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Littérature scientifique sur le sujet « Theatrica »

Auteur : Grafiati

Publié le 9 mars 2023

Mis à jour le 10 mars 2023

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Articles de revues sur le sujet "Theatrica"

Olson, Glending. « The Medieval Fortunes of ‘Theatrica’ ». Traditio 42 (1986) : 265–86. http://dx.doi.org/10.1017/s0362152900004098.

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Early in the twelfth century, Hugh of St. Victor in his Didascalicon divided philosophical knowledge into four areas: theoretical, practical (i.e., moral), mechanical, and logical. He further divided mechanical knowledge into seven arts, parallel to the liberal arts, giving last place to theatrica, which he defined briefly as ‘scientia ludorum.’ It proved to be the most controversial of his seven categories. Some twenty years ago W. Tatarkiewicz studied Hugh's idea, its sources, and its appearance in a few subsequent texts from the Middle Ages and Renaissance; later Nancy Howe added a reference from Petrarch. Since then, the concept of theatrics has seldom been treated in itself, although we now have substantially more evidence of its pervasiveness in medieval thinking, as a result of further scholarship on the Didascalicon and on the history of the mechanical arts. Drawing on these sources and on previously unreported material, this study attempts to describe in some detail the progress of theatrica during roughly the first three hundred years after its appearance in the works of Hugh. The medieval history of this idea does not tell us much about the theater, but it does tell us quite a lot about medieval attitudes toward play, entertainment, and performance, topics that learned circles did not often discuss extensively or dispassionately.

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Davis, Tracy C. « Laborers of the Nineteenth-Century Theater : The Economies of Gender and Industrial Organization ». Journal of British Studies 33, n^o 1 (janvier 1994) : 32–53. http://dx.doi.org/10.1086/386043.

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In the purview of theater history, as on the theatrical stage itself, performers' and writers' command on attention is almost complete. Ancient Greek gave a word to its mask builders (skeuopoio), but apart from distinct vocabulary, history leaves few traces of theatrical laborers. A glance through any number of theatrical books, periodicals, bibliographies, biographical guides, and encyclopedias reveals the predominance of performers in the public eye, though managers, directors, designers, and critics occasionally attract scholarly studies. Even among novels, journalism, and theatrical guidebooks—genres that venture behind the scenes—the personnel that dress, light, paint, and build shows are rarely present. Their identity and labor is marginalized in the annals because it is marginalized in the conceptualization of what is important in theater production. Susan Todd takes unusual measures to challenge this tradition by documenting the experience of women stage managers in the contemporary theater, but in the historical realm this has not been attempted. Writers devote attention to how the stage actually worked (how stage effects were achieved and how the creative chain of command functioned), but to date no one has examined the structures and traditions of backstage labor by asking basic questions about the sociopolitical organization of the work.Only in highly esoteric treatises or the lightest of literature do theatrica jewelers, armorers, weavers, hosiers, basket makers, shoemakers, furnishers, cosmeticians, perruquiers, costumiers, seamsters, dressers, property makers, carpenters, gas fitters, printers, or ticket takers usually appear. These are all specialized trades and occupations indispensable to the building and running of nineteenth-century theatrical entertainment.

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VARNEY, DENISE. « Caught in the Anthropocene : Theatres of Trees, Place and Politics ». Theatre Research International 47, n^o 1 (18 février 2022) : 7–27. http://dx.doi.org/10.1017/s030788332100047x.

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This article investigates live performance in the broad geo-historical context of the Anthropocene, a contested term in recent scholarship, but one that offers a breadth of focus on human relations with its coexistent non-human other. These interrelations are examined through a range of theatrical and non-theatrical genres and sites from the Australian parliament's coal theatrics to exemplary performances by Indigenous companies Bangarra Dance Theatre and Marrugeku. It sets the scene with a visit to the Curtain Tree in the rainforests of north Queensland, Australia, arguing that the vitality and display of its root system models a special kind of reciprocity between the performative elements of the environment and the environmental elements of theatre and performance. This is traced through recent short-run immersive works, Hanna Cormick's Mermaid (2020) and Melinda Hetzel and Company's Conservatory (2020), and a rereading of a canonical Australian drama, Summer of the Seventeenth Doll.

