Bibliographies thématiques / Live theater

Littérature scientifique sur le sujet « Live theater »

Auteur : Grafiati
Publié le 25 mai 2024

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Articles de revues sur le sujet "Live theater"

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Zehra, Shamail, Kiran Karamat et Niza Qureshi. « THEATRE IN THE DIGITAL AGE : CHALLENGES AND AUDIENCE VIEWING EXPERIENCES ». Pakistan Journal of Social Research 05, no 01 (4 mars 2023) : 609–16. http://dx.doi.org/10.52567/pjsr.v5i01.1384.

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A digital native audience may find it more difficult to be captivated by a theatrical performance in the age of technology, yet theater has evolved and survived every technological advancement. The popularity of the plays in Shakespeare's day appears to have been largely dependent on audience behavior, much as it was in the times of Aristophanes and Plautus. In our local Pakistani context, the study investigates whether theater can survive in the present digital media landscape and addresses the key elements that can affect a viewer's decision to see theater in a live setting. A good play, production, and performance are evaluated by audiences who are highly "theatre-literate. Despite the latest developments in technology, there are audiences who are essentially motivated by human interaction and insight, who yearn for the live experience, who appreciate being live in the room with the entertainer and that audience is the reason for the survival of theatre in a digital age. A survey method is utilized to collect data from 200 theater-savvy audiences in order to glean the most pertinent information and enhance the analysis of the information gathered. The results will demonstrate that regular theatergoers choose to attend theater live rather than for free online in order to experience a sense of relationship with the performers and other audience members. The majority of theatergoers said that attending live theater in an era of digital technology was still very much worthwhile. Because theater is a global cultural phenomenon that exists in all societies, the study is important on both a national and international level. Keywords: Theatre, Digital culture, Technology, Audience, Liveness, Brecht Theatre.
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Buckley, Jennifer. « Long “Live” Theater ». Theater 46, no 2 (2016) : 35–53. http://dx.doi.org/10.1215/01610775-3547659.

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Sprogøe, Charlotte. « Live Experiences in the Theater Gardens of Contemporary Art ». Peripeti 19, no 35 (1 février 2022) : 97–108. http://dx.doi.org/10.7146/peri.v19i35.130635.

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Theatre has been a model for curatorial experiments throughout the history of experimental exhibitions. This article will look into contemporary experiments with curating exhibition formats that come alive as virtual, ‘lucid dreams’ through the uses of theatrical tropes such as Narrator, Stage, Backdrop – and through the integration of affect, living matter, organic form and worldlike backdrops into the formats, as in the historic Theater Gardens.
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Gamaliel Paulus. « Penerimaan Teknologi Gawai dalam Menonton Pertunjukan Teater Virtual di Era Pandemi Covid 19 ». Jurnal Netnografi Komunikasi 1, no 1 (29 juillet 2022) : 31–37. http://dx.doi.org/10.59408/netnografi.v1i1.5.

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The COVID-19 pandemic that has hit Indonesia since March 2020, has had a bad impact not only on the economy and health fields, but also in various fields of life. One of those is theater performing arts. The social restrictions imposed by the government have resulted in many theater groups being unable to conduct theatrical performances. People should stay at home more and use various communication technologies to interact with each other. In order to keep the theater performing arts alive, theater workers took the initiative to organize virtual theater where audience can watch theater through their various devices. The experience of watching a virtual theater is certainly different from the experience of watching live in a theater building. This study wants to see the experience of theater fans when they have to watch the theater virtually. This research uses a descriptive qualitative approach with case study method focusing on d'Art Beat theater audiences through interviews and observations. The theory used in the interview with theater audiences is Technology Acceptance Model which looks at the audience's acceptance and experience in using gadget technology as a medium for watching theater compared to watching it live in a theater building. The temporary findings shows that the experience of watching theatrical art performances virtually cannot replace the satisfaction of watching it live. This is because basically theatrical art is a a stage drama performance which involves players on stage and audience watching directly in a theater building.
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Turchi, Laura B., Ann C. Christensen et Laura B. Turchi. « Teaching Shakespeare : Live Theater Matters ». English Journal 108, no 6 (1 juillet 2019) : 103–5. http://dx.doi.org/10.58680/ej201930217.

