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Relevant bibliographies by topics / Theatre manager

Academic literature on the topic 'Theatre manager'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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Journal articles on the topic "Theatre manager"

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Featherstone, Ann. "‘A Good Woman of Business’: The Female Manager in the Portable Theatre." Nineteenth Century Theatre and Film 45, no. 1 (May 2018): 9–26. http://dx.doi.org/10.1177/1748372718791052.

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The portable theatre embraced and valorised women throughout its 150-year history (from around 1800 to 1950), taking dramatic performances to towns and cities throughout the United Kingdom and Ireland. Mothers, wives and daughters were also actors and managers in these travelling companies, in close family units, and their career paths reflected both their skills and opportunities. Their working lives were physically hard, often organising theatrical licenses and recruiting professionals, as well as performing themselves. Many women combined the leading lady roles with management and caring for their children. Others were forced to relinquish an acting career to concentrate upon business. Mrs Marie Livesey, with six children to care for, fulfilled her late husband’s ambition to build a permanent theatre and did so, in part, with revenue from her portable theatre. Women managers of portable theatres were respected in their business and their achievements challenge the perception that all theatrical women laboured under ‘restricted conditions’.

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McConachie, Bruce A. "William B. Wood and the “Pathos of Paternalism”." Theatre Survey 28, no. 1 (May 1987): 1–14. http://dx.doi.org/10.1017/s0040557400008942.

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Theatre historians have been kind to William B. Wood, actor and co-manager of the Chestnut Street Theatre in the early nineteenth century. Reese D. James, in his Old Drury of Philadelphia: A History of the Philadelphia Stage, 1800–1835 (1932), set the sentimental tone that subsequent historians would echo. Relying extensively on Wood's Personal Recollections of the Stage (1855), James lamented that the Chestnut Theatre, following the breakup of Warren and Woods' management in 1826, became “a body without a soul.” In his Theatre U.S.A. (1959), Barnard Hewitt quoted copiously from Wood's Recollections, allowing the co-manager the final word on the deleterious effects of the star system. Calvin Primer's two articles published in the 1960s on Warren and Wood continued the tradition, picturing both managers as the unfortunate victims of rapacious stars.

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Hughes, Amy E. "Harry Watkins's Sword: An Object Lesson in Nineteenth-Century US Theatre Culture." Theatre Survey 59, no. 3 (July 27, 2018): 340–62. http://dx.doi.org/10.1017/s0040557418000297.

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For US actor, playwright, and theatre manager Harry Watkins (1825–94), the 1852–3 season was a whirlwind of ups and downs, elation and despair, triumph and tragedy. His engagement as an actor in C. R. Thorne's stock company at the New York Theatre ended abruptly in mid-September, leaving him without work at a point when few theatres were hiring. He mourned the loss of a beloved cousin, Jane Mott, who passed away one rainy day in October after a drawn-out illness. He endured many a headache while spearheading a fund-raising effort among his fellow actors to contribute a memorial stone to the Washington Monument. He was elected to the board of the American Dramatic Fund Association, but infighting among the directors left him feeling insulted and underappreciated, ultimately leading him to cease his involvement. By far, his biggest frustration was his inability to obtain reliable employment. He wrote many letters to many managers, to no avail. More than once, he considered giving up the theatre altogether.

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Cowhig, Ruth M. "Ira Aldridge in Manchester." Theatre Research International 11, no. 3 (1986): 239–46. http://dx.doi.org/10.1017/s0307883300012372.

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On Saturday, 10 February, 1827, the Manchester Guardian announced the coming appearance of ‘the African Roscius’ at the Theatre Royal, Manchester. After referring to ‘his success in New York and in all the principal theatres in the United States’ and to his performances ‘in the Theatres Royal, Bath, Bristol, Brighton, Plymouth, Exeter, and upwards of fifty nights at the Royal Coburg Theatre, London, with universal approbation’, the notice states that he will spend one night in Manchester on his way to Edinburgh and Glasgow. A note in the Manchester Courier the following week (17.2.1827) emphasizes the adventurous nature of the theatrical event, telling the public that ‘the spirited manager of this establishment seems determined to spare no pains to render the theatre as attractive as circumstances will permit’. The attitude behind this retains a protective ambiguity towards the experiment.

