Relevant bibliographies by topics / Theatrical

Academic literature on the topic 'Theatrical'

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Published: 4 June 2021
Last updated: 4 March 2023

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Journal articles on the topic "Theatrical"

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Üstün, Menderes, and Metin Arıkan. "Teatral Temelli Eğitimin Özelliklerinin İncelenmesi." International Journal of Social Sciences 6, no. 27 (December 25, 2022): 125–39. http://dx.doi.org/10.52096/usbd.6.27.10.

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In this study, it is aimed to examine the general characteristics of theater-based education. In theatrical-based education, it is essential to ensure that every child expresses himself and plays theatrically by respecting his feelings, ideas, abilities, differences, awareness, gender, family structure, the social and economic class in which he is included, the group of friends. In theater-based educational modeling, each child is evaluated as a creative, curious, active, interactive, cooperative student who has the potential to contribute to the game. At this stage, it is expected of the teacher in the role of educator in educational environments to ensure that all children experience theatrical play practices by respecting the social, cultural, artistic and physical diversity in the classroom environment, to guide and support those who play when necessary. However, in theatrical based educational modeling, although the game is played under the supervision of an adult, it is certain that the main actors here are children. Key Words: Education, Theatrical, Theatrical-Based Education
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Nyanda, J. "A Theatrical Reading of a Theatrical Life." Shakespeare in Southern Africa 26, no. 1 (October 14, 2014): 141. http://dx.doi.org/10.4314/sisa.v26i1.11.

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Reynolds. "Theatrical Marriages." Shaw 41, no. 1 (2021): 217. http://dx.doi.org/10.5325/shaw.41.1.0217.

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Hamilton, James R. "Theatrical Enactment." Journal of Aesthetics and Art Criticism 58, no. 1 (2000): 23. http://dx.doi.org/10.2307/432347.

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Jannarone, Kimberly. "Theatrical Confrontations." Theatre Journal 57, no. 2 (2005): 280–84. http://dx.doi.org/10.1353/tj.2005.0066.

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Boone, Joseph A., and Joseph Litvak. "Theatrical Victorians." NOVEL: A Forum on Fiction 27, no. 2 (1994): 218. http://dx.doi.org/10.2307/1345828.

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Andrzejewski, Adam, and Marta Zaręba. "Theatrical Scripts." Rivista di estetica, no. 65 (August 1, 2017): 177–94. http://dx.doi.org/10.4000/estetica.2169.

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Bonnevier, Katarina. "Theatrical Devices." Thresholds 23 (January 2001): 82–85. http://dx.doi.org/10.1162/thld_a_00416.

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DOBSON, MICHAEL. "THEATRICAL SOURCES." Essays in Criticism XLI, no. 2 (1991): 166–72. http://dx.doi.org/10.1093/eic/xli.2.166.

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Rozik, Eli. "Theatrical Irony." Theatre Research International 11, no. 2 (1986): 132–51. http://dx.doi.org/10.1017/s0307883300012165.

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It is my intention to derive the concept of ‘theatrical irony’ from the general theory of theatrical communication.The basic meaning of the term ‘irony’, from the Greek word ‘ειρωνεια’, was ‘dissimulation’. Over the centuries, this term has been extended to additional semantic fields and consequently acquired new meanings as in ‘Socratic irony’, ‘philosophical irony’, ‘romantic irony’, ‘dramatic irony’, ‘tragic irony’, and so on. At the same time, a number of more colloquial expressions were introduced as well, as in ‘ironic smile’, ‘irony of events’, ‘irony of fate’, and so on. I am of the opinion, however, that despite the diversity of such phrases and regardless of their partial overlap, it is still possible to unveil a common semantic core. Furthermore, it is my belief that our understanding of theatrical irony benefits from all these additional usages.
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Dissertations / Theses on the topic "Theatrical"

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Brown, Ian James Morris. "History as theatrical metaphor." Thesis, Manchester Metropolitan University, 1991. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.290319.

