war. Concentrating on CEMA (the Council for Encouragement of Music and the Arts) and the introduction of subsidies, the author discusses and evaluates the importance and effects of state intervention in the arts, with a particular focus on the demands put on theatre and its role in society in relation to propaganda, nation-building, and education. Anselm Heinrich is Lecturer in Theatre Studies at the University of Glasgow. He is the author of Entertainment, Education, Propaganda: Regional Theatres in Germany and Britain between 1918 and 1945 (2007), and with Kate Newey and Jeffrey Richards has co-edited a collection of essays on Ruskin, the Theatre, and Victorian Visual Culture (2009). Other research interests include émigrés from Nazi-occupied Europe, contemporary German theatre and drama, and national theatres.
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Kauffmann, Stanley. "Broadway and the Necessity for ‘Bad Theatre’." New Theatre Quarterly 1, no. 4 (November 1985): 359–63. http://dx.doi.org/10.1017/s0266464x00001779.

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Is Broadway necessary? As the focus for new writing and major experimental work in the USA shifts ever further from the old theatre district around Times Square – first to off- and then to off-off-Broadway, more recently to the flourishing regional theatres – many critics have come to regard Broadway either as an economic anachronism, failing to perpetuate past glories, or simply as an irrelevance to ‘real’ theatre. Yet Stanley Kauffmann argues that a focal point for a nation's theatre is more than the sum of sometimes fraying parts, and works on the imagination in ways that cannot be evaluated by the fragmentary assessment of succeeding productions; and here he analyses the ‘organism’ that Broadway remains, and the function it performs. Stanley Kauffmann has been theatre critic for the New York Times, the New Republic, and the Saturday Review, while the most recent of his full-length works is Theater Criticisms (1984).
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Bell, John. "The Bread and Puppet Theatre in Nicaragua, 1987." New Theatre Quarterly 5, no. 17 (February 1989): 8–22. http://dx.doi.org/10.1017/s0266464x0001530x.

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PETER SCHUMANN's Bread and Puppet Theatre began 25 years ago as a new way of making modern theatre, and as Schumann sees it, still is. As he recently stated, “there are two aspects to this newness: (1) the proposal for a much bigger, wider space for the arts to exist in than the space that the arts occupy now – a way for painting, music, sculpture, and language to exist together and in response to the questions of the time in which they live; and (2) the puppet theatre aspect: puppet theatre not as a special branch of theatre but as a challenge to theatre, as a concrete proposal for the overcoming of its shortcomings – a liberation from that fixed old schmaltz – a proposal for much bigger form, much more compositional freedom and adventure than an actors' theater can ever come up with.”
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van den Berg, Klaus. "The Geometry of Culture: Urban Space and Theatre Buildings in Twentieth-Century Berlin." Theatre Research International 16, no. 1 (1991): 1–17. http://dx.doi.org/10.1017/s0307883300009986.

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In her 1983 book, Semiotik des Theaters, Erika Fischer-Lichte referred to theatre as part of ‘die Geometrie der Kultur’, a network of relationships materialized in space that symbolizes cultural experience. The concept of the geometry of culture may enable us to show how, in an urban space, different strands of human activities find their expression in the outline of urban space. Lewis Mumford demonstrates in The City in History that political programmes, economic interests, and cultural concepts influence the city's organization as well as the functions which individual buildings take in the urban environment. Cultural historians and semioticians such as Mary Henderson, Monika Steinhauser, Michael Hays, and Marvin Carlson have adopted this perspective for their investigations of the history of theatre in various metropolitan areas. For example, Henderson studies the relationship between the theatres and the financial district in New York City; Michael Hays and Monika Steinhauser analyse particular urban monuments, such as the Lincoln Center in New York and the Paris Opera. Marvin Carlson analyses how theatre buildings have been integrated historically as public monuments in various urban settings. Within the context of such studies I will examine the spatial and aesthetic re-alignments that World War II forced upon the integration of theatre buildings in Berlin, taking as case studies four major theatres: the Theater am Schiffbauerdamm, the Deutsches Theater, the Schillertheater and the Volksbühne.
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Ikeda, Satoru, Chiaki Ishiwata, and Motoo Komoda. "Shizuoka Arts Theatre." Journal of the Acoustical Society of America 115, no. 5 (May 2004): 2480. http://dx.doi.org/10.1121/1.4782652.

