Bibliographies thématiques / Emotions in the performing arts

Littérature scientifique sur le sujet « Emotions in the performing arts »

Auteur : Grafiati
Publié le 25 juillet 2024
Mis à jour le 31 juillet 2024

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Articles de revues sur le sujet "Emotions in the performing arts"

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Coad, Luman. « Movement – Puppet Sized ». Canadian Theatre Review 95 (juin 1998) : 17–20. http://dx.doi.org/10.3138/ctr.95.004.

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Alive actor employs a range of communication tools. Voice, facial expression, body language and movement are used individually or in combination to convey a precise emotional nuance. If one of these tools is unavailable, the emotions to be projected must be altered to suit the remaining tools or those tools must be modified to project more of the emotion’s essence. Either way the emotion is portrayed in an other-than-realistic manner.
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Tait, Peta. « Performing Species Kinship and Strange Emotions ». Performance Research 23, no 3 (3 avril 2018) : 92–99. http://dx.doi.org/10.1080/13528165.2018.1495953.

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Son, Ji-Yeong, et Byeong-Ju Ahn. « The Effect of Performing Arts Viewing Experience on Youth Emotions ». Korean Journal of Sports Science 31, no 6 (31 décembre 2022) : 609–24. http://dx.doi.org/10.35159/kjss.2022.12.31.6.609.

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Johnson-Laird, P. N., et Keith Oatley. « Emotions, Simulation, and Abstract Art ». Art & ; Perception 9, no 3 (25 octobre 2021) : 260–92. http://dx.doi.org/10.1163/22134913-bja10029.

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Abstract Some people feel emotions when they look at abstract art. This article presents a ‘simulation’ theory that predicts which emotions they will experience, including those based on their aesthetic reactions. It also explains the mental processes underlying these emotions. This new theory embodies two precursors: an account of how mental models represent perceptions, descriptions, and self-reflections, and an account of the communicative nature of emotions, which distinguishes between basic emotions that can be experienced without knowledge of their objects or causes, and complex emotions that are founded on basic ones, but that include propositional contents. The resulting simulation theory predicts that abstract paintings can evoke the basic emotions of happiness, sadness, anger, and anxiety, and that they do so in several ways. In mimesis, models simulate the actions and gestures of people in emotional states, elicited from cues in the surface of paintings, and that in turn evoke basic emotions. Other basic emotions depend on synaesthesia, and both association and projection can yield complex emotions. Underlying viewers’ awareness of looking at a painting is a mental model of themselves in that relation with the painting. This self-reflective model has access to knowledge, enabling people to evaluate the work, and to experience an aesthetic emotion, such as awe or revulsion. The comments of artists and critics, and experimental results support the theory.
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Tubillejas-Andrés, Berta, Amparo Cervera-Taulet et Haydee Calderón García. « Feeling emotions in the public performing arts sector : does gender affect ? » International Review on Public and Nonprofit Marketing 16, no 1 (29 novembre 2018) : 1–22. http://dx.doi.org/10.1007/s12208-018-0216-4.

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Troilo, Gabriele, Maria Cristina Cito et Isabella Soscia. « Repurchase Behavior in the Performing Arts : Do Emotions Matter without Involvement ? » Psychology & ; Marketing 31, no 8 (9 juillet 2014) : 635–46. http://dx.doi.org/10.1002/mar.20724.

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Fan, Jinming, Xiaoli Ni, Ting Wu, Yidi Wang et Yuyan Qian. « Psychological Benefits of Arts Participation for Emerging Adulthood : A Pathway to Flourishing ». Behavioral Sciences 14, no 6 (26 mai 2024) : 448. http://dx.doi.org/10.3390/bs14060448.