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Haskell, Greer. "The Oresteia : a theatrical poetics." Thesis, University College London (University of London), 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.363120.

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Herrig, Robert Arthur. "Opera reviews as theatrical criticism /." The Ohio State University, 1985. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487260531955269.

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Dudley, Kevin Shane. "Exploring humanity through theatrical design." Thesis, University of Iowa, 2016. https://ir.uiowa.edu/etd/3075.

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This document will chronicle the design work of Kevin Dudley at the University of Iowa from August 2013 through the spring of 2016. The images included in this document are representative of the design work for realized productions, large and small scale, and selected explorations in course work. The work represented here includes: drafting, paint elevations, and sketches (both hand and digital). This document will stand as a record my design process and final product used to explore our humanity through theatrical design.
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Robertson, Jacob L. "Theatrical Ideology: Toward a Rhetoric Theatricality." Diss., CLICK HERE for online access, 2009. http://contentdm.lib.byu.edu/ETD/image/etd2858.pdf.

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Barclay, Michael Richard. "Theatrical designs of Charles Ricketts R.A." Thesis, Royal Holloway, University of London, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.408393.

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Nisbet, Archibald. "George Clint (1770-1854) : theatrical painter." Thesis, Birkbeck (University of London), 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.271351.

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The thesis treats the theatrical scenes and single figure portraits of actors and actresses en role by George Clint. The development of theatrical scene painting in England during the eighteenth century is traced from its antecedents in The Netherlands and France through to the arrival of Clint. There is a brief review of Clint's career to 1816 when he exhibited his first theatrical scene at the Royal Academy. To define the area in which Clint worked, a chapter explores the theatre of the time. His theatrical scenes are discussed for each of the three phases of his work which I have identified. The first phase terminated in 1821 when he was elected ARA. His second phase ran through the 1820s when he continued his earlier manner of painting scenes from staged productions, with portraiture. In the last phase during the 1830s his style and subject material changed. He was essentially a painter of the comic, initially of largely contemporary comedy and farce, but after 1830 of the more substantial comedies of Shakespeare. At the same time his style changed to a more distanced treatment of the theatre without reference to specific productions or casts. The treatment of his theatrical scenes is followed by a consideration of his single figure theatrical portraits of actors and actresses. An important goal for Clint was full membership of the Royal Academy; that he never achieved it led to his resignation in 1836. The position of the Academy at the time, and in particular Clint's situation, is considered. Clint is seen as a peculiarly representative figure in the debates on both the fine arts and the theatre, working as he does at the junction of the two arts and affected by the problems of both.Prints from Clint's theatrical scenes and individual theatrical portraits, both as independent works and as book illustrations are also discussed. Finally, his influence and the reason why the genre of theatrical scene painting came to an end in him are considered 3
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Scurria, Gregory. "The Fourth Level of Theatrical Awareness." VCU Scholars Compass, 2010. http://scholarscompass.vcu.edu/etd/2105.