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Ley, Graham. "Diaspora Space, the Regions, and British Asian Theatre." New Theatre Quarterly 27, no. 3 (August 2011): 215–28. http://dx.doi.org/10.1017/s0266464x11000431.

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In 1996 Graham Ley compiled for NTQ a record of the first twenty years of Tara Arts, the London-based British Asian theatre company. In this essay, he tests the theoretical concept of a third space for diaspora culture against the experience of two leading British Asian theatre companies, and considers the contrasting role of an Asian arts centre. From 2004 to 2009 Graham Ley led an AHRC-funded research project on ‘British Asian Theatre: Documentation and Critical History’, and has co-edited with Sarah Dadswell two books soon to be published by the University of Exeter Press: British South Asian Theatres: a Documented History and Critical Essays on British South Asian Theatre. He has earlier published in NTQ on Australian theatre and enlightenment and contemporary performance theory, and is presently Professor of Drama and Theory at the University of Exeter.
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Brown, John. "Tomorrow's Theatre – and How to Get There from Today's." New Theatre Quarterly 18, no. 4 (November 2002): 334–42. http://dx.doi.org/10.1017/s0266464x02000441.

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Taking a wide-ranging look at the aesthetics and economics of theatre on both sides of the Atlantic, and highlighting the increasing interest in learning about theatre in the educational sphere at a time when institutional theatre appears to be floundering, John Russell Brown here draws on his own visits over the past decade to traditional and contemporary theatres in China, India, Japan, Korea, and Indonesia to suggest how new approaches to and locations for theatre might build on forms which continue to draw audiences worldwide. John Russell Brown founded the Department of Drama and Theatre Arts at Birmingham University, and for fifteen years was an Associate Director of the Royal National Theatre. His New Sites for Shakespeare: Theatre, the Audience, and Asia was published by Routledge in 1999. His articles on Asian theatres and their influence in Europe and America have appeared in recent years in New Theatre Quarterly and several Indian journals. He edited and contributed to The Oxford Illustrated History of Theatre (1995) and has been General Editor of the ‘Theatre Production Studies’ and ‘Theatre Concepts’ series, both for Routledge. This article is based upon his inaugural lecture at Middlesex University, where he is currently Visiting Professor.
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Orel, Barbara. "The World of Odour in the Slovenian Performing Arts." Amfiteater 9, no. 2021-2 (December 5, 2021): 92–98. http://dx.doi.org/10.51937/amfiteater-2021-2/92-98.

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The article provides an overview of performances on Slovenian stages that have used odour to stimulate the audience’s senses and arouse transformational effects. Representing the first research of this kind into Slovenian culture, the author demonstrates that odour was used as a means of sensory perception, especially in experimental theatre practices since the 1970s. One of the first such works was Cimetova vrata ladje norcev in druge spremembe (The Cinnamon Door of the Ship of Fools and Other Changes), a performance art piece directed by Tomaž Kralj at Glej Theatre in 1975. In the 1990s, the interest in olfactory perceptions grew among theatre-makers who successfully used odour to implement the aesthetics of the real in post-dramatic theatre and achieve the immersion of the spectator. This role of odour in theatre also continues in the 21st century. Barbara Pia Jenič began deliberately and continuously developing the poetics of scent at the Sensorium Theatre, which she founded in 2001 with Gabriel Hernandez. In her creation of sensorial events, Jenič relies on the methodologies of Enrique Vargas, with which she became acquainted as an actress and scent designer in his group Teatro de los Sentidos and creatively developed them at the Sensorium Theatre. As a scent designer, Jenič has collaborated with other Slovenian theatres, among others, on the 2015 operatorium, The Tenth Daughter (Deseta hči) by Svetlana Makarovič (based on the libretto by Milko Lazar, directed by Rocco) at the Slovenian National Theatre – Opera and Ballet Ljubljana.
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King, Barnaby. "The African-Caribbean Identity and the English Stage." New Theatre Quarterly 16, no. 2 (May 2000): 131–36. http://dx.doi.org/10.1017/s0266464x00013646.