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This study examined 430 Chinese college students’ engagement in arts activities and the psychological benefits derived from such activities. The research differentiated between various types of arts participation and ways of involvement and examined four potential positive psychological outcomes. The findings revealed correlations between (1) creative participation in the performing arts, ‘flow’, and aesthetic emotions; (2) consumptive participation in the visual arts and aesthetic emotions; and (3) creative participation in the literary arts and ego identity. Holistic arts participation demonstrated a significantly positive relationship with flourishing. A path analysis showed that flow experience and aesthetic emotions served as mediators in the mechanism through which holistic arts participation affected flourishing, with a chained mediation effect from flow experience to ego identity. This study confirms that arts participation is an effective pathway for individual flourishing and that more diverse and profound engagement in the arts can lead to sustained and widespread happiness.
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Radulescu, Raluca L. « Introduction : Performing Emotions in the Arthurian World ». Arthuriana 29, no 4 (2019) : 3–7. http://dx.doi.org/10.1353/art.2019.0038.

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Hanich, Julian. « How Many Emotions Does Film Studies Need ? » Projections 15, no 2 (1 juin 2021) : 91–115. http://dx.doi.org/10.3167/proj.2021.150204.

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A look at current emotion research in film studies, a field that has been thriving for over three decades, reveals three limitations: (1) Film scholars concentrate strongly on a restricted set of garden-variety emotions—some emotions are therefore neglected. (2) Their understanding of standard emotions is often too monolithic—some subtypes of these emotions are consequently overlooked. (3) The range of existing emotion terms does not seem fine-grained enough to cover the wide range of affective experiences viewers undergo when watching films—a number of emotions might thus be missed. Against this background, the article proposes at least four benefits of introducing a more granular emotion lexicon in film studies. As a remedy, the article suggests paying closer attention to the subjective-experience component of emotions. Here the descriptive method of phenomenology—including its particular subfield phenomenology of emotions—might have useful things to tell film scholars.
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Brand, Alice G., et John Chibnall. « The Emotions of Apprentice Poets ». Empirical Studies of the Arts 7, no 1 (janvier 1989) : 45–49. http://dx.doi.org/10.2190/kmm8-yv9t-x53b-u4w7.

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Nineteen college poets completed a twenty-item check list that asked them how they felt about writing in general as well as before, at a pause, and after seven poetry writing sessions. The intensity with which they experienced positive, negative passive, and negative active emotions was assessed as was the frequency with which those emotions were experienced when writing in general. Results indicated that the positive emotions intensified during writing. Instructor-rated skilled poets experienced more positive emotions than their unskilled counterparts. But poets rating themselves as unskilled felt both more positive and negative active when writing than their skilled counterparts. Student poets unaccustomed to writing on their own experienced more intense emotions across the writing episodes than those with more years. Free writing was associated with more intense anxiety than structured poetry exercises. The rank orders of the emotion items suggested more emotional stability for poetry generated in an academic setting than generated at home.
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Thèses sur le sujet "Emotions in the performing arts"

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Brundage, Kimberly A. « Understanding the Role of Emotions and Social Influences in Charitable Giving Decisions ». University of Akron / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=akron1417865883.

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Woods, Belinda Jane. « Ritual perspectives : an investigation into the epistemology of performance / ». Connect to thesis, 2010. http://repository.unimelb.edu.au/10187/7116.

