Bibliografías temáticas / Theatre

Literatura académica sobre el tema "Theatre"

Autor: Grafiati
Publicado: 4 de junio de 2021
Última modificación: 30 de julio de 2024

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Artículos de revistas sobre el tema "Theatre"

1

Samitov, Dmitry G. "THE FIRST REGIONAL THEATRES OF THE UNITED STATES AS AN ALTERNATIVE TO BROADWAY COMMERCIALISM". Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, n.º 40 (2020): 190–96. http://dx.doi.org/10.17223/22220836/40/16.

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The article aims to draw attention to the problem of the emergence and development of creative troupes of a new type. Non-profit theatres became noticeable to the public after a ten-year dominance of Broadway productions played on stages of American the ater. Contrary to Broadway and its commercialism non-profit theatres turned to art, becoming its alternative. The venues mostly performed musicals, uncomplicated comedies, musical shows. Huge halls, high ticket prices led to the fact that the theatre turned to a major business. The desire of theatrical figures to realize their creative powers in the art theatre led many of them to the idea of creating their own companies in opposition to the Broadway theatre in many regions of the United States. It was the nascence of the movement of non-profit theatres that became an alternate to Broadway commercialism, attracted all the new creative forces of the American theatre. Analyzing the activities of number of non-profit theatres such as Cleveland Playhouse, Arena Stage, Alley Theater, the conclusion was made that they all played an important role in the development of the movement of the regional theatres of the United States. The famous “Arena Stage” Theatre, like other regional theaters, developed traditions of non-profit theatres of the USA, including the ideas of “little” and “arti” theatres. The study of non-commercial drama theatres in the United States is relevant for modern Russia. Exploring the process of evolution of noncommercial companies the author concluded that the theatre is primarily a creative, artistic institution, that is to be valued precisely for its contribution and influence on the spiritual life of the audience.
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2

Serdechnaia, Vera V. "“ACCESS POINT” – 2020: DIGITAL THEATER IN THE PANDEMIC CONDITIONS". Practices & Interpretations: A Journal of Philology, Teaching and Cultural Studies 6, n.º 4 (1 de diciembre de 2021): 83–91. http://dx.doi.org/10.18522/2415-8852-2021-4-83-91.

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The article is devoted to the phenomenon of digital theatre, that is a theatre created via digital technologies. Digital theatre needs to be distinguished from a “traditional” one, and a broadcast theatre, using digital technologies (online broadcasting). Digital theater, which had been developing even before the 2020 pandemic, flourished during the lockdown period, when theatres found themselves in a situation of forced isolation. The article analyzes examples of Russian and foreign performances, in particular, those been included in the program of the “Access Point” (“Tochka dostupa”) festival, which took place online in 2020. Digital theatre is created in particular formats via digital means and tools; it can use cross-platform instant messengers and videoconferencing software such as “Whatsapp” and “Zoom”, mailing and calling services, audio recordings; Minecraft, Sims and other creative media; augmented reality technologies.
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3

van den Berg, Klaus. "The Geometry of Culture: Urban Space and Theatre Buildings in Twentieth-Century Berlin". Theatre Research International 16, n.º 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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4

Markovic-Bozovic, Ksenija. "Theatre audience development as a social function of contemporary theatres". Zbornik Matice srpske za drustvene nauke, n.º 175 (2020): 437–51. http://dx.doi.org/10.2298/zmsdn2075437m.

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From the last decades of the previous century, the re-examination of the social functions of cultural institutions began - especially the institutions of elite art, to which the theatre belongs. In this regard, numerous researches are conducted focusing on the ?broader? social role of the theatre, as well as exploring the dynamics and quality of the relationship between theatre and its audience. Their outcomes are the recommendations of innovative strategic activities, by which the theatre can establish deeper relations with the existing and attract new audiences, i.e. more efficiently realize its cultural-emancipatory, social-inclusive, social-cohesive, educational, and other similar potentials. Extensive research of the functional type, which combines the analysis of the process of theatre production, distribution and reception, and sheds light on the ways in which theatre functions in the community, has not been conducted in Serbia so far. However, for many years, there have been conducted researches that provide sufficiently relevant answers, analysing this topic from individual aspects of the audience, marketing activities, cultural policy and theatre management. Their overall conclusion is that theatres in Serbia must (re)orient themselves to the external environment - (re)define their social mission and actively approach the process of diversification of the audience. However, the practical implementation of such recommendations is still lacking, theatre organizations find it difficult to adopt the idea that changes must be initiated by themselves, which brings us to the question of the attitudes on which these organizations establish their work. In this regard, the paper maps of and analyzes the opinions of managers and employees of Belgrade theatres on the topic of the role of theatre in the audience development and generation of the ?additional? social value, contextualizing the opinions in relation to the current circumstances, i. e. specific practices of these institutions. In conclusion, an original theoretical model of ?two-way adaptation of public city theatres? is developed, recognizing the importance of strategic action in culture both ?bottom-up? and ?top-down?, and proposing exact activities and approaches to theatre and cultural policy in the field of theater audience development.
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Kollár, Zsuzsanna. "Az akadémia hatása az intézményesülő magyar színjátszásra az 1830-as években". Theatron 16, n.º 1 (2022): 93–112. http://dx.doi.org/10.55502/the.2022.1.93.