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In the first of two essays employing academic discourses of cultural exchange to examine the intra-cultural situation in contemporary British society, published in NTQ 61, Barnaby King analyzed the relationship between Asian arts and mainstream arts in Britain on both a professional and a community level. In this second essay he takes a similar approach towards African–Caribbean theatre in Britain, comparing the Black theatre initiatives of the regional theatres with the experiences of theatre workers themselves based in Black communities. He shows how work which relates to a specific ‘other’ culture has to struggle to get funding, while work which brings Black Arts into a mainstream ‘multicultural’ programme has fewer problems. In the process, he specifically qualifies the claim that the West Yorkshire Playhouse provides for Black communities as well as many others, while exploring the alternative, community-based projects of ‘Culturebox’, based in the deprived Chapeltown district of Leeds. Barnaby King is a theatre practitioner based in Leeds, who completed his postgraduate studies at the University of Leeds Workshop Theatre in 1998. He is now working with theatre companies and small-scale venues – currently the Blah Blah Blah company and the Studio Theatre at Leeds Metropolitan University – to develop community participation in
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Earnest, Steve. "The East/West Dialectic in German Actor Training." New Theatre Quarterly 26, no. 1 (February 2010): 81–89. http://dx.doi.org/10.1017/s0266464x10000096.

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In this article Steve Earnest discusses contemporary approaches to performance training in Germany, comparing the content and methods of selected programmes from the former Federal Republic of Germany to those of the former German Democratic Republic. The Hochschule für Musik und Theater Rostock and the University of the Arts in Berlin are here utilized as primary sources, while reference is also made to the Bayerische Theater-akademie ‘August Everding’ Prinzregententheater in Munich, the Hochschule für Musik und Theater ‘Felix Mendelssohn Bartholdy’ in Leipzig, and Justus Leibig Universität in Giessen. The aim is to provide insight into theatre-training processes in Germany and to explore how these relate to the national characteristics that have emerged since reunification. Steve Earnest is Associate Professor of Theatre at Coastal Carolina University in Myrtle Beach, South Carolina. His publications include The State Acting Academy of East Berlin (Mellen Press, 1999) and articles in Performer Training (Harwood Publishers, 2001), New Theatre Quarterly, Theatre Journal, and Western European Stages.
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Dissertations / Theses on the topic "Theatre arts"

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Davis, Amanda Sutton. "Delta Theatre Productions: A Start-up Theatre Company." ScholarWorks@UNO, 2012. http://scholarworks.uno.edu/aa_rpts/133.

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This report is the result of a year-long internship with a new theatre company in New Orleans, Delta Theatre Productions, currently operating under the name Delta Productions. I functioned as the Managing Director for this start-up, building organizational infrastructure from the ground up, guiding the process of its first production from idea to final product, and creating the branding of the organization in order to set it apart from its competition and establish it as a viable and healthy theatrical company for the New Orleans community. This report tells the story of how the organization began, reports on my duties as an intern, analyzes the successes and failures of the first year of operation, relates guidance from the best practices of other theatrical organizations around the nation, and finally offers practical recommendations for Delta Productions as it pursues growth and sustainability.
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Woodruff, Graham James Michael. "Community arts theatre : subversion or incorporation?" Thesis, Royal Holloway, University of London, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.405025.

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Trippi, Brandi L. "Saenger Theatre: for-profit arts organization." ScholarWorks@UNO, 2005. http://scholarworks.uno.edu/aa_rpts/8.