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Franklin, Jo. "The theatrical and the accidental academic: An autoethnographic case study." Arts and Humanities in Higher Education 18, no. 4 (September 18, 2017): 281–95. http://dx.doi.org/10.1177/1474022217731543.

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This article is an autoethnographic account of my journey from theatre stage manager to academic stage manager. Performing arts education and training in Higher Education is a diverse field, ranging from small private institutions to large research lead universities. Professional practitioners (performers, stage managers, technicians, designers, directors, etc.) are sought by all types of institution to share their expertise in teaching, yet find themselves working in a world that is familiar (the theatre) but at the same time alien (the academy). Those who make a successful transition find a way to reconcile these contrasting worlds. I hope, through this paper, to contribute to discussion of the challenges this transition entails through critical reflection and contextualisation of my personal journey.

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Nikolić, Sanela. "The opera question in Belgrade as 'staged' by Milan Grol." New Sound, no. 43-1 (2014): 107–22. http://dx.doi.org/10.5937/newso1443107n.

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Writer, politician, and dramaturge Milan Grol can be credited with the most important contribution of an individual to the modernization of the National Theatre in Belgrade. A reformer, legislator, organizer of international theatre cooperation, and manager of the National Theatre, he also played a key role in defining 'the opera question' in Belgrade during the first two decades of the 20th century. Commendable as his activities were in terms of the institutional organization and advancement of South Slavic theatres, it must also be noted that owing to his unfavorable attitude towards the performance of opera at the National Theatre, the development of its opera ensemble and establishment of an artistically worthy opera repertoire at this theatre came to a halt in the first decade of the 20th century. Grol's views about opera at the National Theatre reflect a striking ambivalence in his dual professional personality of a politician and writer. As a member of the Independent Radical Party, he supported a pro-European orientation and cultural elitism, which were meant to serve democratic and educational goals. However, when it came to the question of opera at the National Theatre, he abandoned his guiding principles devoted to modern European standards. Grol thus reinterpreted his firm political basis in the field of partisan clashes and appropriated the power to regulate the repertoire of the National Theatre; yet, for all that, he never gave up his primary vocation of a writer and dramaturge, who saw the presentation of the highest aesthetic achievements of national and European literature as the sole purpose of the institution he managed.

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Koskinen, Kaj U., and Pekka Pihlanto. "The Project Manager in the Theatre of Consciousness." International Journal of Knowledge Society Research 1, no. 4 (October 2010): 20–31. http://dx.doi.org/10.4018/jksr.2010100102.

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This paper focuses on knowledge management stressing an individual project manager’s point of view. First, the authors outline two knowledge management strategies as well as the notion of project manager. The authors concentrate on the project manager’s knowledge creation and communication using the so-called theatre metaphor for conscious experience. According to this metaphor, the human brain and consciousness work together like a theatre. With the help of the metaphor, the authors describe and attempt to understand important aspects of the project manager’s mental action in the above tasks.

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Nygaard, Jon. "Popular Theatre - Highbrow or Lowbrow." Nordic Theatre Studies 29, no. 2 (March 5, 2018): 48. http://dx.doi.org/10.7146/nts.v29i2.104605.