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From the beginning, the Hungarian Academy of Sciences considered it its task to oversee the Hungarian-speaking theatres. From the 1830’s the Academy tried to provide original dramas and translations, and the task of the “Standing Committee on Theatre” was to review the dramas and repertoire presented in permanent Hungarian-speaking theatres. Pest County also set up a permanent delegation, which exercised a supervisory role similar to that of the Academy. The directory board of the Magyar Theatre of Pest, that opened in 1837, and the body called the Acting Committee were also responsible for artistic and operational matters. These committees, looking at their model from the 18th century, hindered the institutionalization of the Hungarian-speaking theatre in various ways, albeit the Academy primarily sought to provide professional assistance to a developing social institution. This paper presents the connection between the Academy and the Hungarian-speaking theater from the point of view of institutional history.
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Vojnović, Milica. "Arts marketing: Choice criteria of theatre visitors". Marketing 54, n.º 4 (2023): 264–70. http://dx.doi.org/10.5937/mkng2304264v.

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The purpose of this research is to identify key choice criteria of theater visitors in Serbia. The method used to conduct the research was the survey method, with statistical analysis of the obtained results. Key results suggest that the most important choice criteria of theatres are the plot of the play, personal recommendations and the genre of the play. A special focus was set on examining if there are differences in evaluation of observed criteria between respondents from generational cohorts X and Z, as well as between rare and frequent decision makers. In both cases, differences between the observed groups were discovered. Results of this research are useful for better understanding of consumer behavior of theater visitors and the way they make decisions. This can be helpful for decision-makers in theatre organizations for creating theatre marketing strategies to attract different market segments.
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7

Morozova, Irina Pavlovna. "Theatre activity in the southern Urals at the initial period of the thaw". Samara Journal of Science 6, n.º 4 (1 de diciembre de 2017): 169–73. http://dx.doi.org/10.17816/snv201764211.

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The paper deals with the problems of theatre activity development in the southern Urals at the initial period of the thaw. The research objective is to define what changes happened in the theatre activity in the Southern Urals after Stalins repressions in 1953-1964. For the research the author used periodicals, archival documents, books about the theater. The research has shown that after Stalins personality cult exposure there were big theater changes in the southern Urals. People became more interested in the theatre. It was in Bashkiria where the theater developed greatly. The paper examines the creative activity of theatres in the southern Urals, Orenburg Region and Bashkortostan, reveals specific features and problems in the functioning of the studied institutions in the era of the thaw, studies repertoire policy of theaters. The repertoire updated and new theaters opened. Actors and directors found new forms of art self-expression. Drama art stops being the weapon of the political propaganda. The author has no opportunity to carry out a comparative analysis of this research with other researches as the subject has not been investigated by anybody yet.
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Kauffmann, Stanley. "Broadway and the Necessity for ‘Bad Theatre’". New Theatre Quarterly 1, n.º 4 (noviembre de 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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Jory, E. J. "Gladiators in the Theatre". Classical Quarterly 36, n.º 2 (diciembre de 1986): 537–39. http://dx.doi.org/10.1017/s0009838800012301.