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This dissertation takes the form of an inter-subjective investigation into the ritual of performance, considering its function in terms of community engagement and its place in contemporary society. Ritual is placed in a secular context in which music is performed through the development of individual artistic expression, yet presented in a way that engages the audience as active participants. In this way audience and performer are united in experiencing the affect of music upon the emotions and the mind.
The views of art theorists, historians and critics, anthropologists, musicologists and arts practitioners, are held in the light of the author’s creative output through which a range of questions emerge regarding the cultivation of artistic identity, the artist’s role in the refinement of cultural expression, the relevance of live performance in the digital age, the transformational qualities of artistic practice upon the social and intellectual evolution of humanity, and the value of new musical language.
Chapter One examines the relationship between audience and musician from a performer’s perspective, in relation to Milton Babbitt’s article, Who Cares if You Listen? The connection between music performance and ritual practice and the possibility that artistic expression can actively engage audience receptivity is discussed in Chapter Two. Chapter Three contemplates the philosophical stance of the Art for Art’s Sake movement, that art exists in its own right without reference to the emotive experiences of humanity. Topics such as formal structure, the absence or presence of ethical content, the concept of aesthetic emotion and self objectivity, are examined alongside discussions of perception and consciousness. Chapter Four argues that performance, as ritual ceremony, becomes a porous boundary between lived and dream-like experience, through which the audience may pass to experience art on a profound level. The shared gesture of performer and audience becomes a life-enriching act that in turn nourishes all of society.
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Smith, Jacqueline. « Emotional well-being in children and adolescents attending specialist schools for the performing arts ». Thesis, University College London (University of London), 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.264169.

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Rowe, Katherine. « Childhood Development : How the Fine and Performing Arts Enhance Neurological, Social, and Academic Traits ». Digital Commons @ East Tennessee State University, 2018. https://dc.etsu.edu/honors/464.

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Abstract Childhood development has always been a major topic when studying psychology and biology. This makes sense because the brain develops from the time a child is conceived to the time that child has reached around the age of twenty-seven. Doctors, psychologists, and sociologists look at numerous things when studying childhood development. However, how common is it for researchers to study how the fine and performing arts affect childhood development? Sociologists tend to be extremely open and mindful of all aspects of things such as culture, sexuality, religion, and even age. By taking a sociological standpoint when studying the arts and studying childhood development, society is able to make connections between the two that leads to better understanding of a child's development socially, mentally, and academically.
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Pietraroia, Regina. « The Effects of Dance Education on the Emotional Intelligence of Underserved Students ». University of Akron / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=akron1321294319.

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Pandolfi, de Rinaldis Gianna. « Fighting for Health : Theatre of the Oppressed as a Therapeutic Technique that Explores Changes in the Emotional State of Cancer Patients and Survivors ». The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1312437259.

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Albrecht, Joshua David. « Affective Analysis of Music Using the Progressive Exposure Method : The Influence of Bottom-Up Features on Perceived Musical Affect ». The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1338310010.

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Diaz, Raymond. « Primo Passaggio : Measures Associated with Different Interpretations Sung by an Elite Soprano Performer ». Bowling Green State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1522530897483835.

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Schindeler, Marda. « Alberta performing arts policy ». Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0006/MQ38440.pdf.

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Schindeler, Marda, et University of Lethbridge Faculty of Arts and Science. « Alberta performing arts policy ». Thesis, Lethbridge, Alta. : University of Lethbridge, Faculty of Arts and Science, 1998, 1998. http://hdl.handle.net/10133/77.

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Alberta's first arts legislation, the Cultural Development Act, was passed in 1946. It was followed by numerous policy initiatives to support the arts, including creation of facilities for training of artists, development of agencies and agreements to deal with arts funding, enactment of regulations to guide arts institutions, and creation of various Departmental structures depending on organizational location of this policy sector. The thesis examines the historical evolution of performing arts policy in Alberta from 1905 to 1997 to identify government activities, shifts in policy-making, and methods of implementation. The study utilizes Paul Sabatier's advocacy coalition approach, which treats public policy as determined by the dynamics of the advocacy coalition within a policy sector and the manner in which external factors and system parameters steer policy development. This study concludes that Alberta performing arts policy has largely developed within the context of meta public policies emphasizing economic development and provincial statebuilding.
iii, 97 leaves : ill. ; 28 cm.
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Livres sur le sujet "Emotions in the performing arts"

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Renate, Zylla, et Internationale Filmfestspiele Berlin, dir. Blicke, Begegnungen, Berührungen : 25 Jahre Kinderfilmfest 1978-2002 = Moments, meetings, emotions. Berlin : Jovis, 2002.