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The following report describes the activities and outcomes of a fourteen-week internship in the fall of 2004 in the Marketing, Booking & Special Events and Group & Corporate Sales Departments of the Saenger Theatre. The first section contains an organizational profile. The second is a detailed description of the internship. The third section is an analysis of the internal and external problems within the organization. The fourth is an explanation of the Best Practices found within the organization and any recommendations for the resolution of challenges. The conclusion of the report contains a discussion of the short and long term effects of the intern's contributions to the organization.
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Zimina, Natalia. "The Journey: Theatre and Arts center." Thesis, Virginia Tech, 2010. http://hdl.handle.net/10919/31267.

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Where are the boundaries between past and present, dream and reality, private and public, action and perception? Upon these opposites, we journey through our lives. If the purpose of architecture is more than the construction of a shelter, then architecture also is a reflection of these contradictions in a human mind. The goal of this project is to illustrate how the notion of life's journey is similar to the experience of theatre, and how the architecture of the theatre can answer the questions above.
Master of Architecture
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Steward, Caty. "Theatre Baton Rouge." ScholarWorks@UNO, 2015. http://scholarworks.uno.edu/aa_rpts/197.

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This report details an internship with Theatre Baton Rouge, where I served as Marketing and Development Coordinator. In this paper I will provide an overview of the organization’s history, programming, and outreach along with a description of my 480 hour internship. This report outlines the workings of the theatre’s operations through investigation of strengths, weaknesses, opportunities and threats, and industry best practices. This analysis will lay the groundwork for recommendations to Theatre Baton Rouge that will address leveraging the strengths, as well as use opportunities to combat the issues currently hindering the company from continued growth.
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Lawver, Kimberly. "SWOT Analysis of Theatre 8:15, A Children's Community Theatre." University of Akron / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=akron1336245437.

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Chamberlain-Snider, Sandra. "Arts Umbrella's Theatre Troupes : a history of theatre training for children and youth." Thesis, University of British Columbia, 2013. http://hdl.handle.net/2429/44203.

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Arts Umbrella is a not-for-profit arts education centre for children and youth ages two to nineteen. Its Theatre program has been providing artistic theatre training to young people in the Metro Vancouver area for almost thirty years. This study's objective is to present the history of the Theatre Troupes within a historiographical methodology that takes into account all the contributing factors towards the program's successful development. The material archive resources of Program Guides, Reports to the Board, Newsletters, Show Programs and the original Business Plan are documented in a chronological exposition of the Theatre Troupes' history along with interviews with Arts Umbrella co-founder Carol Henriquez, the influential Troupe directors Sarah Rodgers, Paul Moniz de Sa and Susanne Moniz de Sa, other artist-instructors and a summary of survey questionnaire responses from parents and alumni. The young theatre students at Arts Umbrella have experienced a rich and diverse history of theatre artists in Vancouver, in a safe and nurturing environment that has been consistently funded and stable administratively since inception of the Theatre Arts program in 1984.
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Smith, Rodger W. "Hidden theatre : corporate theatre in America /." free to MU campus, to others for purchase, 1997. http://wwwlib.umi.com/cr/mo/fullcit?p9841336.

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Iadevaia, Jennifer Sarah. "Exploratory Theatre Activism| Implementing Theatre Pedagogy in Educational Landscapes." Thesis, Prescott College, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10102199.

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For the purposes of this thesis, I begin with an overview of theatre for social change in the introduction and then focus on the literature review as a way to introduce authors, ideas, theory and knowledge as background for the reader. This includes anecdotal accounts, reasoning for research and methodologies for carrying out research. I look at feminist theory, community-based theatre, education for liberation and decolonizing knowledge as a basis for my continuing ideas and theories. My emphasis is how to use expressive arts theatre as a way to connect people through dialogue in communities. One of the many ways is implementing curriculum through public school venues. I use theatre techniques that have been used successfully in a variety of global communities that help aide in focusing on certain issues a community is experiencing. I conducted a Women's Theatre Workshop that consisted of an intergenerational community of women whom embarked on a journey engaging in profound material exploring issues that women face. We found that this work was powerful in a variety of ways for them, some highlighting emotional abuse, oppression and double standards as well as theatre being a tool for non-traditional therapeutic use.