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For 13 years, from 1851 to 1864, Ibsen worked full time at the Norwegian theatres in Bergen and Christiania (Oslo) as a stage director and theatre manager. Ibsen’s period in the theatre and the repertory he staged have seldom enjoyed much attention in scholarly research. The reason for this has been that the repertory Ibsen staged has been seen as vulgar and lowbrow, and Ibsen’s period in the theatre has almost unanimously been seen as a waste of time. The general understanding has been that Ibsen’s development as an artist had been much faster if he had been working with a highbrow repertory of serious drama.Contrary to this established opinion I will contribute to the discussion of popular theatre as highbrow or lowbrow by presenting the production A Caprice (En Kaprice) by Erik Bøgh, staged by Henrik Ibsen at the Norwegian Theatre in Christiania (Oslo). It premiered 7 September 1859 and then ran for another thirty-five performances during the 1859-60 season. The total number of attendances was more than 30.000. In relation to the population of the town of 42.000, it was about 2/3 or 67%. This is the by far largest box-office success in Norwegian theatre history. No wonder that Ibsen scholars generally have understood A Caprice as the ultimate example of the unholy trade Ibsen was forced into as a theatre manager. According to Michael Meyer Ibsen for the only time in his life “rebuked for truckling to the box-office” (Meyer 1971, 166). The contemporary criticism in Morgenbladet (Nr. 278, 9.10.1859) claimed that Ibsen was declining the Norwegian Theatre in Christiania into a kind of amusement ground for the lower classes.I will, however, present A Caprice as the summit of Ibsen’s theatrical career and underline that both this and other dance productions staged by Ibsen in this period, were not at all amusement for the lower classes but on the contrary important expressions of his artistic creativity and development – and actually a highbrow performance presented for an upper class audience.

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Wichsova, Jana, and Jana Škvrňáková. "Key Skill Management in Operating Room – Results of ERASMUS+ project." Revista Romaneasca pentru Educatie Multidimensionala 13, no. 2 (July 2, 2021): 78–89. http://dx.doi.org/10.18662/rrem/13.2/411.

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The Key Skills Management in Operating Room (KSMOR) was a project that assessed key skills, knowledge, procedures and the degree of adaptation of perioperative nurses in operating theatres in the countries of the European Union (EU). Five EU countries participated in data collection. The respondents were perioperative nurses divided into two groups (with experience in operating rooms up to 2 years and over 2 years). The third group consisted of operating theatre managers who participated in the data collection and subsequently evaluated the user-friendliness of the questionnaires used for the data collection. The user-friendliness of the questionnaires was also assessed by all the perioperative nurses participating in the data collection. The majority of respondents from the Czech Republic rated the level of knowledge/skills at a good level, i.e. 2 points ("You are independent, you manage the procedure normally in your daily routine"), even for the group of the respondents with the length of experience in operating rooms up to 2 years. Both the managers and the perioperative nurses assessed the user-friendliness of the questionnaire on skills and knowledge of perioperative nurses positively. The output of the KSMOR project is an electronic version of the questionnaire on skills and knowledge of perioperative nurses, which enables evaluation and training of perioperative nurses not only in basic skills but also in very specific ones according to the particular field. It is also a suitable tool for the operating theatre manager for the management and evaluation of perioperative nurses, planning and support of educational activities and its subsequent integration into the operation of operating theatres.

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Lawrence, Robert G. "Vaughan Glaser on Stage in Toronto 1921-1934." Theatre Research in Canada 9, no. 1 (January 1988): 59–80. http://dx.doi.org/10.3138/tric.9.1.59.

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The American actor and stock-company manager Vaughan Glaser settled in Toronto to operate an extraordinarily popular repertory company at the Uptown and Victoria theatres, September 1921-June 1928, with occasional appearances later. His carefully chosen comedies, musicals, pantomimes, melodramas and infrequent serious dramas contributed significantly to the great vogue for stock theatre in Toronto before radio, talking films, and the Depression brought it to an end.

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Dissertations / Theses on the topic "Theatre manager"

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Shelton, Rebecca S. "Paint manager for 2008-2009 academic year and paint charge for three sisters and twelfth night." [Kent, Ohio] : Kent State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=kent1241724077.

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Simons, Rebecca Joan. "Misalliance: a stage manager's process." Thesis, University of Iowa, 2011. https://ir.uiowa.edu/etd/1079.

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Mayer, Eric Hans. "A “Wicked” Comparison of Commercial, Freelance and Academic Stage Management to develop Best Practices and Techniques for the Practical Stage Manager." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1306291578.