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Garland, Leah. Performing autobiography in U.S. Latina theater : Emotions that matter. New York : P. Lang, 2005.

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1969-, Brütsch Matthias, dir. Kinogefühle : Emotionalität und Film. Marburg : Schüren, 2005.

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Garland, Leah. Performing Identity : Cherríe Moraga, Carmelita Tropicana, and Não Bustamante. New York : P. Lang, 2005.

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Garland, Leah. Performing Identity : Cherríe Moraga, Carmelita Tropicana, and Não Bustamante. New York : P. Lang, 2005.

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Hill, Wes. Speech Acts : Richard Grayson and Matt Mullican. Broadway : UTS ePRESS, 2017.

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Jarzebowski, Claudia, et Anne Kwaschik, dir. Performing Emotions. Göttingen : V&R unipress, 2021. http://dx.doi.org/10.14220/9783862349609.

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Mason, Antony. Performing arts. Broomall, Pa : Mason Crest, 2003.

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Seupel, Celia W. Performing arts. New York, NY : Ferguson, 2010.

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Fadlu-Deen, Kitty. Performing arts. Freetown : People's Education Association of Sierra Leone, 1995.

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Chapitres de livres sur le sujet "Emotions in the performing arts"

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Furnham, Adrian. « Emotional Intelligence, Personality Disorders and the Performing Arts ». Dans Psychotherapy, Literature and the Visual and Performing Arts, 219–35. Cham : Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-75423-9_13.

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Maddox, Alan. « Performing emotions ». Dans Sources for the History of Emotions, 127–42. Milton Park, Abingdon, Oxon ; New York, NY : Routledge, 2020. | Series : Routledge guides to using historical sources : Routledge, 2020. http://dx.doi.org/10.4324/9780429291685-11.

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Kwaschik, Anne. « Folter in der Republik ? Gewalt, rechtsstaatliche Ordnung und »emotionale Navigation« in der Auseinandersetzung liberaler Demokratien mit dem Terrorismus ». Dans Performing Emotions, 283–306. Göttingen : V&R unipress, 2021. http://dx.doi.org/10.14220/9783862349609.283.

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Baumol, William J. « Performing Arts ». Dans The World of Economics, 544–48. London : Palgrave Macmillan UK, 1991. http://dx.doi.org/10.1007/978-1-349-21315-3_72.

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Baumol, William J. « Performing Arts ». Dans The New Palgrave Dictionary of Economics, 1–4. London : Palgrave Macmillan UK, 1987. http://dx.doi.org/10.1057/978-1-349-95121-5_1706-1.

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Baumol, William J. « Performing Arts ». Dans The New Palgrave Dictionary of Economics, 10203–6. London : Palgrave Macmillan UK, 2018. http://dx.doi.org/10.1057/978-1-349-95189-5_1706.

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Runco, Mark A. « Performing arts. » Dans Encyclopedia of psychology, Vol. 6., 97–100. Washington : American Psychological Association, 2000. http://dx.doi.org/10.1037/10521-034.

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McIntyre, Phillip, Susan Kerrigan, Janet Fulton, Evelyn King et Claire Williams. « Performing Arts ». Dans Palgrave Studies in Creativity and Culture, 155–82. Cham : Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-45972-6_6.

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Giaretta, David. « Contemporary Performing Arts TestbedTestbed Contemporary Performing Arts Testbed ». Dans Advanced Digital Preservation, 407–28. Berlin, Heidelberg : Springer Berlin Heidelberg, 2011. http://dx.doi.org/10.1007/978-3-642-16809-3_22.

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Frey, Bruno S. « The Performing Arts ». Dans Economics of Art and Culture, 53–61. Cham : Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-15748-7_7.