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Ahmadova, Gulkhara. « WORLDLY SIGNIFICANCE OF THEATERS : IREVAN STATE AZERBAIJAN DRAMA THEATER ». Scientific Journal of Polonia University 58, no 3 (1 septembre 2023) : 10–14. http://dx.doi.org/10.23856/5801.

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Historically and even now, the literary and cultural environment of Azerbaijan is known both in the East and in the West. As a result of the severe tragedies, deportations, and genocides inflicted on the people of Azerbaijan, scientific and educational institutions, state institutions, museums, natural monuments, and cultural centers created in our country have suffered as much as our people. Theaters were also forced to live the fate of refugees. Today Shusha Musical Drama Theater, Aghdam State Drama Theater, Fuzili State Drama Theater continue their activities in the field of refugees. All three theaters, which have a great tradition of Armenian influence, have undoubtedly struck a blow. The annals of the Theater, which went through a tumultuous journey and was repeatedly subjected to Armenian vandalism, is a part of the historical destiny of our compatriots in the ancient lands of Azerbaijan. The article discussed the history, activity, and post-deportation activities of the Yerevan State Azerbaijan Drama Theater in exchange for all these processes. At the same time, attention was drawn here to the current situation of the Iravan State Azerbaijan Drama Theater and the works in the theater's repertoire. It was emphasized that the theater, which went through a difficult and turbulent path, goes on tours today, stages new plays, and gives successful performances. The article is dedicated to the ongoing processes related to the Yerevan State Azerbaijan Drama Theater.
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Gontarski, Stanley. « The theater is always dying ». Acta Universitatis Lodziensis. Folia Litteraria Polonica 59, no 4 (30 décembre 2020) : 191–209. http://dx.doi.org/10.18778/1505-9057.59.11.

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The Theater Is always Dying traces the resilience of live theatrical performance in the face of competing performative forms like cinema, television and contemporary streaming services on personal, hand-held devices and focuses on theater’s ability to continue as a significant cultural, community and intellectual force in the face of such competition. To echo Beckett, we might suggest, then, that theater may be at its best at its dying since its extended demise seems self-regenerating. Whether or not you “go out of the theatre more human than when you went in”, as Ariane Mnouchkin suggests, or whether you’ve had a sense that you’ve been part of, participated in a community ritual, a Dionysia, or whether or not you’ve felt that you’ve been affected by a performative, an embodied intellectual and emotional human experience may determine how you judge the state of contemporary theater. You may not always know the answer to those questions immediately after the theatrical encounter, or ever deliberately or consciously, but something, nonetheless, may have been taking its course. You may emerge “more human than when you went in”.
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Dewi, Irma Kusuma, et Farid Farid. « Strategi Komunikasi Pemasaran Radjawali Semarang Cultural Center (RSCC) di Masa Pandemi ». Kiwari 2, no 4 (5 décembre 2023) : 578–83. http://dx.doi.org/10.24912/ki.v2i4.27229.