Keywords: praxis, theatre, education, freedom, decolonizing, feminist, theatre for social change

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Lawrence, Julie. "Theatre arts assessment in New Jersey high schools /." Full text available online, 2005. http://www.lib.rowan.edu/find/theses.

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Books on the topic "Theatre arts"

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Community Theatre. London: Taylor & Francis Group Plc, 2004.

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Erven, Eugen van. Community Theatre. London: Taylor & Francis Inc, 2004.

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Trewin, Wendy. The Arts Theatre, London, 1927-1981. London: Society for Theatre Research, 1986.

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Engelsman, Alan. Theatre arts 1 student handbook. 3rd ed. Colorado Springs, Co: Meriwether Pub., 1997.

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Ramana Sunritya Aalaya Trust (Madras, India), ed. Theatre arts for holistic development. Chennai: Ramana Sunritya Aalaya Trust, 2006.

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Theatre arts: Fundamental theory & practice. Dubuque, Iowa: Kenall-Hunt Pub. Co., 2009.

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Theatre as human action: An introduction to theatre arts. Lanham, Md: Scarecrow Press, 2006.

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1886-1980, Cheney Sheldon, ed. Sheldon Cheney's Theatre arts magazine: Promoting a modern American theatre, 1916-1921. Lanham, Md: Scarecrow Press, 2010.

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International, Conference on Consciousness Theatre Literature and the Arts (2005 University of Wales). Consciousness, theatre, literature and the arts. Newcastle: Cambridge Scholars Press Ltd, 2006.

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Wills, Barbara Salisbury. Theatre arts in the elementary classroom. 2nd ed. New Orleans, LA: Anchorage Press, Inc., 1996.

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Book chapters on the topic "Theatre arts"

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Canning, Charlotte M. "Theatre Arts: The Tributary Theatre." In On the Performance Front, 30–64. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137543301_2.

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Webb, Tim. "Ireland – Helium Arts." In Sensory Theatre, 193–97. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003091288-37.

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Sood, Sara Owsley, and Athanasios V. Vasilakos. "Digital Theater: Dynamic Theatre Spaces." In Handbook of Multimedia for Digital Entertainment and Arts, 423–45. Boston, MA: Springer US, 2009. http://dx.doi.org/10.1007/978-0-387-89024-1_19.

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Francis, Penny. "Related Arts." In Puppetry: A Reader in Theatre Practice, 35–48. London: Macmillan Education UK, 2012. http://dx.doi.org/10.1007/978-0-230-35683-2_3.

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Patnaik, Subodh. "Theatre and Education." In Educating in the Arts, 301–11. Dordrecht: Springer Netherlands, 2008. http://dx.doi.org/10.1007/978-1-4020-6387-9_22.

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Burton, Bruce, Penny Bundy, and Robyn Ewing. "Theatre Literacy." In Landscapes: the Arts, Aesthetics, and Education, 145–58. Dordrecht: Springer Netherlands, 2013. http://dx.doi.org/10.1007/978-94-007-7609-8_10.

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Burbridge, Paul, and Geoffrey Stevenson. "Peacebuilding and the Theatre Arts." In Peacebuilding and the Arts, 375–93. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-17875-8_19.

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Premaratna, Nilanjana, and Roland Bleiker. "Arts and Theatre for Peacebuilding." In The Palgrave Handbook of Disciplinary and Regional Approaches to Peace, 82–94. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1007/978-1-137-40761-0_7.

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Okumoto, Kyoko, Babu Ayindo, and Dessa Quesada Palm. "Theatre Arts in Peace Education." In Educating for Peace through Theatrical Arts, 109–29. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003227380-7.

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Breed, Ananda, Kurtis Dennison, Sylvestre Nzahabwanayo, and Kirrily Pells. "Mobile Arts for Peace (MAP)." In The Applied Theatre Reader, 152–60. Second edition. | Abingdon, Oxon; New York, NY: Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780429355363-30.