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Fernandez, Adriana Cristina. "Challenging the traditions of American musical theatre : stage managing Striking 12 at the University of Iowa." Thesis, University of Iowa, 2015. https://ir.uiowa.edu/etd/1597.

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This thesis is documentation and analysis of the stage management process working on the 2014 production of Striking 12 at the University of Iowa’s Department of Theatre Arts. In this thesis, the author analyzes the challenges and successes of Striking 12 from a stage management perspective as well as reflects upon the process and its influence on her as a stage manager.

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Teaster, Erin. "Stage Management 101 and 102." Digital Commons @ East Tennessee State University, 2019. https://dc.etsu.edu/honors/514.

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Leighton, Judi. "Lucia Vestris as lessee and manager of the Olympic Theatre 1831-1839 and the influence of James Robinson Planché." Thesis, University of Leeds, 2009. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.509849.

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Lišková, Kristýna. "Úloha manažera v práci s dětským a studentským publikem v divadle." Master's thesis, Vysoká škola ekonomická v Praze, 2013. http://www.nusl.cz/ntk/nusl-199281.

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This master thesis is concerning the role of the manager in working with children and young audience in the world of theatre. The first chapters undertake the definition of the theatre for children and theatre played by children and brief history of this genre in the Czech Republic. It describes the history and rich tradition of festivals and parades in this area for different age categories until presence. The following chapters are dedicated to the relationship of theatres with their both audiences, current and potential. The thesis also appoints different possibilities of working with the audience and its development, its active engagement through interactive elements and impulses and building the long-term relationship with them. It defines the role of the manager in working with children and young audiences, it describes the activities of organisations concerning the theatre for children, dramatic education and concerning working with the audience and its development. In following chapters, there is description of specific needs of children and student audience and their characteristics. In next chapter there, is the analysis of the level of using marketing instruments and managerial attitudes in theatres, and the possibilities of financing activities of theatres aimed at children audience and youth. By studying the literature and conduction of my own quantitative research, I learnt about the level of cooperation between theatres and schools, and I evaluated the attitude of theatres towards children and youth audience and I was curious if the theatres are nurturing their future spectators.

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Sugden, Marguerite Angela. "A stage manager's cosmic experience." Thesis, University of Iowa, 2019. https://ir.uiowa.edu/etd/6864.

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Hains, Kathleen Sarah. "Stage managing Slaughter city." Thesis, University of Iowa, 2015. https://ir.uiowa.edu/etd/1616.

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Huggett, Nancy. "A cultural history of cinema-going in the Illawarra (1900-1950)." Communication and Cultural Studies - Faculty of Creative Arts, 2002. http://ro.uow.edu.au/theses/246.

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This thesis explores a cultural history of cinema-going in the Illawarra region of New South Wales over the first half of the twentieth century through oral history interviews with cinema-goers of the period. The research was originally intended to explore the Australian cinema industry from a regional perspective. However, while the interviews contained fascinating details and stories of cinema-going in this period, they did not fit seamlessly into existing academic discussions about cinema which often focus on film texts and national cinema industries. Therefore, as well as considering how the oral histories I collected contributed to pre-existing academic discourses about the cinema industry and national screen content, I have also explored other discourses that are articulated in audience narratives. Through exploring the debates in cultural studies about audience research and the work of the Popular Memory Group and other critical oral historians, I critically evaluate the oral history narratives as well as the methodology of oral history itself. I look at the intersection of oral history practice with cultural studies in order to highlight issues of representation and power and to celebrate the way that differences between written and oral histories can foreground processes of meaning-making. My contention in this thesis is that cinema-going is a strategy of mediation through which people make sense of themselves, their lives and their relationships with others. I test this theory by considering cinema-going in relation to a series of identifications: national identity, local identity, personal identity and political identity (age being one strategic location from which older individuals can draw on age-related discourses and experiences to achieve particular narrative ends). In conclusion I argue that any cultural history of cinema-going is a mediated history which is constructed within a matrix of meaning-making strategies. It is created through audience members� narratives of cinema-going which re-configure memories in accordance with particular discourses of significance either in the narrated past or in the narrating present. The researcher, who tells the story with reference to specific research priorities and current academic discourses, further mediates such a history. Therefore, as well as setting out a cultural history of cinema-going in the Illawarra for debate and further research, the emphasis on mediation is intended to encourage reflection on the creation of history as a complex, collaborative and political process which creates one story as it silences others.