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While restating the correct interpretation of the prologue to the Hecyra of Terence in CQ 32 (1982), 134 F. H. Sandbach has this to say: ‘Possibly the widespread view which the translators and I reject has been encouraged by disbelief that the theatre could be used for gladiatorial combat. It is true that there is no reliable evidence for such use at Rome, for Donatus' statement “hoc abhorret a nostra consuetudine uerumtamen apud antiquos gladiatores in theatro spectabantur” may be no more than inference from Terence's text.’ There is, in fact, a certain amount of evidence for gladiatorial combats in the theatres at Rome, that is at venues where ludi scaenici were performed, which it is difficult to regard as unreliable and which is consistent with what we know of the relationship between the theatre and gladiatorial games.
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Patonay, Anita. "The Development of Children’s and Youth Theatre in Hungary: the Path of Institutionalization and Beyond the Professional Sphere (1949–1989/1992)". Theatron 17, n.º 4 (2023): 40–52. http://dx.doi.org/10.55502/the.2023.4.40.

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It was after the Second World War and the nationalisations that autonomous theatres for children and youth and theatre performances targeting this age group were first established in Hungary. In my study, I will present the institutional history of children’s and youth theatres in the period 1949–1989/1992 and the children’s and youth theatre-makers who were amateur theatre-makers alongside the institutionalised theatres. I will give an insight into the productions that were produced during this period, the problems faced by the children’s and youth theatre community, and the contradictions that creators had to face during the period of state socialism. I will look at decisions, decrees, and laws on the medium of children’s and youth theatre productions from 1949 to 1989/1992, in order to gain a better understanding of the cultural context in which amateur theatre groups produced performances in the context of children’s and youth theatre culture, alongside the institutionalised children’s and youth theatres.
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Tesis sobre el tema "Theatre"

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Rutherford, Cassandra. "Building theatres/theatre buildings : reinventing Mull Theatre". Thesis, University of Glasgow, 2014. http://theses.gla.ac.uk/5254/.

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Mull Theatre is a professional touring theatre company based on a small island off the west coast of Scotland. In 2008 the company relocated from a small converted cow byre which seated 42 people to a new purpose-built venue –Druimfin - on a different part of the island. The move was made possible through a grant from the Scottish Arts Council in 2006, which was awarded on the expectation that the new building would be a ‘production centre’ as opposed to a theatre. That is to say the emphasis in the design of the new space was to be placed on the production rather than the reception of the theatrical event. This stands in contrast to the expectation of many theatre attendees that the new space would continue as it had been – as a place to go and see a theatre production - but that it would do so out of a much larger, more comfortable and better equipped venue. Building Theatres/Theatre Buildings stems from a three year Collaborative Doctoral Award between Mull Theatre and the University of Glasgow, which was funded by the Arts and Humanities Research Council (AHRC). Using the partnership that emerged from this award, the thesis explores what was potentially lost and gained in the move in order to draw conclusions about the wider relationship between spaces of performance and the creation of theatrical meaning in relation to small and medium scale touring theatre. It also uses the company’s dual identity as a touring company with its own permanent building to extend the discussion and to examine the wide range of venues which currently form the rural touring circuit in Scotland. By bringing together primary fieldwork from a pivotal moment in the company’s identity alongside current dialogues regarding theatre space and touring theatre, this research provides new knowledge about this often overlooked theatre company, its buildings and its role within contemporary Scottish theatre and small scale rural touring.
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2

Olmez, Husniye Nihan. "The Analysis Of Theatre Plays For Children Staged By The State Theatre And Private Theatres In 2008-2009 Theatre Season In Bursa". Master's thesis, METU, 2009. http://etd.lib.metu.edu.tr/upload/12611061/index.pdf.

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The aim of this study is to investigate theatre plays for children staged by the State Theatres and private theatre companies in one specific theatre season in Bursa in terms of their essential language, physical, educational, entertainment and social characteristics. More specifically, the present study examines appropriateness of theatre plays for children in term of these essential characteristics stated by the experts and also opinions of audiences, parents, teachers, and professionals gained by interviews. Twelve preschool children between the ages of 5 and 6, ten parents who had 5 or 6-year-old children, and two preschool drama teachers were asked about their opinions after attending one or more of the theatre plays which were chosen for the study. The theatre plays which were chosen for the study were also scored according to the five different essential characteristics by two coders by using the &ldquo
theatre for young audiences evaluation rubric&rdquo
which was developed by the researcher based on the literature. The study presented the composition of the information gained from the interviews and the characteristics scores of each theatre play. The results revealed that As an outcome, this study documented general information about the existing, required and desired characteristics of theatre plays for children
specific information about the current status of theatre plays for children in Bursa
and also implications and suggestions for parents, educators, playwrights, theatre directors and further studies.
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3

Siersch, Clara. "Theatre for growing - growing Theatre". Master's thesis, Akademie múzických umění v Praze.Divadelní fakulta. Knihovna, 2018. http://www.nusl.cz/ntk/nusl-391713.