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Actes de conférences sur le sujet "Emotions in the performing arts"

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TOMUȘ, Ionuț. « General Considerations on Performing Poetry in the Current Performing Arts Context ». Dans The International Conference of Doctoral Schools “George Enescu” National University of Arts Iaşi, Romania. Artes Publishing House UNAGE Iasi, 2023. http://dx.doi.org/10.35218/icds-2023-0012.

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The contemporary theatre landscape seems to have strayed away from the feelings specific to poetry and to reciting it in front of an audience. The topics preferred by theatrical productions now, at the beginning of the XXIst Century, are strongly connected to the social realities one encounters on a daily basis. Certainly, it is reasonable for things to be this way, as theatre depends on firmly anchoring itself in reality, and the means of expression and of conveying emotion have, now, particularities that no one would have thought of fifty years ago. The present study intends to bring performance poetry back into discussion, as a type of artistic expression that has very well contoured specific elements, but that does not benefit from addressing broad audiences anymore, unfortunately
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Bertoncini, Massimo, et Irene Buonazia. « EMOTIONAL INTERFACES IN PERFORMING ARTS : THE CALLAS PROJECT ». Dans Electronic Visualisation and the Arts (EVA 2008). BCS Learning & Development, 2008. http://dx.doi.org/10.14236/ewic/eva2008.3.

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Zhao, Sicheng, Guiguang Ding, Qingming Huang, Tat-Seng Chua, Björn W. Schuller et Kurt Keutzer. « Affective Image Content Analysis : A Comprehensive Survey ». Dans Twenty-Seventh International Joint Conference on Artificial Intelligence {IJCAI-18}. California : International Joint Conferences on Artificial Intelligence Organization, 2018. http://dx.doi.org/10.24963/ijcai.2018/780.

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Images can convey rich semantics and induce strong emotions in viewers. Recently, with the explosive growth of visual data, extensive research efforts have been dedicated to affective image content analysis (AICA). In this paper, we review the state-of-the-art methods comprehensively with respect to two main challenges -- affective gap and perception subjectivity. We begin with an introduction to the key emotion representation models that have been widely employed in AICA. Available existing datasets for performing evaluation are briefly described. We then summarize and compare the representative approaches on emotion feature extraction, personalized emotion prediction, and emotion distribution learning. Finally, we discuss some future research directions.
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Pirjo, Suvilehto. « “Puppetry and Opera Are Striking.” Students’ Experiences of Collaboration and Curiosity in Puppetry Opera as a Case Study ». Dans 2nd International Conference on Advanced Research in Education. Acavent, 2019. http://dx.doi.org/10.33422/2nd.educationconf.2019.11.794.

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This paper will focus on the possibilities of puppetry and opera in early childhood education studies (ECE), and among children in day care in a class of twenty 4−5-year-olds. The research centres around 200 university students in the middle of a project on opera and puppetry in their ECE programme. Opera is about strong emotions (see Trevarthen 2012, 263), and puppetry is a vehicle to make feelings visible (Lintunen, 2009, Majaron 2012, 11, Scheel, 2012). Puppetry and opera can be used in collaboration, and they are combined in this ECE programme as a part of the university studies in drama and literary arts. A method called Pritney has been created to realize the project. The theoretical background consists of puppetry and literary arts. The paper will present some findings from cases in which puppetry and opera have been used experimentally with ECE students, and subsequently with kindergarten children. There is a need for collaborative encounters during the processes of puppetry and opera. Based on the observations and remarks of university students doing their puppetry and opera project, this paper considers the value of conveying puppetry and opera to a child audience as a stimulation for curiosity and emotions. All this reflection is followed by the examples of practice in ECE studies. Performing opera with puppets is beneficial. In summary, the artistic experiments created by puppetry and opera are valuable in transferring cultural heritage and creating aesthetic and pedagogical moments. There is also a short consideration of a project called “Rinnalla−Hand in Hand” (2018−2020) funded by Finnish ministry of education, in which the Pritney method is further developed (see also Suvilehto 2019).
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Alvarez-Jimenez, Alberto, Karen Barbour, Rodrigo Hill, Xavier Meade et Declan Patrick. « Solastalgia : conflict and the fabric of life. Transdisciplinary creative practice research approaches. » Dans LINK 2023. Tuwhera Open Access, 2023. http://dx.doi.org/10.24135/link2022.v4i1.201.