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Pertea, Alina, et Valentin Grecu. « Using Theatric Pedagogy To Develop Social And Emotional Skills In Order To Improve Employability Of Engineering Students ». ACTA Universitatis Cibiniensis 66, n^o 1 (1 juillet 2015) : 143–46. http://dx.doi.org/10.1515/aucts-2015-0043.

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Abstract This research is the result of intense concerns about the role of theater in society beyond the theater show, from the creative process of analysis and introspective psychological insight, to the side effects of theater as a form of expression of the individual, and reception, assimilation and processing of theatrical codes and messages. The paper focuses therefore on theatric pedagogy, the forming tools and the size of the theater, and its value as a means and as a didactic factor for personality stimulation and development, both in terms of form and content. To this end, there are presented both theoretical perspectives and an exploratory study, which aims to verify the applicability, usefulness and effectiveness of theatric pedagogy means as an additional training method to facilitate the integration of graduates in employment and a successful professional collaboration, in an industry mainly in the field of real profile

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Boje, David M., Grace Ann Rosile, Jillian Saylors et Rohny Saylors. « Using Storytelling Theatrics for Leadership Training ». Advances in Developing Human Resources 17, n^o 3 (28 mai 2015) : 348–62. http://dx.doi.org/10.1177/1523422315587899.

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The Problem How can leaders learn to use power in ways that minimize oppression and resistance, and instead are more liberating? As perceived oppression leads to resistance, leaders who are untrained in these power dynamics may enact oppressive behaviors and trigger resistance without awareness or intention to do so. The Solution This article describes a leadership training process we call storytelling theatrics. These storytelling theatrics formats explore power dynamics in multi-voiced scenarios that incorporate many perspectives. This method gives participants a voice in their own learning and creates actors instead of auditors. It brings hidden sources of oppression to center stage, to fully explore more liberating possibilities for both followers and leaders. Leaders can minimize repression and resistance if they understand, uncover, and confront these expressions of power. The Stakeholders Organizational leaders as well as their followers are stakeholders in this embodied theatrical training. This intervention creates benefit for both leaders and followers, because both are potentially oppressed by power dynamics.

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Gubina, Nina, et Elena Tagiltseva. « CRISIS OF CULTURAL IDENTITY IN THEATRE IN THE CONTEXT OF MAINSTREAMING OF PERFORMATIVITY AESTHETIC ». Proceedings of Altai State Academy of Culture and Arts, n^o 3 (2021) : 40–45. http://dx.doi.org/10.32340/2414-9101-2021-3-40-45.

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. Immediacy of the paper is related with strengthening of points of performative aesthetic in culture and art of last two decades. Accordingly to that, authors consider a conflict between two aesthetic paradigms of theatric culture: performative, on the one side, and psychological and realistic, on the other side. The researchers trace a correlation between appearance of a crisis in theatrical culture and transformation of cultural identity. Also, the paper clarifies a concept “cultural identity”, considers manifestations of crisis of cultural identity in theatre, reveals aesthetic values of two paradigms mentioned above, highlights related contradictions, mark perspectives in researching identification process in modern theatre.

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Mitchell, Tony. « Doppio : a Trilingual Touring Theatre for Australia ». New Theatre Quarterly 8, n^o 29 (février 1992) : 70–75. http://dx.doi.org/10.1017/s0266464x00006333.

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Doppio is a theatre company which uses three languages – English, Italian, and a synthetic migrant dialect it calls ‘Emigrante’ – to explore the conditions of the large community of Italian migrants in Australia. It works, too, in three different kinds of theatrical territory, all with an increasingly feminist slant – those of multicultural theatrein-education; of community theatre based in the Italian clubs of South Australia; and of documentary theatre, exploring the roots and the past of a previously marginalized social group. The company's work was seen in 1990 at the Leeds Festival of Youth Theatre, but its appeal is fast increasing beyond the confines of specialisms, ethnic or theatric, and being recognized in the ‘mainstream’ of Australian theatrical activity. Tony Mitchell – a regular contributor to NTQ, notably on the work of Dario Fo – who presently teaches in the Department of Theatre Studies in the University of Technology in Sydney, here provides an analytical introduction to the company's work, and follows this with an interview with one of its directors and co-founders, Teresa Crea.