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Conference papers on the topic "Theatre arts"

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Bannò, Mariasole, and Giorgia Maria D'Allura. "Art-based methods: Theatre Teaches and Business Theatre." In Fifth International Conference on Higher Education Advances. Valencia: Universitat Politècnica València, 2019. http://dx.doi.org/10.4995/head19.2019.9249.

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The paper aims to investigate the use of arts in teaching, specifically the art of theater, to provide the new skills searched from the job market. Our work compares the two experiences of the Theatre Teaches performed at University of Brescia and of Business Theatre at University of Catania. The idea of the paper is based on the scientific collaboration among the two co-authors involved, during the last 10 years, on the development of innovative method of teaching focused on non- technical skills. After depicting the incumbent needs of non-technical skills searched from the job market, the comparison on the use of theatre in the two Universities highlighted how both methods support the development of relational, cognitive and managerial soft skills, even if in a different way: when using Theatre Teaches the major skills concern the cognitive ones, while when using Business Theatre the major skills concern the relational ones. Furthermore, it emerges that Theatre Teaches is more effective with cognitive engagement while Business Theatre with emotional engagement. Both are effective in the behavioral engagement (i.e. physical participation in an activity), which emerges as the distinctive characteristic of theatre art-based method.
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Greenberg, Jessica, and Brian Rague. "Digital Theatre Design - An Interdisciplinary Course Connecting Computing and Theatre Arts." In SIGCSE '21: The 52nd ACM Technical Symposium on Computer Science Education. New York, NY, USA: ACM, 2021. http://dx.doi.org/10.1145/3408877.3439563.

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ZHANG, SHENGHUAN. "THE DILEMMA AND REFLECTION OF CHINESE THEATRE ARTS EDUCATION IN UNIVERSITIES." In 2021 INTERNATIONAL CONFERENCE ON ADVANCED EDUCATION AND INFORMATION MANAGEMENT (AEIM 2021). Destech Publications, Inc., 2021. http://dx.doi.org/10.12783/dtssehs/aeim2021/35964.

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Abstract. At present, the education of Traditional Chinese theatre arts in universities is lacking in both “software” and “hardware”, which is in the dilemma of being marginalized by teaching. There are many common problems in the bottleneck and causes of many kinds of theatre arts in the development of universities education, such as the shortage of teachers, the lack of interest of students, the weakness of scientific research, the poor environment of Traditional Chinese Theatre arts and so on. In view of the above problems, it is suggested to adopt multi-channel strategies to cultivate students' interest, improve the supporting Traditional Chinese Theatre arts curriculum, and optimize the traditional Chinese Theatre arts environment, so as to change the current dilemma of Traditional Chinese Theatre arts in universities.
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Dudley, William. "Theatre Design and Digitisation." In Electronic Visualisation and the Arts (EVA 2012). BCS Learning & Development, 2012. http://dx.doi.org/10.14236/ewic/eva2012.2.

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Fourmi, Esteban, JiaXuan Hon, and Aoi Nakamura. "Whist: Dance theatre and Virtual Reality." In Electronic Visualisation and the Arts. BCS Learning & Development, 2016. http://dx.doi.org/10.14236/ewic/eva2016.39.

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Milicevic, Sladjana. "THE EMPTY SPACE IN THEATRE AND PSYCHOANALYSIS." In SGEM 2014 Scientific SubConference on ARTS, PERFORMING ARTS, ARCHITECTURE AND DESIGN. Stef92 Technology, 2014. http://dx.doi.org/10.5593/sgemsocial2014/b41/s14.054.

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Yeşilyurt, Kübra, and Pelin Dursun Çebi. "BODY AND SPACE INTERACTIONS IN THE ART OF THEATRE." In 3rd Arts & Humanities Conference, Barcelona. International Institute of Social and Economic Sciences, 2018. http://dx.doi.org/10.20472/ahc.2018.003.005.