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The focus of this keynote presentation is to explore the value of transdisciplinary and creative practice research approaches to address complex concepts and principles. One of the outputs of this research was Solastalgia: conflict and the fabric of life, a gallery installation exhibited at Ramp Gallery in August 2023. This collaboration began with conversations between researchers in law, and visual and performing arts, in relation to international humanitarian law, specifically the principles of distinction and proportionality. As the research progressed, the pivot point became the investigation of the concept of solastalgia – the civilian experience of pain and distress caused by destruction of home and home environments. In the broadest sense, all research involves the researchers’ embodiment and especially so in arts-based and creative practice research. More specifically, using embodied research methods to gather and express complex nuanced understandings means paying attention to embodied experiences and their meanings in every moment of research. The work of movement/dance artists draws on heightened attention to sensory input, to proprioception and kinesthetic awareness, the thoughts and emotions in lived experiences in relationship with others and environments around us. In parallel, painting and lens-based approaches engage as methodological and curatorial strategies to immersive and sensorial bodily interpretations. Here responsive painting, photography, video of live and place-based performances were combined to bring nuanced insights into the many layers of the concepts and principles addressed. Bringing un-alike disciplinary knowledges into dialogue through embodied research, art practice and multi-media gallery installation, led to a variety of research iterations, including written, performed and exhibited outcomes. In sharing this keynote, researchers Alberto, Rodrigo, Karen, Declan and Xavier offer insights generated from engaging in transdisciplinary through creative practice research approaches. The research team will unpack and discuss creative practice processes, decisions and iterations as part of a complex methodological system that culminated in the curation of Solastalgia: conflict and the fabric of life as a multimedia gallery installation.
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Stolterman, Erik. « Session details : Performing arts ». Dans CHI '11 : CHI Conference on Human Factors in Computing Systems. New York, NY, USA : ACM, 2011. http://dx.doi.org/10.1145/3249024.

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Miklavcic, Jimmy. « Collaborative performing arts---InterPlay ». Dans the 2006 ACM/IEEE conference. New York, New York, USA : ACM Press, 2006. http://dx.doi.org/10.1145/1188455.1188783.

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Masunah, Juju, Trianti Nugraheni et Yudi Sukamayadi. « Building Performing Arts Community through Bandung Isola Performing Arts Festival (BIPAF) in Indonesia ». Dans Proceedings of the International Conference on Arts and Design Education (ICADE 2018). Paris, France : Atlantis Press, 2019. http://dx.doi.org/10.2991/icade-18.2019.39.

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Kallionpää, Maria. « Performing the Super Instrument : ». Dans Electronic Visualisation and the Arts. BCS Learning & Development, 2016. http://dx.doi.org/10.14236/ewic/eva2016.7.

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Pinto, João, Teresa Cardoso et Ana Soares. « Emotions to Scenes ». Dans ARTECH 2019 : 9th International Conference on Digital and Interactive Arts. New York, NY, USA : ACM, 2019. http://dx.doi.org/10.1145/3359852.3359867.

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Rapports d'organisations sur le sujet "Emotions in the performing arts"

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Wilkerson, A. M., T. C. Abell et E. Perrin T. LED Lighting in a Performing Arts Center. Office of Scientific and Technical Information (OSTI), juillet 2015. http://dx.doi.org/10.2172/1220538.

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Miller, N. J., S. M. Kaye, P. M. Coleman, A. M. Wilkerson, T. E. Perrin et G. P. Sullivan. LED Lighting in a Performing Arts Building. Office of Scientific and Technical Information (OSTI), juillet 2014. http://dx.doi.org/10.2172/1221092.