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Boje, David M., Grace Ann Rosile, Rita A. Durant et John T. Luhman. « Enron Spectacles : A Critical Dramaturgical Analysis ». Organization Studies 25, n^o 5 (juin 2004) : 751–74. http://dx.doi.org/10.1177/0170840604042413.

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Enron shows us dramaturgy gone amuck. In this article, critical theory and postmodern theory are crossed to form a critical dramaturgyresulting in two main contributions. First, critical dramaturgy is differentiated from other forms of dramaturgy, showing how ‘spectacle’ is accomplished through a theatrical performance that legitimates and rationalizes, and casts the public in the role of passive spectators. Second, critical dramaturgy has important connections with public relations theory. While contemporary public relations is concerned with the building of relationships, critical dramaturgy looks at how corporate theatrical image management inhibits relationships by erecting the barrier of the metaphorical proscenium. The Enron scandal is viewed as the collapse of a corporate spectacle illusion into megaspectacle fragments. These fragments include the naming of Enron, the Valhalla Rogue Traders scandal, the Gas Bank, Greenmail, Cowboy Capitalism, the Skilling–Mark rivalry, and the Masters of the Universe theme. Intertextual analysis demonstrates how these fragments contribute to the ‘Greek Mega-tragedy’ of the Enron megaspectacle. The article integrates several corporate theatre processes relevant to understanding four types of spectacle: concentrated, diffused, integrated, and megaspectacle. The value of the critical dramaturgy conceptual work is to lift the romantic veil of spectacle theatrics to reveal the antenarrative fragments of stories marginalized and backgrounded.

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Rozzoni, Claudio. « Body Becoming Image : The Theatrical Window ». HORIZON. Studies in Phenomenology 4, n^o 1 (2015) : 114–23. http://dx.doi.org/10.18199/2226-5260-2015-4-1-114-123.

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Nyanda, J. « A Theatrical Reading of a Theatrical Life ». Shakespeare in Southern Africa 26, n^o 1 (14 octobre 2014) : 141. http://dx.doi.org/10.4314/sisa.v26i1.11.

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Thèses sur le sujet "Theatrica"

Dubreuil, Raphaëla Jane. « Theatrica and political action in Plutarch's Parallel Lives ». Thesis, University of Edinburgh, 2017. http://hdl.handle.net/1842/23432.

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This thesis explores Plutarch’s use of metaphors and similes of the theatre in order to represent, explore and criticise political action in his Parallel Lives. Most of the studies available on Plutarch’s use of the theatre have tended to address his understanding and employment of the tragic, that is what is defined as tragedy as a genre from the conventions of language, plot and characterisation. This approach belongs to the textual, literary aspect of theatrical production, the word of the writer, and the interpretation of the reader. Although interlinked with my study, this is not what my thesis examines. I am concerned with the performative aspect of the theatre. This envelops all the components which define the activity of the theatrical spectacle: the professionals involved in the production, from the sponsors, to the musicians and dancers, the actors and their performance, from its preparation to its presentation, the costumes, the props and the sets, the intention of the performance, the impact on and the reaction of the audience. Plutarch has two means of approaching the theatrical world. He draws on the reality of theatrical productions, showing an awareness of the technical demands involved in the creation of spectacle and drama. He also draws upon the tradition of theory and definitions of the theatre which had been laid down by philosophers and playwrights. But whether his understanding stems from a familiarity with theatrical productions or a reading of theoretical discourse, Plutarch’s deployments are consistent: they become a tool to assess morally the statesman or political body he is observing. While Plutarch’s judgement tends to be severe, he recognises the impact and effectiveness of histrionic politics. This thesis concentrates on three political structures: kingship, oratory and the relationship between statesman and assembly. Plutarch’s moral assessment is consistent, and yet he draws on different aspects and different theories to represent not only these different structures but also individual approaches to the office of statesman. While absolute monarchs tend to resort to staging, some put the emphasis on spectacle and the experience of the observer and others concentrate on their own person by styling themselves as actors. If some orators draw on techniques used by actors, they do not equally resort to the same methods but according to their character and origin, choose different aspects of the acting profession. Although several assemblies take place in the theatre, their histrionic behaviour depends on the statesman who influences them. While other studies have notes the theatrical quality of Plutarch’s Lives, this thesis offers the first in-depth analysis of the intricacy and richness of Plutarch’s understanding of theatre as a political tool. Other works have tended to put characterisation at the centre of Plutarch’s use of theatre. I propose, however, to focus on political action, revealing Plutarch’s attitude not only towards the spectacular, but also, and crucially, towards some of the most important political structures of antiquity.