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Books on the topic "Theatre manager"

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Christopher Rich of Drury Lane: The biography of a theatre manager. Lanham, MD: University Press of America, 1986.

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Edmond, Mary. Rare Sir William Davenant: Poet laureate, playwright, civil war general, Restoration theatre manager. New York: St. Martin's Press, 1987.

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Rare Sir William Davenant: Poet laureate, playwright, Civil War general, Restoration theatre manager. Manchester: Manchester University Press, 1987.

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Collins, Theresa. How theater managers manage. Lanham, Md: Scarecrow Press, 2003.

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Zazzaro, Mario. Everything you always wanted to know about being a good theatre manager but no one would tell you: The basics. Waterbury, CT: Exec-U-Books, 1990.

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Curry, Jane Kathleen. Nineteenth-century American women theatre managers. Westport, Conn: Greenwood Press, 1994.

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Walter Hampden: Dean of the American theatre. Madison [N.J.]: Fairleigh Dickinson University Press, 2008.

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Newlyn, Doreen. Theatre connections: A very personal story. (Leeds?): Walter Newlyn, 1995.

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Under two managers: The everyday life of the Thornton-Barnett Theatre Company, 1785-1853. London: Society for Theatre Research, 2001.

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Louis D'Alton and the Abbey Theatre. Dublin: Four Courts, 2004.

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Book chapters on the topic "Theatre manager"

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Sutherland, Lucie. "The Legacy of Alexander at the St. James’s Theatre." In George Alexander and the Work of the Actor-Manager, 233–60. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-40935-7_6.

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"Thomas Killigrew, Theatre Manager." In Thomas Killigrew and the Seventeenth-Century English Stage, 75–102. Routledge, 2016. http://dx.doi.org/10.4324/9781315551029-9.

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Dickens, Charles. "To the Manager, Colchester Theatre, [31 October 1861]." In The British Academy/The Pilgrim Edition of the Letters of Charles Dickens, Vol. 9: 1859–1861, edited by Graham Storey. Oxford University Press, 1997. http://dx.doi.org/10.1093/oseo/instance.00117687.

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Winkelhorn, Kathrine. "The Enchanted City, Holstebro Festive Week, an experiential and social cultural space." In Focus On Festivals. Goodfellow Publishers, 2015. http://dx.doi.org/10.23912/978-1-910158-15-9-2651.

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In 1989 Odin Teatret established the Holstebro Festive Week (Denmark), and did so by involving the entire city and its inhabitants. The Festive Week promptly became an on-going event, which takes place every three years in June. What characterises the Holstebro Festive Week in particular? And how has this event influenced the city and its citizens in the longer run? In other words, how can an event like the Festive Week contribute to enriching a city for more than just a week? When I interviewed the Mayor about the Festival and the theatre’s role in the event, he said: “What the theatre brings us is popular and I think it is crucial that we get common experiences in which we can mirror ourselves – in the selfish society we are currently living in. In Holstebro we have become dependent on Odin Teatret, which makes us take part and which has become a common denominator for the entire city. It is a gift that we have Odin Theatret” (interview with the author, June 2011). 1 It is a rather unusual statement for a mayor to make that a theatre is a gift for a city and that it has become a ‘common denominator’ 2 for the city – and, what is more that the city has become dependent on the theatre. In this chapter I will reveal and explore how Odin Teatret involves the entire city. I will try to give a clear answer as to why the Mayor described the theatre as a ‘common denominator’. In my investigation of the theatre’s approach to the Festive Week I use my personal experience and knowledge from my time as assistant manager at the theatre (1987-88). Most of my research has been carried out in the form of field studies conducted during the Festival Weeks in 2008 and 2011. During both festivals I spent one week in Holstebro and the surrounding villages watching and observing how the local audience responded to the activities. In addition I carried out a series of semi-structured interviews with representatives from Holstebro: the head of police, the Deputy Mayor, the director of a travel agency, a librarian, a policeman, the Chairman of the Cultural Affairs Committee of the City Council, the head of city planning, the project leader from the Odin Theatre and a senior lecturer living in Holstebro and working at Aarhus University and finally the Mayor.