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Reflektujeme význam neutrality zkoumáním práce s neutrální maskou jakožto nástroje k docílení utišení výrazu obličeje, čímž se stimuluje fyzické povědomí vnitřního neutrálního centra. Povědomí o těle a fyzická vnímavost vyvíjí základní výhody a vlastnosti pro kreativní vývoj a ve výcviku herce, a také v Gestalt terapii. Soustředení se na předpokládanou neutralitu, kterou se myslí centrální referenční bod, umožňuje exploraci neznámých oblastí osobnosti a charakteru, což se může využít při vývoji nových hereckých rolí a také v řešení osobních konfliktů. Vlastní zkušenosti s představeními s maskami, a s maskami použivanými v terapii se porovnávají s teoretickým pozadím práce s maskou a filozofickými nápady o neutralitě. Předpoklad je ten, že v nicotě je pojmuto všechno. Žádný stres.
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4

Fantasia, Josephine Vita. "Entrepreneurs, empires and pantomimes : J. C. Williamson's pantomime productions as a site to review the cultural construction of an Australian theatre industry, 1882 to 1914". Thesis, The University of Sydney, 1996. http://hdl.handle.net/2123/1617.

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'Entrepreneurs, Empires and Pantomimes' examines how Williamson influenced the form and content of one theatrical genre within his theatrical empire between 1882 and 1914. As the frontispiece signals in spectacular fashion, the pantomime was a vitally popular dramatic form. I believe that my findings have serious implcations for the formation of an Australian theatre industry with regard to the 'development'of Australian drama. Ironically, as J.W. Gough points out in 'The Rise of the Entrepreneur' (1969), the word 'entrepreneur' first appeared in the 'Oxford English Dictionary' in 1897 as referring to "the director or manager of a public musical institution: one who 'gets up' entertainments, especially musical performances."
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Fantasia, Josephine Vita. "Entrepreneurs, empires and pantomimes : J. C. Williamson's pantomime productions as a site to review the cultural construction of an Australian theatre industry, 1882 to 1914". University of Sydney, 1996. http://hdl.handle.net/2123/1617.

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Doctor of Philosophy
'Entrepreneurs, Empires and Pantomimes' examines how Williamson influenced the form and content of one theatrical genre within his theatrical empire between 1882 and 1914. As the frontispiece signals in spectacular fashion, the pantomime was a vitally popular dramatic form. I believe that my findings have serious implcations for the formation of an Australian theatre industry with regard to the 'development'of Australian drama. Ironically, as J.W. Gough points out in 'The Rise of the Entrepreneur' (1969), the word 'entrepreneur' first appeared in the 'Oxford English Dictionary' in 1897 as referring to "the director or manager of a public musical institution: one who 'gets up' entertainments, especially musical performances."
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6

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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Gallagher, Kelsey B. "So Much Better: A Lighting Design Approach for a Production of Legally Blonde: The Musical". The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1555414324698267.

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Harris, John Rogers Sr. "The performance of black masculinity in contemporary black drama". The Ohio State University, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=osu1054742668.

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Placenti, Stefania. "Theatre and conflict : the occupied theatres movement in contemporary Italy". Thesis, University of Bristol, 2017. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.752800.

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Crouch, Kristin A. "Shared Experience Theatre exploring the boundaries of performance /". Columbus, Ohio : Ohio State University, 2003. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1054738772.

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Thesis (Ph. D.)--Ohio State University, 2003.
Title from first page of PDF file. Document formatted into pages; contains xi, 365 p.; also includes graphics. Includes abstract and vita. Advisor: Lesley K. Ferris, Dept. of Theatre. Includes bibliographical references (p. 353-365).
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Libros sobre el tema "Theatre"

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Hertzberger, Herman. Chassé Theater Breda =: Theatre Breda. Rotterdam: Uitgeverij 010 Publishers, 1995.

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Georges, Aperghis, ed. Theater und Musik =: Theatre and music. Brussel: Kaaitheater, 1995.

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Maugham, W. S. Theatre. Санкт-Петербург: КАРО, 2006.

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Maugham, W. S. Theatre. Санкт-Петербург: КАРО, 2009.

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Ch"oe, Inhun. Theatre. Paris: Cric/Libraire-galerie Racine, 2000.

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Maugham, W. Somerset. Theatre. Москва: Менеджер, 2002.

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Stone, Judy S. J. Theatre. London: Macmillan Caribbean, 1994.