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

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

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

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Van, Rooyen Stephanie. « The theatrics of negotiating identity ». Diss., University of Pretoria, 2016. http://hdl.handle.net/2263/60214.

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Some former public spaces and buildings of the historical city no longer contribute to the urban fabric and no longer support the city's energy. With this, the historical importance of the fabric is being lost, leaving a trail of skeletons from the past while the city scatters in search of its new identity. The main focus of this dissertation is to understand the various historic and current identities that exist within the city of Pretoria. Through this understanding of identities, negotiations between the old and new can begin to be explored so as reconcile the identity of the neglected and abandoned relics in the urban fabric. To achieve this, the idea of "remodeling" as a palimpsestic layer, as put forward by Machado (1976: 46), will be applied to the Capitol Theatre to reflect its multiple layers of heritage and identity. This reflection of both the existing and the unbuilt are addressed in the adaptation of the Capitol Theatre so that it may become a relevant contributor the urban fabric and to the identity of Pretoria as the new capital city. On an urban level the program is aimed at informing the public with regards to unconstitutional actions that may negatively impact the public sector and the public themselves. This information is used to incite more effective protest where the role of the new layer of architecture is the interface for the procurement and distribution of information regarding actions that directly affect the Constitution's value to the public. In essence an urban "megaphone".
Sekere voormalige publieke areas en geboue dra nie meer tot die historiese stad se wese, karakter en energie by nie. In die proses verloor die stad sy unieke historiese karakter, en in sy soeke na 'n nuwe identiteit, laat die stad 'n reeks murasies en geraamtes van die verlede agter. Die tesis ondersoek die huidige en historiese identiteite van die stad. Deur die wisselwerking tussen die oue en die nuwe te verstaan, kan 'n nuwe konsep gevorm word om die verwaarloosde en vewerpte murasies van die verlede met die huidige teversoen. Om dit te bewerkstellig word die konsep van hermodulering as 'n palimsestiese laag, soos deur Machado (1976: 46) voorgestel, toegepas om die verskillende dimensies van herkoms en identiteit van die Hoof Teater te reflekteer. Die verwerking van beide die bestaande en die ongekonstrueerde spreek die karakter van die Capitol Theatre aan, sodat dit weereens tot die hart en wese van Pretoria as die hoofstad, 'n bydrae kan maak. Op 'n stedelike vlak is die werk daarop gemik om die publiek in te lig ten opsigte van moontlik onkonstitusionele aksies wat dalk negatiewe impakte op die privaat sektor en op die publiek self mag h?. Die inligting word gebruik om meer effektiewe protes aan te spoor, waar die rol van die nuwe argitektoniese verwerking gegrond is op die interaksies tussen die insameling en verwerking van inligting van aksies wat moontlik die konstitusie se waarde vir die publiek mag aantas. In wese, die stad se luidspreker
Mini Dissertation (MArch (Prof))--University of Pretoria, 2016.
Architecture
MArch (Prof)
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Dudley, Kevin Shane. « Exploring humanity through theatrical design ». Thesis, University of Iowa, 2016. https://ir.uiowa.edu/etd/3075.