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Carnero, María Carmen, and Andrés Gómez. "Multicriteria Model for the Selection of Maintenance Policies in Subsystems of an Operating Theatre." In Optimum Decision Making in Asset Management, 32–61. IGI Global, 2017. http://dx.doi.org/10.4018/978-1-5225-0651-5.ch002.

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The aim of this article is to select the most suitable combination of maintenance policies in the different subsystems that make up an operating theatre. To do so a multicriteria model will be developed using the Measuring Attractiveness by a Categorical Based Evaluation Technique (MACBETH) technique considering multiple decision centres: The Hospital's technical services, environment and occupational risk prevention managers, healthcare managers (operating theatres and health activity programming), healthcare staff, technicians, purchasing service managers and Hospital executives. The model uses functional, safety and technical-economical criteria, amongst which is availability. Mean availability for repairable systems has been measured to assess this criterion, using Markov chains from the data obtained over three years from the subsystems of a Hospital operating theatre. All this is aimed at increasing the operating theatre's availability and, consequently, increasing physical safety in patient operations and reducing the number of delayed operations due to technical malfunctions.

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Powell, Manushag N. "Theatrical, Periodical, Authorial: Frances Brooke’s Old Maid (1755–1756)." In Women's Periodicals and Print Culture in Britain, 1690-1820s. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474419659.003.0028.

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Manushag Powell revisits Frances Brooke’s Old Maid (1755-6) to highlight its understudied interest in theatrical performance and criticism. Brooke’s interest in the drama was lifelong, encompassing not only personal ambitions that were partly thwarted by her famous quarrels with David Garrick over her Virginia and his King Lear, but also her friendship and eventual partnership with the powerful actress-manager Mary Ann Yates, who was also a close friend of fellow pioneering periodicalist Charlotte Lennox. Brooke’s interest in the theatre predated and reached far beyond Garrick’s involvement. Ultimately, the essay champions the radical ambitions of Brooke’s periodical writing and theatrical criticism, and both recognises and laments the fact that an alliance of female professional artistry could be enabled by the theatre, but not yet by periodical writing.

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"Theatre." In The Production Manager's Toolkit, 125–36. New York ; London : Routledge, 2016.: Routledge, 2016. http://dx.doi.org/10.4324/9781315733777-17.

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Mordden, Ethan. "Beginnings." In Pick a Pocket Or Two, 1–13. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190877958.003.0001.

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This chapter provides an overview of British musical theatre. The first known British musical was dramatist John Gay's The Beggar's Opera (1728), which centers on an anti-hero, Macheath, who was surrounded by enemies and allies grouped in twos. The music is not original because Gay pasted his lyrics onto pre-existing folk and popular tunes known as “ballads,” therefore making Gay's work a ballad opera. It was the flash success of The Beggar's Opera that led the manager of Lincoln’s Inn, John Rich, to build Covent Garden. The chapter looks at a more famous ballad opera, Allan Ramsay's The Gentle Shepherd (1725). The chapter then looks at genres such as the comic opera, the burletta, the extravaganza, the pantomime, and the burlesque.

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Pittock, Murray. "Booksellers, Newspapers and Libraries." In Enlightenment in a Smart City, 224–48. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474416597.003.0006.