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Cohen, Robert. Theatre. 6a ed. Boston: McGraw-Hill, 2003.

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Cohen, Robert. Theatre. 4a ed. Mountain View, Calif: Mayfield Pub. Co., 1997.

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Anderson, Judith. Theatre. London: Wayland, 2013.

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Capítulos de libros sobre el tema "Theatre"

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Pizzato, Mark. "Greco-Roman Beginnings of “Theatre” (as Theatron/Theatrum)". En Mapping Global Theatre Histories, 43–70. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-12727-5_3.

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Sood, Sara Owsley y Athanasios V. Vasilakos. "Digital Theater: Dynamic Theatre Spaces". En 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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Barker, Clive. "Alternative Theatre/ Political Theatre". En The Politics of Theatre and Drama, 18–43. London: Palgrave Macmillan UK, 1992. http://dx.doi.org/10.1007/978-1-349-21792-2_2.

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Czirak, Adam. "Community theatre/participatory theatre". En The Routledge Companion to Contemporary European Theatre and Performance, 502–8. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003082538-80.

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Brown, John Russell. "Theatre". En William Shakespeare: Writing for Performance, 1–17. London: Macmillan Education UK, 1996. http://dx.doi.org/10.1007/978-1-349-24634-2_1.

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Racz, Gregary J. "Theatre". En The Routledge Handbook of Literary Translation, 298–312. Abingdon, Oxon; New York, NY: Routledge, 2018. | Series: Routledge handbooks in translation and interpreting studies: Routledge, 2018. http://dx.doi.org/10.4324/9781315517131-20.

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Doshi, Marcus. "Theatre". En Towards Good Lighting for the Stage, 72–92. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003206460-5.

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Allen, Rob y Nina Krebs. "Theatre". En Dramatic Psychological Storytelling, 63–72. London: Palgrave Macmillan UK, 2007. http://dx.doi.org/10.1057/9780230800557_7.

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Beaufils, Eliane y Julie Sermon. "Theatre". En Arts, Ecologies, Transitions, 184–87. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003455523-47.

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Rowse, A. L. "Theatre". En Shakespeare’s Self-Portrait, 46–56. London: Palgrave Macmillan UK, 1985. http://dx.doi.org/10.1007/978-1-349-17836-0_7.

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Actas de conferencias sobre el tema "Theatre"

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Bannò, Mariasole y Giorgia Maria D'Allura. "Art-based methods: Theatre Teaches and Business Theatre". En 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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Oosthuizen, Patrick H. "A Numerical Study of the Effect of Inlet Vent Position and Size on the Velocity and Temperature Distributions in a Smaller Naturally Ventilated Theater in Canada". En ASME 2014 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2014. http://dx.doi.org/10.1115/imece2014-36781.

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Many smaller churches and similar buildings in Canada have been converted into small theaters. Such theatres are often not fitted with an air-conditioning system. For performances in the fall these theaters sometimes rely on buoyancy driven natural ventilation to moderate the indoor air temperature. Such ventilation systems usually involve near floor inlet vents and a roof level air discharge system. A preliminary numerical study of the effect of inlet vent position and size on the performance of such a system has been undertaken. A simple model of a typical theater building of the type considered has been used. The heat generated by the audience has been represented by a uniform heat flux distributed over the audience area. Inlet vents have been assumed to be located low on the side walls of the theater and the air-flow leaving the theatre has been assumed to be through vents at the top of a chimney system. The flow has been assumed to be steady and symmetrical about the vertical center-line through the building. The Boussinesq approach has been adopted. The standard k-epsilon turbulence model has been used. The solution has been obtained using the commercial CFD solver ANSYS FLUENT©.
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Chen, Xilin y Tao Xi. "Cross-Cultural Management of Chinese Traditional Theatre Industry Based on Broadway Operation Model". En 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1001860.