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Abstract The Fourth Level of Theatrical Awareness By Greg Scurria, MFA A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts in Theatre Pedagogy at Virginia Commonwealth University. Virginia Commonwealth University, Master of Fine Arts in Theatre Pedagogy Virginia Commonwealth University, 2010 Major Director: Dr. Noreen C. Barnes, Director of Graduate Studies, Theatre Department This text is a partial record and narrative of the production of John Steinbeck’s Of Mice and Men that opened on May 1st 2009 for a three day run ending May 3rd 2009 and Shel, a collection of Shel Silverstein short plays and poems, which opened on September 18th for a three day run that ended September 20th. It also covers the work done by a small group on Yazmina Reza’s The God of Carnage during the Spring of 2010. The text details the creative process of the two productions while also examining two hypotheses that grew out of that work. It will examine the heightened sense of ownership experienced while working on Of Mice and Men and the subsequent unsuccessful attempt to recreate that atmosphere during Shel. The other hypothesis involves the discovery of the fourth level of theatrical awareness and how it can be used to help actors. The fourth level of theatrical awareness exists outside of the traditional character based exploration of text. Students who examine the text using the fourth level attempt to view the play in its entirety without character bias. Actors using the fourth level look at shape, major themes of the play, and spatial awareness in order to analyze the play using a directorial eye. The possible applications of this work will be discusses as well as concerns about its use. The attempts to apply this fourth level of theatrical awareness in Shel will be discussed, as well as the attempts to find practical applications for the fourth level while working with The God of Carnage. Finally, this paper will outline a plan for implementing the fourth level of theatrical awareness in a production and highlight other areas of exploration involving dramaturgical investigation. As a whole, it will trace the growth and transformation of these ideas and plot a plan to continue expanding on them in the future.
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Jochum, Elizabeth Ann. "Inclining east: Theatrical appropriation of kabuki." Connect to online resource, 2008. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:1453559.

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Ward, Marchella. "Towards a grammar of theatrical blindness." Thesis, University of Oxford, 2018. http://ora.ox.ac.uk/objects/uuid:8376616c-d537-4e2e-93ad-6f06665d252d.

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Since the fifth century, the theatre has been a place for seeing. In spite of this, blind figures repeatedly appear on the stage, from Oedipus, Polymestor, Tiresias and the Cyclops to Shakespeare's Gloucester, Beckett's Hamm, Friel's Molly Sweeney and Kane's Ian. These blind characters have an important role to play in articulating the task of the spectator, both in their aural and imaginative construction of the fictional world in pre-naturalistic theatre, and also in their ability to see through the dramatic illusion in later drama. These scenes of blindness and blinding also have consequences for reception studies, since the relationship between them is not straightforwardly a textual reception history. Instead, these blind characters and the scenes in which they appear are read as what Deleuze and Guattari term an 'assemblage': a heterogenous multiplicity that is produced at the moment of reading / watching with reference to other scenes of blindness and blinding. This thesis sketches out a grammar for such an assemblage, and each chapter focuses on a rule in this grammar. When read as part of an assemblage of blindness, blind characters always have a special relationship with death (Chapter 2), showcase their own performance (Chapter 3), undermine the fictional setting that has been established onstage (Chapter 4), have access to a kind of superhuman knowledge (Chapter 5) and alter the position of their spectators (Chapter 6). Each chapter is structured around a particular moment when the theatre's interest in blind characters resurges, as a response to changes in the social, cultural or scientific understanding of vision and visual impairment. In each chapter, the grammar that is outlined in Chapter 1 with reference to ancient plays returns to the fore, but is refracted through the historical period back on to the grammar of the assemblage.
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Books on the topic "Theatrical"

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Leep, Jeanne. Theatrical Improvisation. New York: Palgrave Macmillan US, 2008. http://dx.doi.org/10.1057/9780230612556.

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Theatrical anecdotes. New York: OUP, 1990.

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Hay, Peter. Theatrical anecdotes. New York: Oxford University Press, 1989.

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McEvoy, Sean. Theatrical Unrest. Milton Park, Abingdon, Oxon ; New York : Routledge, 2016. |: Routledge, 2016. http://dx.doi.org/10.4324/9781315690933.

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Theatrical London. London: Historical Publications, 2006.

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Keenan, H. A. Theatrical textiles. Manchester: UMIST, 1993.

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Berry, Patricia. Theatrical London. Stroud: Alan Sutton, 1995.

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Gaisford, John. Theatrical thoughts. Montreal: Printed for the author, by Lovell and Gibson, 1994.

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Theatrical anecdotes. New York: Oxford University Press, 1987.

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THEATRICAL IMAGE. [Place of publication not identified]: CREATESPACE, 2014.

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Book chapters on the topic "Theatrical"

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Trump, Maxine. "Theatrical." In The Documentary Filmmaker's Roadmap, 196–201. New York: Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315114873-16.