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The Covid-19 pandemic, which has spread to several countries, finally entered and attacked Indonesia in March 2020. The Government's Policy to Enforce Restrictions on Community Activities (PPKM) has made the Radjawali Semarang Cultural Center (RSCC) an art building in The city of Semarang is not free in raising its name. In an increasingly sophisticated and advanced life like today, social media is able to become a place for activities that cannot be carried out during the Covid-19 pandemic. So a Live in Theater event was created which is a collaborative program between building providers, namely the Radjawali Semarang Cultural Center (RSCC) and artists, to produce a work of art that is shown via Youtube, by exploring all the facilities owned by the RSCC. The purpose of this research is to find out the marketing communication strategy of the Radjawali Semarang Cultural Center (RSCC) through live in theater activities during the Covid-19 pandemic. In this study using a qualitative approach to the case study method. The research subject is the Radjawali Semarang Cultural Center (RSCC), and the research object is marketing communication strategies through Live in Theater activities on social media. Data collection is done by means of interviews, observation, and documentation. By utilizing and applying aspects of new media theory, the Radjawali Semarang Cultural Center (RSCC) is able to achieve marketing communication objectives, namely informing, persuading and reminding. Pandemi Covid-19 yang sudah menyebar ke beberapa negara, akhirnya masuk dan menyerang Indonesia pada bulan Maret 2020. Kebijakan Pemberlakuan Pembatasan Kegiatan Masyarakat (PPKM) yang di terbitkan oleh pemerintah, semakin membuat Radjawali Semarang Cultural Center (RSCC) yang merupakan sebuah gedung kesenian di Kota Semarang tidak leluasa dalam mengibarkan namanya. Di kehidupan yang semakin canggih dan maju seperti saat ini, media sosial mampu menjadi wadah kegiatan yang tidak bisa dilakukan selama dalam masa pandemi Covid-19. Maka dibuatlah acara Live in Theatre yang merupakan program kolaborasi antara penyedia gedung, yaitu Radjawali Semarang Cultural Center (RSCC) dengan para seniman, untuk menghasilkan sebuah karya seni yang dipertunjukkan melalui Youtube, dengan mengeksplore segala fasilitas yang dimiliki oleh RSCC. Tujuan dilakukannya penelitian ini adalah untuk mengetahui strategi komunikasi pemasaran Radjawali Semarang Cultural Center (RSCC) melalui kegiatan live in theatre pada masa pandemi Covid-19. Dalam penelitian ini menggunakan pendekatan kualitatif dengan metode studi kasus. Subjek penelitiannya adalah Radjawali Semarang Cultural Center (RSCC), dan objek penelitiannya ialah strategi komunikasi pemasaran melalui kegiatan Live in Theatre di media sosial. Pengumpulan data dilakukan dengan cara wawancara, observasi, dan dokumentasi. Dengan memanfaatkan dan menerapkan aspek-aspek dalam teori new media, Radjawali Semarang Cultural Center (RSCC) mampu mencapai tujuan komunikasi pemasaran, yaitu informing, persuading, dan reminding.
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Palmer, David. « Miller’s Food for Thought at Food For Thought Productions : A Talk with Susan Charlotte, 15 July 2021 ». Arthur Miller Journal 17, no 1 (2022) : 39–43. http://dx.doi.org/10.5325/arthmillj.17.1.0039.

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Norman, Sally Jane. « Theater and ALife Art : Modeling Open and Closed Systems ». Artificial Life 21, no 3 (août 2015) : 344–53. http://dx.doi.org/10.1162/artl_a_00175.

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The live art of theater remains curiously missing from ALife art history, despite the fact that its very existence is poised on the cusp of the living and the artificial, and on the modeling of life as artefact—what can be called the containment-versus-continuity dilemma. How far one seeks to affirm autonomy of the creative artwork or, in contrast, how far one seeks to affirm its continuity with its supposed real-life contexts is a question that has forever haunted theater, and that has naturally come to haunt ALife and ALife arts. Investigation of the boundary separating observers from modeled systems is as core to research into the live art of theater as to ALife research. This brief article seeks to open up discussion on links between ALife, ALife art, and the live art of theater, through key thematic threads that traverse these domains: their modeling of universes, the open or closed nature of the resultant modeled systems, and their implications with respect to observers, definitions, and instantiations of life regarding non-life or death as well as attributions of liveness to emergent synthetic biology and metamaterials.
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Thèses sur le sujet "Live theater"

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Shrader, Angela D. « A Comparison of Audience Response to Live and Recorded Theatre Performances ». Marietta College Honors Theses / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=marhonors1430070781.

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Torpey, Peter Alexander. « Disembodied performance : abstraction of representation in live theater ». Thesis, Massachusetts Institute of Technology, 2009. http://hdl.handle.net/1721.1/55198.

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Thesis (S.M.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2009.
Cataloged from PDF version of thesis.
Includes bibliographical references (p. 151-158).
Early in Tod Machover's opera Death and the Powers, the main character, Simon Powers, is subsumed into a technological environment of his own creation. The theatrical set comes alive in the form of robotic, visual, and sonic elements that allow the actor to extend his range and influence across the stage in unique and dynamic ways. The environment must compellingly assume the behavior and expression of the absent Simon. This thesis presents a new approach called Disembodied Performance that adapts ideas from affective psychology, cognitive science, and the theatrical tradition to create a framework for thinking about the translation of stage presence. An implementation of a system informed by this methodology is demonstrated. In order to distill the essence of this character, we recover performance parameters in real-time from physiological sensors, voice, and vision systems. This system allows the offstage actor to express emotion and interact with others onstage. The Disembodied Performance approach takes a new direction in augmented performance by employing a nonrepresentational abstraction of a human presence that fully translates a character into an environment. The technique and theory presented also have broad-reaching applications outside of theater for personal expression, telepresence, and storytelling.
Peter Alexander Torpey.
S.M.
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Miller, Michael R. M. Eng Massachusetts Institute of Technology. « Show design and control system for live theater ». Thesis, Massachusetts Institute of Technology, 2010. http://hdl.handle.net/1721.1/65324.