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This document will chronicle the design work of Kevin Dudley at the University of Iowa from August 2013 through the spring of 2016. The images included in this document are representative of the design work for realized productions, large and small scale, and selected explorations in course work. The work represented here includes: drafting, paint elevations, and sketches (both hand and digital). This document will stand as a record my design process and final product used to explore our humanity through theatrical design.

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Robertson, Jacob L. « Theatrical Ideology : Toward a Rhetoric Theatricality ». Diss., CLICK HERE for online access, 2009. http://contentdm.lib.byu.edu/ETD/image/etd2858.pdf.

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

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

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

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Scurria, Gregory. « The Fourth Level of Theatrical Awareness ». VCU Scholars Compass, 2010. http://scholarscompass.vcu.edu/etd/2105.

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

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Livres sur le sujet "Theatrica"

Theatrica : Leksykon. Kyïv : Feniks, 2012.

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Konfigurationen der Renaissance : Zur Emanzipationsgeschichte der ars theatrica. Berlin : Vistas, 2002.

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Vamvounakē, Marō. Theatrika. Athēna : Ekdoseis Philippotē, 1994.

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Shaw, Bernard. Theatrics. Toronto : University of Toronto Press, 1995.

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

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Theatrical anecdotes. New York : OUP, 1990.

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

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Pitsillidēs, Michalēs G. Erga theatrika. Lemesos : [s.n.], 1993.

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

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Theatrical London. London : Historical Publications, 2006.

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Chapitres de livres sur le sujet "Theatrica"

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

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Demidov, Nikolai. « On the Theatrical and Non-Theatrical ». Dans Nikolai Demidov, sous la direction de Andrei Malaev-Babel et Margarita Laskina, 203–9. Milton Park, Abingdon, Oxon ; New York : Routledge, 2016. : Routledge, 2016. http://dx.doi.org/10.4324/9781315621685-23.

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

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

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

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

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

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

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

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Crowell, Thomas A. « Theatrical Distribution ». Dans The Pocket Lawyer for Filmmakers, 355–77. 3^e éd. New York : Routledge, 2022. http://dx.doi.org/10.4324/9781003228479-33.

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Actes de conférences sur le sujet "Theatrica"

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

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

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

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The article deals with issues related to the development of creative abilities of musical and theatrical activities. The approaches to the definition of the concepts of creativity, ability, musical and theatrical activity have been studied. The forms, methods, and techniques for the development of creative abilities in the process of musical and theatrical activity are revealed.

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Zhanguzhinova, Meruyert, Bagdat Akylbekova, Sabit Kurmanbekov, Nazerke Kumargaliyeva et Nazerke Kairbekkyzy. « Innovative Trends in Ethno-Costumology in the Modern Theater Process ». Dans 15th International Scientific Conference "Rural Environment. Education. Personality. (REEP)". Latvia University of Life Sciences and Technologies. Faculty of Engineering. Institute of Education and Home Economics, 2022. http://dx.doi.org/10.22616/reep.2022.15.023.

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This article examines the topicality of ethno-costumes in the context of the modern theatrical process. The aim of the study is to conduct a theoretical and methodological study of the problems of ethno-costumeology in the context of the modern theatrical process. The scientific and theoretical methodology of the research include the theoretical foundations of ethno-costumes, concepts of the modern theatrical process, methodological aspects of ethno-costumes, innovative directions of ethno-costumes, artistic principles of creating an ethnocostume. Scientific and theoretical methods were used: socio-cultural, historical, semiotic, ethnographic, formal-stylistic analysis, ekphrasis, attribution of an ethnic costume, observation, interpretation of an ethnic costume in the theatrical process. The practical methods: research of innovative technologies in the design of ethnic costume in the context of the modern theatrical process, which make up various types of 3D modelling and visualization. The result of the study is: the application of the obtained scientifically grounded methodological foundations in the method of designing an ethnic costume in the production process of the Kazakh Drama Theater named after S. Seifullin in the city of Karaganda. The significance of the results is in the study and identification of methodological aspects in innovative areas of ethno-costumology within the framework of the modern theatrical process.