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As we saw in Chapter 2, the development of a strong newspaper and publishing industry was one of the key elements in the development of Edinburgh at the turn of the eighteenth century, which set it apart from other British cities outwith London. In 1661, the Episcopalian playwright and theatre manager Thomas Sydserf (1624–99) was responsible for the appearance of the newspaper the Mercurius Caledonius (The Caledonian Mercury), which reported the reinterment of the Royalist hero James Graham, Marquis of Montrose. There had been an earlier Mercurius Criticus in 1651–2 and a Mercurius Politicus in 1654, albeit these were Cromwellian imports. Edinburgh newspapers were an early innovation, and from the late seventeenth century were to pose a challenge to the imported ‘London-based newspapers’, as well as drawing on them extensively.

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"Actresses, managers, and feminized theatre." In Women and Victorian Theatre, 64–74. Cambridge University Press, 1997. http://dx.doi.org/10.1017/cbo9780511582127.004.

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Conference papers on the topic "Theatre manager"

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Banno, Mariasole, Andrea Albertini, Ileana Bodini, Sandro Trento, and Valerio Villa. "Theatre teaches." In Fourth International Conference on Higher Education Advances. Valencia: Universitat Politècnica València, 2018. http://dx.doi.org/10.4995/head18.2018.8098.

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Theatre teaches is a new experiment carried out at the University of Brescia. The growing importance of transversal competences i.e. those skills that essentially concern attitudes in the workplace and interpersonal relationships such as team work, language and communication skills, gave us the idea to develop an educational innovation to help students bring out these skills. We asked students to wrote a play using topics seen in class. So, they tried to wrap their mind around it and worked in team to write a script and get him to scene. Not to be confused to business theatre, this method is applicable in any framework. The assessment results reveal that students appreciate this method because this work helps them to express theirself better and, in general terms, they could improve their non techniocal skills. In conclusion, we can say that this experiment has been a success and gave the students the opportunity to show transversal competences. The ability to communicate, to teamworking, to manage conflicts, to speak in public, to problem solving, creativity, imagination, the ability to manage unforeseen situations and tolerate pressure and stress, leadership skills, negotiation skills and the ability to motivate are just few of the emergent competences.

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Ormanlı, Okan. "Relationship Between Movie Theaters and Audience During the Pandemic: “Beyoğlu 1989 E-Bulletin” as an Example." In COMMUNICATION AND TECHNOLOGY CONGRESS. ISTANBUL AYDIN UNIVERSITY, 2021. http://dx.doi.org/10.17932/ctcspc.21/ctc21.028.

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Covid-19, a disease that transformed into a pandemic at the beginning of 2020, caused catastrophic results in the world and Turkey. There have been some restrictions on trade, education, tourism, and art. Daily life was not interrupted but some services and events that they have not primary functions (for some people) like “art” were on the verge of stopping and carried to the digital platforms. In this context, some corporations opened their archives and sometimes actual events to the public free of charge or for a certain amount of money. Art, which has always had “healing”, “mediating” and “unifying” effects, was consumed by the billions of people through digital devices. Considering art is both a sector and an industry, the unexpected phenomenon of Covid-19, which is a kind of crisis that occurs one in a hundred years and takes longer than expected, led to the temporary or permanent closure of some art and culture institutions. Due to these results, some supportive programs have been organized by official or non-official institutions to solve financial problems. In Turkey, all the movie theaters closed down on the 16th of March 2020 by the Ministry of Internal Affairs. Some halls opened in July and August, however, because of lack of audience and of the increasing number of patients they have closed down again in November. 2019 was a bad year for the sector yet 2020 was even worse with the decline of the audience by the ratio of %90. Before the pandemic, there were some problems in terms of halls. In this context, some movie theaters tried to find solutions not to lose the audience and find financial support. Beyoğlu Movie Theater that began operating in 1989, had some financial problems before the pandemic. The managers of the hall created a project called “Beyoğlu 1989”, which was a kind of electronic bulletin, and started sending e-mails to the subscribers. This project, which was implemented for the first time in Turkey, has reached the 57th issue and 800 subscribers today and has turned into a kind of weekly electronic-digital cinema newspaper that is also promoted on the Instagram account of the Beyoğlu cinema with 45 thousand followers. The broadcast also follows the cinema agenda and undertakes the task of a written-visual archive. In conclusion, a movie theater that started operating in the analog age, today use all the possibilities and utilities of the digital age and also with the help of its owners and followers, creates a communication ecology to prevent the shutdown. The aim of this article is to examine an electronic bulletin (also a film magazine) “1989”, which is first in Turkey, with the qualitative method.