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Thesis (M. Eng.)--Massachusetts Institute of Technology, Dept. of Electrical Engineering and Computer Science, 2010.
Cataloged from PDF version of thesis.
Includes bibliographical references (p. 75).
Tod Machover's upcoming opera Death and the Powers calls for an unprecedented integration of technology and theater. These uses of technology are at the heart of the show and include a Greek chorus of nine "Operabots"; a novel surround sound and audio processing architecture; a massive string instrument called "The Chandelier"; three 14' tall robotic stage fixtures with displays called "The Walls"; and more. Each component has its own unique challenges, but all share the need for a comprehensive show design and control system. A show design and control system was built for this specific purpose and will be used for Death and the Powers. The software affords real-time control over the robotic elements in the opera alongside predetermined, choreographed routines.
by Michael R. Miller.
M.Eng.
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Kastel, Thiemo [Verfasser]. « Live Performances and Broadcast Productions with Augmented Reality / Thiemo Kastel ». Gernsbach : Prof.(FH) Dr. Thiemo Kastel, kastel media solutions, 2017. http://d-nb.info/1139666266/34.

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Zachry, Corinne. « CREATING PUPPETS THAT LIVE : AN EXPLORATION OF THEORIES AND TECHNIQUES IN MODERN PUPPETRY ». Ohio University Honors Tutorial College / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1366906448.

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Chau-Dang, Tiffanie T. « Using Optical Illusions to Enhance Projection Design for Live Performance ». Kent State University Honors College / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors1588376296563101.

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Thomas, Kenneth. « Who, What, Why : A Self-Reflection on the Creation and Practice of Audition Technique in the Business of Live Theatre ». Digital Commons @ East Tennessee State University, 2021. https://dc.etsu.edu/honors/633.

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Gray, Leslie. « A Home You Can’t Live in : Performances of the Black Body and Domestic Space in Contemporary Drama ». Thesis, University of Oregon, 2015. http://hdl.handle.net/1794/19318.

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Theatre is often an invitation to enter the black home subject to its violations and crisis; this thesis repositions the black home and body in contemporary American and British theatre as constructed by the narratives and transgressions of the moment they are in. I examine Suzan-Lori Parks’ In the Blood, Katori Hall’s The Mountaintop and Sabrina Mahfouz’s Chef as sites of memory, nostalgia, and trauma where what is considered “home” resists the safety of concrete walls and a white picket fence. Instead, I argue the playwrights suggest, with their black female protagonists, that home transcends the material. Parks, Hall, and Mahfouz each meditate on what it means for black women to dwell in unsafe places, the home you don’t want to return to. This is significant in that it encourages a respect for the lived experiences and cultural knowledge acquired in autonomous homes and bodies of black women whose narratives have often been made invisible.
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Vandorpe, Dries. « The Archaeology of Liveness ». The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1430786242.

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Faigin, David A. « COMPARING LIVE AND VIDEO-TAPED THEATRICAL PERFORMANCE IN CHANGING STIGMATIZING ATTITUDES TOWARDS PEOPLE WITH SERIOUS MENTAL ILLNESS ». Bowling Green State University / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1141964034.

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Livres sur le sujet "Live theater"

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Milwaukee's live theater. Charleston, S.C : Arcadia Publishing, 2009.

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Milwaukee's live theater. Charleston, SC : Arcadia Publishing, 2009.

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Stages for tomorrow : Housing, funding, and marketing live performances. Oxford : Focal Press, 1998.

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Avant-garde performance : Live events and electronic technologies. Houndmills, Basingstoke, Hampshire : Palgrave Macmillan, 2005.

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Coveney, Michael. The aisle is full of noises : A vivisection of the live theatre. London : Nick Hern Books, 1994.

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Little, Jean. Live on Broadway : A treasury of theater from A to Z. Maplewood, NJ : Blue Apple Books, 2009.