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Broadway, as one of the leading commercial show districts in the West, has a mature commercial experience and operation model. The theatre industry on Broadway is different from other places, and its production and marketing methods have also proven to be highly successful. This paper analyses the business model, artistic concept, communication strategy, and user research of Western theatre based on Broadway at the academic level. At the practical level, the paper investigates the cross-cultural management and communication model of the Chinese theatre industry. The Broadway theatre management that operates separately for theatres and productions, together with the art form that focuses on scenery, stage art, and sound effects, is applied to the management and communication of the traditional Chinese theatre industry. The paper aims at promoting traditional culture and making traditional theatre more suitable for modern aesthetic needs and market demands. The contribution of the paper is to improve traditional Chinese theatre into a creator-centered theatre performance consisting of music, song, dance, and dialogue in a cross-cultural context, based on the Broadway operation model. A modern marketing campaign is used to promote exposure and sustainability. As a result, a framework for Chinese traditional theatre products based on cross-culture is constructed.
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Owen, Charles B., Alison Dobbins y Lisa Rebenitsch. "Theatre Engine". En International Conference. New York, New York, USA: ACM Press, 2013. http://dx.doi.org/10.1145/2536853.2536867.

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Chaudhari, S. T., S. Bodke, R. Chandsarkar y T. Sule. "Virtual Theatre". En Third International Conference on Emerging Trends in Engineering and Technology (ICETET 2010). IEEE, 2010. http://dx.doi.org/10.1109/icetet.2010.127.

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Takahashi, Toru, Yasuhiro Katagiri y Keiko Nakao. "TelMeA theatre". En the SIGGRAPH 2003 conference. New York, New York, USA: ACM Press, 2003. http://dx.doi.org/10.1145/965333.965382.

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Banno, Mariasole, Andrea Albertini, Ileana Bodini, Sandro Trento y Valerio Villa. "Theatre teaches". En 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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Geigel, Joe y Marla Schweppe. "Virtual theatre". En ACM SIGGRAPH 2005 Educators program. New York, New York, USA: ACM Press, 2005. http://dx.doi.org/10.1145/1187358.1187378.

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

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Khaustova, Dariya. "THEATRE SOCIAL MEDIA MARKETING: THEATREGOERS ARE ALREADY ONLINE, WHILE THEATRES � NOT". En 8th SWS International Scientific Conferences on SOCIAL SCIENCES - ISCSS Proceedings 2021. SGEM World Science, 2021. http://dx.doi.org/10.35603/sws.iscss.2021/s10.62.

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Informes sobre el tema "Theatre"

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Moor, Donald B. Iran: Theatre Security Cooperation Plan. Fort Belvoir, VA: Defense Technical Information Center, abril de 2008. http://dx.doi.org/10.21236/ada484358.

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McGregor, Udo K. Strategic Airlift: Supporting the Theatre Commander. Fort Belvoir, VA: Defense Technical Information Center, mayo de 2003. http://dx.doi.org/10.21236/ada420292.

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Vishwanath, Arundathi. Theatre and Art in Education for Young Women with a Focus on Theatre of the Oppressed Techniques and Embodied Therapeutic Practices. Indian Institute for Human Settlements, 2023. http://dx.doi.org/10.24943/tesf0105.2023.

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This project unfolded in Nanahar village in the Kangra district of Himachal Pradesh. The main objectives of this project were to spark critical thought and action amongst the participants of the programme, facilitate a process to reclaim one’s agency, equip the participants with theatre facilitation skills and equip the organisation with a theatre and art in education curriculum. The project timeline was September 2021–October 2022. A pilot workshop was initially conducted with 24 women enrolled in a skill development course, and consequently a longer 16-week workshop series was conducted for a group of 33 women.
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Bhutada, Aditya. Universal Event and Motion Editor for Robots' Theatre. Portland State University Library, enero de 2000. http://dx.doi.org/10.15760/etd.194.

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Zheng, Zhaoxi, Bernadette Huber, Clare Wijngaarden y Qianna Su. Understanding young adults’ perspectives and experiences of theatre. Brisbane, Australia: The University of Queensland, agosto de 2022. http://dx.doi.org/10.14264/c8cb09c.

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Ehrhart, David G. Foreign Command of US Forces in Combined Theatre Operations. Fort Belvoir, VA: Defense Technical Information Center, abril de 1994. http://dx.doi.org/10.21236/ada280733.

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Sunardi, Mathias. Expressive Motion Synthesis for Robot Actors in Robot Theatre. Portland State University Library, enero de 2000. http://dx.doi.org/10.15760/etd.720.

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McIntyre, Phillip, Susan Kerrigan y 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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Pond, Robert. The history of community theatre in Anchorage, Alaska, 1946-1976. Portland State University Library, enero de 2000. http://dx.doi.org/10.15760/etd.2970.

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Ghosh, Yashowanto. Bertolt Brecht's Leben des Galilei: A Mythic Dimension in Epic Theatre. Portland State University Library, enero de 2000. http://dx.doi.org/10.15760/etd.6442.

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