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Demidov, Nikolai. "On the Theatrical and Non-Theatrical." In Nikolai Demidov, edited by Andrei Malaev-Babel and Margarita Laskina, 203–9. Milton Park, Abingdon, Oxon; New York: Routledge, 2016.: Routledge, 2016. http://dx.doi.org/10.4324/9781315621685-23.

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Hyland, Peter. "Theatrical Professions." In An Introduction to Shakespeare, 55–96. London: Macmillan Education UK, 1996. http://dx.doi.org/10.1007/978-1-349-24952-7_3.

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Hattaway, Michael. "Theatrical conditions." In Hamlet, 81–83. London: Macmillan Education UK, 1987. http://dx.doi.org/10.1007/978-1-349-18832-1_5.

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Atlas, Galit, and Lewis Aron. "Theatrical engagement." In Dramatic Dialogue, 99–118. Abingdon, Oxon ; New York, NY : Routledge, 2018. |: Routledge, 2017. http://dx.doi.org/10.4324/9781315150086-6.

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Doshi, Marcus. "Theatrical Abstraction." In Towards Good Lighting for the Stage, 93–117. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003206460-6.

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Taillard, Michael, and Holly Giscoppa. "Theatrical Presence." In Psychology and Modern Warfare, 139–45. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137347329_13.

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Durham, Leslie Atkins. "Theatrical Devotion." In Women’s Voices on American Stages in the Early Twenty-First Century, 75–98. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137287113_5.

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Ley, Graham. "Theatrical Modernism." In Comparative History of Literatures in European Languages, 531–44. Amsterdam: John Benjamins Publishing Company, 2007. http://dx.doi.org/10.1075/chlel.xxi.41ley.

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Crowell, Thomas A. "Theatrical Distribution." In The Pocket Lawyer for Filmmakers, 355–77. 3rd ed. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003228479-33.

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Conference papers on the topic "Theatrical"

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Alexandroff, Ivaylo. "THEATRICAL PERFORMATIVITY AND STAGE SIGNIFICATION – THE PERFORMANCE AS A THEATRICAL TEXT." In New Semiotics. Between Tradition and Innovation. IASS Publications, 2015. http://dx.doi.org/10.24308/iass-2014-135.

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Sajadieh, Sahar, and Nathan Weitzner. "A Theatrical Turing Test." In CHI'16: CHI Conference on Human Factors in Computing Systems. New York, NY, USA: ACM, 2016. http://dx.doi.org/10.1145/2851581.2889463.

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Fernandez, Julian M. Angel, and Andrea Bonarini. "Towards an Autonomous Theatrical Robot." In 2013 Humaine Association Conference on Affective Computing and Intelligent Interaction (ACII). IEEE, 2013. http://dx.doi.org/10.1109/acii.2013.120.

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Prakash, Dona, and K. Gerard Joe Nigel. "Automatic human tracking theatrical spotlight." In 2015 International Conference on Innovations in Information,Embedded and Communication Systems (ICIIECS). IEEE, 2015. http://dx.doi.org/10.1109/iciiecs.2015.7192974.

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Khaustova, Dariya. "CHARLES I: THE THEATRICAL FAREWELL." 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/s25.019.

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Lee, Sang, and Stefanie Holzheu. "Theatrical Performance as Experimental Architecture." In eCAADe 2018: Computing for a better tomorrow. eCAADe, 2018. http://dx.doi.org/10.52842/conf.ecaade.2018.1.589.

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Pitsyna, A. A., and A. O. Korchagina. "DEVELOPMENT OF CREATIVE ABILITIES IN CHILDREN OF PRESCHOOL AGE BY MEANS OF MUSICALLY - THEATRALIZED ACTIVITIES." In Культура, наука, образование: проблемы и перспективы. Нижневартовский государственный университет, 2021. http://dx.doi.org/10.36906/ksp-2021/89.