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Associates, Nicholas Clark and. Study of the professional live theatre industry in Victoria for Victorian Ministry for the Arts. Melbourne, Vic : The Associates, 1985.

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Applying performance : Live art, socially engaged theatre and affective practice. New York : Palgrave Macmillan, 2012.

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Nick, Kaye, dir. Performing presence : Between the live and the simulated. Manchester, UK : Manchester University Press, 2011.

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Maaike, Bleeker, dir. Anatomy live : Performance and the operating theatre. [Amsterdam] : Amsterdam University Press, 2008.

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Chapitres de livres sur le sujet "Live theater"

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Ibbotson, Piers. « Live Communication : The Business of Theater ». Dans The Illusion of Leadership, 85–93. London : Palgrave Macmillan UK, 2008. http://dx.doi.org/10.1057/9780230202009_10.

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Liedke, Heidi Lucja. « Transmedial experience in nineteenth-century live theater broadcasting ». Dans Transmedia Practices in the Long Nineteenth Century, 62–78. London : Routledge, 2022. http://dx.doi.org/10.4324/9781003222941-5.

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Cheok, Adrian David. « Interactive Theater Experience with 3D Live Captured Actors and Spatial Sound ». Dans Art and Technology of Entertainment Computing and Communication, 59–82. London : Springer London, 2010. http://dx.doi.org/10.1007/978-1-84996-137-0_3.

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Vander Wilt, Dirk, et Morwaread Mary Farbood. « Deploying Prerecorded Audio Description for Musical Theater Using Live Performance Tracking ». Dans Lecture Notes in Computer Science, 181–89. Cham : Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-70210-6_13.

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Smith, Paul Julian. « Two Media Crossovers : Cinema and Television for Day of the Dead ; Live Theater Versions of TV Shows ». Dans Multiplatform Media in Mexico, 127–49. Cham : Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-17539-9_8.

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Connock, Alex. « Theatre ». Dans Media Management and Live Experience, 165–92. London : Routledge, 2024. http://dx.doi.org/10.4324/9781003435167-11.

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Kyung-Sung, Lee. « Practice of Theatre—Rehearsal of Life ». Dans Theater, 225–42. Bielefeld, Germany : transcript Verlag, 2022. http://dx.doi.org/10.14361/9783839459973-014.

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Moody, James L., et Jeff Ravitz. « Theatre Production ». Dans Lighting for Televised Live Events, 150–52. First edition. | New York, NY : Routledge, 2021. : Routledge, 2021. http://dx.doi.org/10.4324/9780429288982-23.

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Dundjerović, Aleksandar Sasha. « Live Theatre on Zoom ». Dans Live Digital Theatre, 158–80. London : Routledge, 2023. http://dx.doi.org/10.4324/9781003275893-10.

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Kulick, Brian. « Borges and theater ». Dans The Secret Life of Theater, 15–16. Abingdon, Oxon ; New York, NY : Routledge, 2019. : Routledge, 2019. http://dx.doi.org/10.4324/9780429445255-5.

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Actes de conférences sur le sujet "Live theater"

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Wilt, Dirk Vander, et Morwaread Mary Farbood. « Automating Audio Description for Live Theater ». Dans AM'19 : Audio Mostly. New York, NY, USA : ACM, 2019. http://dx.doi.org/10.1145/3356590.3356603.

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Frank, Whitton Anne, et Brendan Andolsek Bradley. « Creating Intimacy and Connection Through Live Theater in VR ». Dans SA '22 : SIGGRAPH Asia 2022 Real-Time Live ! New York, NY, USA : ACM, 2022. http://dx.doi.org/10.1145/3550453.3586017.

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Tsoupikova, Daria, Jo Cattell, Andrew Johnson, Lance Long, Arthur Nishimoto et Sai Priya Jyothula. « Hummingbird : A Collaborative Live Theater and Virtual Reality Adventure ». Dans SIGGRAPH '22 : Special Interest Group on Computer Graphics and Interactive Techniques Conference. New York, NY, USA : ACM, 2022. http://dx.doi.org/10.1145/3532834.3536213.

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Santos, Maria Lucina Anonas De, et Magdalena De Leon. « Can Virtual Theater Fulfill the Function of Live Theater in COVID–19 for Tertiary Level Dance Program Stakeholders ? » Dans The Asian Conference on Arts and Humanities 2023. The International Academic Forum(IAFOR), 2023. http://dx.doi.org/10.22492/issn.2186-229x.2023.5.