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Komashie, Alexander, Ali Mousavi, and Justin Gore. "Using Discrete Event Simulation (DES) to Manage Theatre Operations in Healthcare: An Audit-Based Case Study." In Tenth International Conference on Computer Modeling and Simulation (uksim 2008). IEEE, 2008. http://dx.doi.org/10.1109/uksim.2008.112.

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Monti, Paolo, Caterina Molinari, Massimiliano Bocciarelli, Alberto Corigliano, and Stefano Mariani. "Structural Integrity Assessment of a Pipeline Subjected to an Underwater Explosion." In ASME 2011 30th International Conference on Ocean, Offshore and Arctic Engineering. ASMEDC, 2011. http://dx.doi.org/10.1115/omae2011-49178.

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Several trunklines cross either areas which in the recent past were war theatre or dumping areas used for burying weapons after the last war. The presence of unexploded mines, bombs or torpedoes on the seabed constitutes a potential hazard for the structural integrity of submarine pipelines. Before laying, it is therefore necessary to remove the unexploded charges within a corridor including the route. Risk still remains during the pipeline life, since annual surveys can show evidences of unexploded mines or torpedoes dragged by fishing gears till the protruding pipeline. Consequently, the structural integrity assessment of a submarine pipeline subjected to underwater explosions is of the utmost importance. The aforementioned assessment involves several aspects: the characterization of shock wave and gas bubble pulsation in water; the definition of loading conditions on the pipeline; the characterisation of the strain-rate properties of the steel; the local and global structural analysis; the pipe verification criteria. Aim of this study is to describe how the aforementioned aspects can be managed. Analytical and numerical approaches concerning the assessment of the structural response of the pipeline are presented, and criteria for Serviceability and Accidental Limit States are proposed.

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Khin-Htun, Swe, Molly McLaughlin, Anisa Kushairi, and Rebecca Clegg. "P52 Timely assessment of ill patients course: teaching medical students how to assess, investigate and manage acutely unwell patients in a simulated learning environment." In Abstracts of the Association for Simulated Practice in Healthcare 9th Annual Conference, 13th to 15th November 2018, Southport Theatre and Convention Centre, UK. The Association for Simulated Practice in Healthcare, 2018. http://dx.doi.org/10.1136/bmjstel-2018-aspihconf.144.

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Broerman, Eugene L., Mitchel A. Smolik, and Christine M. Scrivner. "Helmholtz Absorbers: Experiments in Controlling Resonant Pulsation Without the Use of Orifice Plates." In ASME 2007 Pressure Vessels and Piping Conference. ASMEDC, 2007. http://dx.doi.org/10.1115/pvp2007-26246.

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Pressure drop has been used for more than half a century to control resonant pulsation in reciprocating compressor piping. Although avoiding these resonances is the preferred method, this is not possible in many high-speed/variable-speed installations. In these cases, resonant pulsation is often managed by using orifice plates to dampen the response. Helmholtz absorbers are an old technology, used to improve the acoustics of ancient Greek theaters and modern recording studios alike. Although their application in the field of piping acoustics has been well documented, this paper presents new ways in which they have not yet been applied. In this paper, experimental data is shown for a self-tuning Helmholtz absorber, or Side Branch Absorber (SBA) used to cancel a piping length resonance, and for a Virtual Orifice that is used to reduce cylinder nozzle pulsation. These devices open up new doors for controlling pulsation with reduced horsepower costs in reciprocating compressor installations.

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Reports on the topic "Theatre manager"

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Zobel, Theodore A. How the Joint Force Commander will Manage Theater Missile Defense in 2005. Fort Belvoir, VA: Defense Technical Information Center, February 2001. http://dx.doi.org/10.21236/ada389641.

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