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The article deals with issues related to the development of creative abilities of musical and theatrical activities. The approaches to the definition of the concepts of creativity, ability, musical and theatrical activity have been studied. The forms, methods, and techniques for the development of creative abilities in the process of musical and theatrical activity are revealed.
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Zhanguzhinova, Meruyert, Bagdat Akylbekova, Sabit Kurmanbekov, Nazerke Kumargaliyeva, and Nazerke Kairbekkyzy. "Innovative Trends in Ethno-Costumology in the Modern Theater Process." In 15th International Scientific Conference "Rural Environment. Education. Personality. (REEP)". Latvia University of Life Sciences and Technologies. Faculty of Engineering. Institute of Education and Home Economics, 2022. http://dx.doi.org/10.22616/reep.2022.15.023.

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This article examines the topicality of ethno-costumes in the context of the modern theatrical process. The aim of the study is to conduct a theoretical and methodological study of the problems of ethno-costumeology in the context of the modern theatrical process. The scientific and theoretical methodology of the research include the theoretical foundations of ethno-costumes, concepts of the modern theatrical process, methodological aspects of ethno-costumes, innovative directions of ethno-costumes, artistic principles of creating an ethnocostume. Scientific and theoretical methods were used: socio-cultural, historical, semiotic, ethnographic, formal-stylistic analysis, ekphrasis, attribution of an ethnic costume, observation, interpretation of an ethnic costume in the theatrical process. The practical methods: research of innovative technologies in the design of ethnic costume in the context of the modern theatrical process, which make up various types of 3D modelling and visualization. The result of the study is: the application of the obtained scientifically grounded methodological foundations in the method of designing an ethnic costume in the production process of the Kazakh Drama Theater named after S. Seifullin in the city of Karaganda. The significance of the results is in the study and identification of methodological aspects in innovative areas of ethno-costumology within the framework of the modern theatrical process.
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Szecsei, Denise. "Theatrical Performances Using Robots As Actors." In 2019 Research on Equity and Sustained Participation in Engineering, Computing, and Technology (RESPECT). IEEE, 2019. http://dx.doi.org/10.1109/respect46404.2019.8985868.

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Geigel, Joe, and Marla Schweppe. "Theatrical storytelling in a virtual space." In the 1st ACM workshop. New York, New York, USA: ACM Press, 2004. http://dx.doi.org/10.1145/1026633.1026642.

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Reports on the topic "Theatrical"

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Cho, Seunghye. Exploring Theatrical Costume Design in Fashion: an Interdisciplinary Production of Shakespeare's A Midsummer Night's Dream. Ames: Iowa State University, Digital Repository, November 2015. http://dx.doi.org/10.31274/itaa_proceedings-180814-71.

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Visscher, Klaasjan. Theatrical Technology Assessment: A Role-play Simulation for Bridging the Gap between Technology and Society in Interdisciplinary Engineering Education. Universiteit Twente - Department of Science, Technology and Policy Studies (STePS), 2020. http://dx.doi.org/10.3990/4.2589-2169.2020.01.

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Ilgenfritz, Pedro. Guide Me Without Touching My Hand: Reflections on the Dramaturgical Development of the Devised-theatre Show One by One. Unitec ePress, December 2016. http://dx.doi.org/10.34074/ocds.038.