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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 ». Dans 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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He, Ziyi, Xiao Yan et Hanxi Wang. « Necessity of Establishing the Stage Technical Standards for Outdoor Live Performance Theater ». Dans 2021 International Conference on Culture-oriented Science & Technology (ICCST). IEEE, 2021. http://dx.doi.org/10.1109/iccst53801.2021.00084.

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Yan, Xiao, et Hanxi Wang. « Comparison of Technical Systems between Outdoor Live Performance Stage and Indoor Theater Stage ». Dans 2021 International Conference on Culture-oriented Science & Technology (ICCST). IEEE, 2021. http://dx.doi.org/10.1109/iccst53801.2021.00059.

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Zeglin, Garth, Aaron Walsman, Laura Herlant, Zhaodong Zheng, Yuyang Guo, Michael C. Koval, Kevin Lenzo et al. « HERB's Sure Thing : A rapid drama system for rehearsing and performing live robot theater ». Dans 2014 IEEE Workshop on Advanced Robotics and its Social Impacts (ARSO). IEEE, 2014. http://dx.doi.org/10.1109/arso.2014.7020993.

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Vander Wilt, Dirk, et Morwaread Mary Farbood. « Syncing Pre-Recorded Audio Description to a Live Musical Theater Performance Using a Reference Audio Recording ». Dans ASSETS '19 : The 21st International ACM SIGACCESS Conference on Computers and Accessibility. New York, NY, USA : ACM, 2019. http://dx.doi.org/10.1145/3308561.3354624.

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Woodward, Jay, et Michelle Kwok. « CREATING A VIRTUAL STUDY ABROAD EXPERIENCE TO RUSSIA ». Dans International Conference on Education and New Developments. inScience Press, 2021. http://dx.doi.org/10.36315/2021end141.

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COVID-19 has drastically altered our world. Though travel is halted, global education does not have to stop. We used this time to reconceive the notion of study abroad and designed a study abroad program that could be facilitated virtually and enhanced with face-to-face classroom interaction. We were inspired to embark on this journey for several reasons. First, the realities of the pandemic create risks associated with international travel. Second, international experiences need to be more accessible–more students should be able to participate in global education, even if they do not have the means or ability to do so. We present our design considerations in building and implementing this virtual study abroad program. As part of the design, we partnered with VEXA (Virtual Experiences Abroad), a Moscow-based company that built the online interface and facilitated the interactions between our students and Russian citizens, including visits to a Russian Orthodox Church, the Bolshoi Ballet theater, and elementary and middle schools. We also brought elements of Russian culture to life through face-to-face experiences including a live cooking session with a Russian chef, discussions with a Russian Orthodox priest, and a ballet lesson with a company member of the Bolshoi theatre. These types of experiences facilitated group discussions and social interaction opportunities, crucial for establishing relationships. Overall, our main goal was to reconceive the traditional notion of study abroad while garnering results that would match the transformational gains that global education provides.
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Rapports d'organisations sur le sujet "Live theater"

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McIntyre, Phillip, Susan Kerrigan et Marion McCutcheon. Australian Cultural and Creative Activity : A Population and Hotspot Analysis : Albury-Wodonga. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.206966.

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Albury-Wodonga, situated in Wiradjuri country, sits astride the Murray River and has benefitted in many ways from its almost equidistance from Sydney and Melbourne. It has found strength in the earlier push for decentralisation begun in early 1970s. A number of State and Federal agencies have ensured middle class professionals now call this region home. Light industry is a feature of Wodonga while Albury maintains the traditions and culture of its former life as part of the agricultural squattocracy. Both Local Councils are keen to work cooperatively to ensure the region is an attractive place to live signing an historical partnership agreement. The region’s road, rail, increasing air links and now digital infrastructure, keep it closely connected to events elsewhere. At the same time its distance from the metropolitan centres has meant it has had to ensure that its creative and cultural life has been taken into its own hands. The establishment of the sophisticated Murray Art Museum Albury (MAMA) as well as the presence of the LibraryMuseum, Hothouse Theatre, Fruit Fly Circus, The Cube, Arts Space and the development of Gateway Island on the Murray River as a cultural hub, as well as the high profile activities of its energetic, entrepreneurial and internationally savvy locals running many small businesses, events and festivals, ensures Albury Wodonga has a creative heart to add to its rural and regional activities.
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Ilgenfritz, Pedro. Guide Me Without Touching My Hand : Reflections on the Dramaturgical Development of the Devised-theatre Show One by One. Unitec ePress, décembre 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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Tyson, Paul. Orchestrated Irrationality : Why It Exists and How It Might Be Resisted. Mέta | Centre for Postcapitalist Civilisation, mai 2022. http://dx.doi.org/10.55405/mwp13en.