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Smolin, Artem. "INTEGRATION OF INTERNET- AND MEDIA-TECHNOLOGIES AT THE NEW STAGE OF ALEXANDRINSKY THEATRE." In SGEM 2014 Scientific SubConference on ARTS, PERFORMING ARTS, ARCHITECTURE AND DESIGN. Stef92 Technology, 2014. http://dx.doi.org/10.5593/sgemsocial2014/b41/s14.039.

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Khaustova, Dariya. "THE VAKHTANGOV THEATRE: THE STRATEGY OF SUCCESS." In 4th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS Proceedings. STEF92 Technology, 2017. http://dx.doi.org/10.5593/sgemsocial2017/62/s25.027.

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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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Reports on the topic "Theatre arts"

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McIntyre, Phillip, Susan Kerrigan, and Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Coffs Harbour. Queensland University of Technology, 2021. http://dx.doi.org/10.5204/rep.eprints.208028.

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Coffs Harbour on the north coast of NSW is a highway city sandwiched between the Great Dividing Range and the Pacific Ocean. For thousands of years it was the traditional land of the numerous Gumbaynggirr peoples. Tourism now appears to be the major industry, supplanting agriculture and timber getting, while a large service sector has grown up around a sizable retirement community. It is major holiday destination. Located further away from the coast in the midst of a dairy farming community, Bellingen has become a centre of alternative culture which relies heavily on a variety of festivals activated by energetic tree changers and numerous professionals who have relocated from Sydney. Both communities rely on the visitor economy and there have been considerable changes to how local government in this region approach strategic planning for arts and culture. The newly built Coffs Harbour Education Campus (CHEC) is an experiment in encouraging cross pollination between innovative businesses and education and incorporates TAFE NSW, Coffs Harbour Senior College and Southern Cross University as well as the Coffs Harbour Technology Park and Coffs Harbour Innovation Centre all on one site. The 250 seat Jetty Memorial Theatre is the main theatre in Coffs Harbour for local and touring productions while local halls and converted theatres are the mainstay of smaller communities in the region. As peak body Arts Mid North Coast reports, there is a good record of successful arts related events which range across all genres of music, art, sculpture, Aboriginal culture, street art, literature and even busking and opera. These are mainly managed by passionate local volunteers.
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2

Kerrigan, Susan, Phillip McIntyre, and Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Bendigo. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.206968.

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Bendigo, where the traditional owners are the Dja Dja Wurrung people, has capitalised on its European historical roots. Its striking architecture owes much to its Gold Rush past which has also given it a diverse cultural heritage. The creative industries, while not well recognised as such, contribute well to the local economy. The many festivals, museums and library exhibitions attract visitors from the metropolitan centre of Victoria especially. The Bendigo Creative Industries Hub was a local council initiative while the Ulumbarra Theatre is located within the City’s 1860’s Sandhurst Gaol. Many festivals keep the city culturally active and are supported by organisations such as Bendigo Bank. The Bendigo Writers Festival, the Bendigo Queer Film Festival, The Bendigo Invention & Innovation Festival, Groovin the Moo and the Bendigo Blues and Roots Music Festival are well established within the community. A regional accelerator and Tech School at La Trobe University are touted as models for other regional Victorian cities. The city has a range of high quality design agencies, while the software and digital content sector is growing with embeddeds working in agriculture and information management systems. Employment in Film, TV and Radio and Visual Arts has remained steady in Bendigo for a decade while the Music and Performing Arts sector grew quite well over the same period.
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McIntyre, Phillip, Susan Kerrigan, and Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Albury-Wodonga. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.206966.