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

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

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Khaustova, Dariya. « CHARLES I : THE THEATRICAL FAREWELL ». Dans 5th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS SGEM2018. STEF92 Technology, 2018. http://dx.doi.org/10.5593/sgemsocial2018/6.2/s25.019.

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

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Semenov, Igor Vitalievich. « Saratov - theater city ». Dans V International Research-to-practice conference for pupils, chair Vera Alekseevna Pishkova. TSNS Interaktiv Plus, 2019. http://dx.doi.org/10.21661/r-486321.

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The article covers the history of the development of theatrical art in Saratov: from its origins to the present. The theaters of Saratov are listed, prominent theatrical figures are mentioned. Attention is drawn to the fact that the year 2019 is declared the Year of the Theater in Russia.

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Chronopoulou, Anna. « Music in the service of the directorial vision : The case study of the theatrical performance of Acharnians in 1976 by the Greek Art Theatre (Theatro Technis) ». Dans 8th International e-Conference on Studies in Humanities and Social Sciences. Center for Open Access in Science, Belgrade, 2022. http://dx.doi.org/10.32591/coas.e-conf.08.03033c.

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Someone could claim that a well prepared, contemporary theatrical production consists of a thorough planning, a period of rehearsals and the final presentation of the work before the audience. Whether we talk about a collective theatrical organization or a hierarchical one, we should agree upon the fact that the directorial vision could be considered as the motivating gear of a theatrical performance. It is the director’s or the team’s directorial vision – in the cases of alternative, collective theatrical productions – which guides those who participate in a theatrical performance and, therefore, it is commonly accepted by actors and actresses that one should follow instructions, find his path and “build” his role as part of a team which serves a certain objective. Because of the diversity and complexity of modern productions as well as the increasing need for high quality, original performances – in terms of mise-en-scène, acting, stage and costume design, lightning and music – certain professional collaborates are called to participate in the stage of the preparation and contribute to the final aesthetics of a production. In the case of preparing the theatrical performance of an ancient Greek Comedy, the musician plays a significant role, as the choruses of ancient comedy are an integral part of this genre. The performance of the ancient Greek Comedy Acharnes in 1976 by the theatrical group of Greek Art Theatre (Theatro Technis), under the directorial guidance of Karolos Koun and the music which Christos Leontis composed for its needs, is a case study for the current thesis, the analysis of which intends to reveal the way the composer collaborated with the director and the members of the theatre company. The play, written by Aristophanes, was first taught and presented to the ancient Athenian audience in 425 B.C. The choral parts, accompanied by music and sang by the members of the chorus, have since antiquity been considered to be of significant importance for this ancient theatrical genre. It is, therefore, quite intriguing to thoroughly and methodologically examine the way the music composed for the needs of a specific performance contributed to the overall outgrowth of a contemporary attempt to present the ideas and the beliefs of an ancient Greek poet to the modern Greek theatrical audience. Did the composer follow the instructions of the director? Did he serve the directorial vision? Did he interact with the director and the members of the Greek Art Theatre? In what ways and up to what extent was music co-responsible for the commonly accepted success of this particular performance? It will be attempted to answer the above questions with the help of the composer’s personal testimony, his kind contribution of archival material from his personal files, accompanied by the simultaneous, cross-examined analysis of the performance which was filmed in 1976.

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Rapports d'organisations sur le sujet "Theatrica"

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

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

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Plummer, Brianna, Eulanda A. Sanders et Fatma Baytar. Developing a Trend Analysis Instrument to Establish a Taxonomy of Digital Textile Printing Attributes for Costume and Theatrical Fashion Design Use. Ames : Iowa State University, Digital Repository, 2017. http://dx.doi.org/10.31274/itaa_proceedings-180814-1899.

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Cameroon : Peer education and youth-friendly media reduce risky sexual behavior. Population Council, 2003. http://dx.doi.org/10.31899/rh2003.1009.

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

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