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Orchestrated irrationality in our public discourse is produced by technologically enhanced and commercially purposed atomization and tribalism. Public discourse now leans away from a humane, free, and reasoned political rationality and towards self-interested, calculative, herd conformism. The bulls and bears of consumer society have largely displaced the civic logic of the liberal democratic pursuit of the common good. The power interests that govern global consumerism are enhanced by subordinating the common good ends of genuinely political life to the self-interested and profit driven dynamics of the market. Orchestrated irrationality in our public discourse makes politics into a meaningless theatre of incommensurate tribal interest narratives, which is a convenient distraction from the collaborative consolidation of market power and state control. This orchestrated irrationality can only be combatted by seeking to de-atomize citizens and de-tribalize the public square in order to recover the priority of political life over market and authoritarian power in our public discourse. That is, a postcapitalist civilization that is oriented to a genuinely political and universally moral rationality must replace the present global order. Once we can identify the problem and the direction of cure for orchestrated irrationality, we can then take steps towards a different civilizational life-world.
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Khomenko, Tetiana, et Yuriy Kolisnyk. Втрати української культури у російсько-українській війні : культурно-інформаційний спротив. Ivan Franko National University of Lviv, mars 2023. http://dx.doi.org/10.30970/vjo.2023.52-53.11749.

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The authors explored the activity of mass media and cultural organizations aimed at clarification of the current problematic issue – preservation of Ukrainian cultural heritage under the conditions of the full-scale invasion of Russia into Ukraine. The authors emphasize that occupants not only destroy historic buildings, i.e. material objects, but also steal art values, destroy library and archive funds; their actions are aimed at destruction of our spirituality, identity and history. It is pointed out that there are the main streams in the work of journalists, experts, and culture figures, namely: fixation of losses, propaganda of the Ukrainian culture in the world, expert evaluation of the restitution possibilities, and filling of the culture material with patriotic sense. The full-scale invasion of Russia into Ukraine on the 24th of February 2022 led to the numerous loss of life, ruination of the military, civil and infrastructure objects. But the state-aggressor destroys and robs our culture in this war. Since the beginning of the war mass media have been actively informing about the situation in the regions, which happened to be at the line of the Russian troops attack. The information was in particular about the fact that different educational establishments, libraries and their funds, museums with valuable collections, theatres, religious buildings and historic buildings had been ruined. To tell the truth the information was incomplete due to the limited opportunities to monitor the situation. However, later it has been systematized. The work of journalists and experts contributed to this since they stated the criminal acts of Russia, informing about the ruination facts of historic, sacral, cultural monuments, devastation of many museum collections, destruction of library and archive funds. Digitalization of the Russian war crimes against Ukrainian culture became one more important work aimed at preservation of the Ukrainian cultural heritage. It was done by means of interactive maps of the Ukrainian cultural losses and it enables documenting crimes of the occupant army and spreading this information at the international level. Key words: culture, cultural front, cultural losses, cultural values, cultural heritage, war, media.
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Study of Social Entrepreneurship and Innovation Ecosystems in the Latin American Pacific Alliance Countries : Case Study : La Tarumba, Peru. Inter-American Development Bank, juillet 2016. http://dx.doi.org/10.18235/0009335.

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This report sets out to present some of the highlights from a more in depth study carried out on social entrepreneurship and innovation ecosystems in Peru, presenting the case study of La Tarumba. La Tarumba trains young people in life-skills through theater, circus and music, to improve their employability, leadership skills self esteem, creativity and social inclusion.
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Theatre can bring research findings to life for a wide range of audiences. National Institute for Health Research, décembre 2020. http://dx.doi.org/10.3310/alert_43190.

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