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Albury-Wodonga, situated in Wiradjuri country, sits astride the Murray River and has benefitted in many ways from its almost equidistance from Sydney and Melbourne. It has found strength in the earlier push for decentralisation begun in early 1970s. A number of State and Federal agencies have ensured middle class professionals now call this region home. Light industry is a feature of Wodonga while Albury maintains the traditions and culture of its former life as part of the agricultural squattocracy. Both Local Councils are keen to work cooperatively to ensure the region is an attractive place to live signing an historical partnership agreement. The region’s road, rail, increasing air links and now digital infrastructure, keep it closely connected to events elsewhere. At the same time its distance from the metropolitan centres has meant it has had to ensure that its creative and cultural life has been taken into its own hands. The establishment of the sophisticated Murray Art Museum Albury (MAMA) as well as the presence of the LibraryMuseum, Hothouse Theatre, Fruit Fly Circus, The Cube, Arts Space and the development of Gateway Island on the Murray River as a cultural hub, as well as the high profile activities of its energetic, entrepreneurial and internationally savvy locals running many small businesses, events and festivals, ensures Albury Wodonga has a creative heart to add to its rural and regional activities.
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4

Ivy, Michael E. Sustainment of Theater Army Forces: The Essence and the Art. Fort Belvoir, VA: Defense Technical Information Center, May 1990. http://dx.doi.org/10.21236/ada235124.

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5

Wall, Alan R. Theater Missile Defense in World War II - Some Operational Art Considerations. Fort Belvoir, VA: Defense Technical Information Center, February 1999. http://dx.doi.org/10.21236/ada363065.

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6

Villanueva-Benito, I., and I. Lacasa-Mas. The use of audiovisual language in the expansion of performing arts outside theater: Don Giovanni’s case, by Mozart. Revista Latina de Comunicación Social, October 2017. http://dx.doi.org/10.4185/rlcs-2017-1217en.

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Parlier, Greg H. Counterproliferation Strategy: The Influence of Technology, Budget, and Arms Control on Theater Missile Defenses. Fort Belvoir, VA: Defense Technical Information Center, May 1996. http://dx.doi.org/10.21236/ada309123.

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8

Shoop, Sally, Clifford Witte, Sebastian Karwaczynski, Clifton Ellis, Eoghan Matthews, Steven Bishel, Barry Bomier, et al. Improving winter traction for vehicles in northern operations. Engineer Research and Development Center (U.S.), December 2021. http://dx.doi.org/10.21079/11681/42524.

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As part of the campaign to increase readiness in northern regions, a near commercial off-the-shelf (COTS) solution was identified for the High Mobility Multipurpose Wheeled Vehicle (HMMWV); and used to assess the suitability of commercially available winter tires for operational deployment. Initial performance evaluations conducted during the winters of 2020 and 2021 demonstrated and quantified significant improvements to traction and handling on a variety of winter surfaces. User feedback from United States Army Alaska (USARAK) Soldiers confirmed these results in an operational environment. Results of this study provide new winter tire specifications for the Army and justify the procurement of a HMMWV winter tire for improved safety and capability for US Soldier and vehicle fleet needs. The data and Soldier evaluations support attaining a National Stock Number (NSN) and provide data to develop models of winter vehicle performance that include the impact of winter tires and chains. This work also paves the way for future development and procurement of winter tires for vehicles where COTS solutions are unavailable. The motivation is to provide Soldiers with state-of-the-art winter tires to increase safety, capability, and operational compatibility with North Atlantic Treaty Organization (NATO) partners in the European Theater of Operations, and mobility superiority in all environments.
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9

Kerrigan, Susan, Phillip McIntyre, and Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Ballarat. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.206963.

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Description Ballarat sits on Wathaurong land and is located at the crossroads of four main Victorian highways. A number of State agencies are located here to support and build entrepreneurial activity in the region. The Ballarat Technology Park, located some way out of the heart of the city at the Mount Helen campus of Federation University, is an attempt to expand and diversify the technology and innovation sector in the region. This university also has a high profile presence in the city occupying part of a historically endowed precinct in the city centre. Because of the wise preservation and maintenance of its heritage listed buildings by the local council, Ballarat has been used as the location for a significant set of feature films, documentaries and television series bringing work to local crews and suppliers. With numerous festivals playing to the cities strengths many creative embeddeds and performing artists take advantage of employment in facilities such as the Museum of Australian Democracy at Eureka. The city has its share of start-ups, as well as advertising, design and architectural firms. The city is noted for its museums, its many theatres and art galleries. All major national networks service the TV and radio sector here while community radio is strong and growing.
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