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Ozdil, Taner R., James Richards, Ryan Brown, Justin Earl et Dylan Stewart. AT&T Performing Arts Center : Sammons Park. Landscape Architecture Foundation, 2014. http://dx.doi.org/10.31353/cs0790.

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Rogers, Amanda. Cambodian Audience Engagement in the Performing Arts : Cambodian Living Arts 2022 Cultural Season. Swansea University, novembre 2023. http://dx.doi.org/10.23889/sureport.65084.

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Project Report There is growing research on arts audiences - particularly regarding theatre and dance (Sedgman 2019; Walmsley 2019; Reason et al 2022). However, much of this work remains centred on the ‘Global North’ and there is little published research on arts audiences in South East Asia in general, and Cambodia in particular. The exception to this is our previous report (Rogers et al 2021) which was the first time that research has examined audience composition, understanding and preferences for the performing arts in Phnom Penh. This research raised a bigger question around who the arts are for and highlighted that young people did not always understand what they were watching. The project discussed here builds on this previous work, as it sought to further understand the composition of audiences attending Cambodian performance events, examine their reactions, and consider how using simple forms of technology may promote audience engagement and understanding. The research used Cambodian Living Arts’ (CLA) 2022 Cultural Season of performances, workshops, and talks as a case study through which to experiment with this and other methodologies. The Cultural Season (titled Action Today: Consequences Tomorrow) was held in Phnom Penh and then toured across Cambodia, also giving the research the unique opportunity to find out more about arts audiences in the provinces. The findings provide insights into the level of knowledge and understanding of the arts among different audiences across Cambodia, their preferences in terms of types of arts consumed, and the choices surrounding their participation and involvement in the arts.
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Milesi Ferretti, Natascha, Michael A. Galler, Steven T. Bushby, Robert W. Leader, J. Michael Whitcomb et David W. Rush. Retro-commissioning a performing arts center using HVAC-Cx. Gaithersburg, MD : National Institute of Standards and Technology, février 2019. http://dx.doi.org/10.6028/nist.tn.2027.

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Miller, Naomi, Stan Kaye, Patricia Coleman, Andrea Wilkerson, Tess Perrin et Gregory Sullivan. LED Lighting in a Performing Arts Building at the University of Florida. Office of Scientific and Technical Information (OSTI), juillet 2014. http://dx.doi.org/10.2172/1165331.

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Aebischer, Pascale, Karen Gray, Kelsey Jacobson, Barbara Fuchs et Heidi Lucja Liedke. Pandemic Preparedness in the Live Performing Arts : Lessons to Learn from COVID-19. The British Academy, mars 2024. http://dx.doi.org/10.5871/panprep/9780856726873.001.

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Wilkerson, Andrea M., Thomas C. Abell et Tess E. Perrin. University of Maryland Wall Washer Retrofit - LED Modules Replace Halogen Lamps in a Performing Arts Center. Office of Scientific and Technical Information (OSTI), août 2015. http://dx.doi.org/10.2172/1349994.

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

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Ahmed AlGarf, Yasmine. From Self-Awareness to Purposeful Employment : Guiding Egyptian youth using arts-based learning. Oxfam IBIS, août 2021. http://dx.doi.org/10.21201/2021.7932.

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Alwan wa Awtar (A&A), a partner of the Youth Participation and Employment (YPE) programme, implements a youth programme supporting young people to shape their prospects through professional and soft skill development, safe learning space and non-formal education. A&A has learned important lessons throughout its journey. A safe learning environment, flexible learning techniques, visual and performing arts in education and participatory management are key approaches for successful youth programmes. During the COVID-19 period, many of the professional development programmes have been delivered online, which was a good example of adaptation to changing circumstances that ensured the sustainability and continued effectiveness of the programme.
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