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This essay is a reflection on some aspects of dramaturgy observed during the creation and development of One by One, a silent tragicomedy designed by the Auckland company, LAB Theatre, in 2011 and restaged in 2013. The emphasis of the essay is on pedagogical aspects at the core of the company’s work, as they inform the creative process and lead to the blending of the actor’s function into that of the dramaturg. The following discussion makes apparent the fact that this process of hybridisation, made possible by implementing features of devised theatre, emancipates the actor and brings improvisation to a better use. The play was based on the notion that theatrical action must be ‘suggestive’ rather than ‘descriptive.’ This idea originated in the works of Konstantin Stanislavski (1988) and Jacques Copeau (2000) and was developed by more recent theorists of dramaturgy into a practical framework for theatrical performance in general. The success of One by One depended very much on the implementation of these principles. The achievement was duly noted by reviewer Lexie Matheson (2011), who appreciated that One by One “exists on its own, doesn’t need explanation, doesn’t explain itself; it just unravels with delicacy and tenderness, like a good yarn should.
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Plummer, Brianna, Eulanda A. Sanders, and Fatma Baytar. Developing a Trend Analysis Instrument to Establish a Taxonomy of Digital Textile Printing Attributes for Costume and Theatrical Fashion Design Use. Ames: Iowa State University, Digital Repository, 2017. http://dx.doi.org/10.31274/itaa_proceedings-180814-1899.

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TETINA, S. V., Yu V. GUTROVA, I. E. ZHIDKOVA, Yu G. MAKOVETSKAYA, E. S. KRASNITSKAYA, E. G. KOLIKOVA, and N. O. NIKOLOV. BUSINESS DIDACTIC GAME "INDIVIDUAL METHODOLOGICAL STYLE OF TEACHER'S ACTIVITY". SIB-Expertise, March 2022. http://dx.doi.org/10.12731/er0543.17032022.

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Abstract: the proposed business didactic game is aimed at developing the creative attitude of the teacher to his own professional activity. The motivational material of a business didactic game allows the teacher to understand that his activity has sometimes elusive pedagogical algorithms and strategies, the totality of which can be called such a concept as an individual methodological style of activity. In addition to pedagogical strategies, this concept reflects the unique psychological qualities of the individual, which allow the teacher to influence the quality of the acquired knowledge. It is also emphasized that the concept of an individual style of activity is the result of the teacher's internal hard work, the result of a long search, value. On this basis, the individual style of activity rejects the concept of "charisma", since it is self-sufficient and does not need to be theatrically announced to any audience. All the value bases of an individual methodological style of activity are aimed not at narcissism, but at helping students in mastering the internal content of a particular academic subject. The leading sign of the formation of an individual methodological style of activity is the ability to correctly combine one's original author's position on the content principles of the taught subject with the guiding and prescriptive lines of the work program. The author's position of the teacher, which combines the emotional and rational components, is also reflected in external behavioral mechanisms. At the same time, expressive forms of behavior are not a mandatory feature of the individual style of methodological activity. A special style of preparing educational material, a list of methods and forms of teaching is structured on the basis of a situational understanding of the subtle mechanisms of teaching, educating and developing schoolchildren
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Cameroon: Peer education and youth-friendly media reduce risky sexual behavior. Population Council, 2003. http://dx.doi.org/10.31899/rh2003.1009.

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Cameroonian researchers at the Institute of Behavioral Studies and Research (IRESCO), with support from FRONTIERS, conducted an operations research project between 2000 and 2002 to assess strategies to encourage abstinence, increase contraceptive use, and reduce sexually transmitted infection (STI) rates among sexually active youth. The intervention combined peer-education strategies with media campaigns to promote healthy behavior among youth in the Mokolo neighborhood of Yaoundé. IRESCO trained 49 peer educators aged 19–25 in reproductive health (RH) communication strategies. The team coordinated educational talks, counseling sessions, conferences, and cultural and athletic events; produced comic books and brochures; and sold French and English editions of Among Youth magazine, featuring celebrity interviews and information on RH, unwanted pregnancy, and STI transmission. IRESCO evaluated the intervention’s impact through baseline and endline surveys of 2,500 youth in Mokolo and the control site, New Bell, in Douala. This brief concludes that urban youth in Cameroon are knowledgeable about HIV/AIDS and the risks of early pregnancy, but their behavior often fails to reflect their knowledge. Peer-education programs targeting youth through one-on-one counseling, theatrical performances, youth magazines, and sporting events increases abstinence and fidelity and improves consistent and correct condom use.
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