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Letteratura scientifica selezionata sul tema "Theater"

Autore: Grafiati

Pubblicato: 4 giugno 2021

Ultima modifica: 31 luglio 2024

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Articoli di riviste sul tema "Theater"

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

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The paper deals with the problems of theatre activity development in the southern Urals at the initial period of the thaw. The research objective is to define what changes happened in the theatre activity in the Southern Urals after Stalins repressions in 1953-1964. For the research the author used periodicals, archival documents, books about the theater. The research has shown that after Stalins personality cult exposure there were big theater changes in the southern Urals. People became more interested in the theatre. It was in Bashkiria where the theater developed greatly. The paper examines the creative activity of theatres in the southern Urals, Orenburg Region and Bashkortostan, reveals specific features and problems in the functioning of the studied institutions in the era of the thaw, studies repertoire policy of theaters. The repertoire updated and new theaters opened. Actors and directors found new forms of art self-expression. Drama art stops being the weapon of the political propaganda. The author has no opportunity to carry out a comparative analysis of this research with other researches as the subject has not been investigated by anybody yet.

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Veksler, Asya F. "Nadezhda Bromley and Boris Sushkevich: Actors, Directors, Vakhtangov Followers (Materials for a Creative Biography)". Observatory of Culture 17, n. 5 (12 novembre 2020): 526–37. http://dx.doi.org/10.25281/2072-3156-2020-17-5-526-537.

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Boris Sushkevich and Nadezhda Bromley (Sushkevich-Bromley) are remarkable theatrical figures, actors and directors whose lot was connected with the bright and dramatic periods of our country’s theatrical life from the beginning to the middle of the 20th century. They devoted a part of their professional life to the 1st Studio of the Moscow Art Theatre (from 1919 — Moscow Art Academic Theatre), which later became a separate theater (Moscow Art Academic Theatre II, 1924—1936). Since the middle of the 1930s, they worked in leading Leningrad theaters — the Leningrad State Academic Drama Theater (Alexandrinsky Theatre) and the New Theater (1933—1953, now the Saint Petersburg Lensoviet Theatre). This article introduces little-studied archival sources of biographical nature related to the work of these outstanding cultural figures.Nadezhda Nikolayevna Bromley was a heiress of the Bromley — Sherwood creative dynasties, which had made a significant contribution to Russian culture. She joined the troupe of the Moscow Art Theater in 1908, performed on the stage of the 1st Studio (1918—1924), was one of the leading actresses of the Moscow Art Academic Theatre II after its separation, participated in its Directing Department being in charge of the literary part. Generously gifted by nature, N. Bromley wrote poems, short stories, novels; her fictional works “From the Notes of the Last God” (1927) and “Gargantua’s Descendant” (1930) earned critical acclaim. Two plays by N. Bromley were staged in the Moscow Art Academic Theatre II. One of them — the full of hyperbole and grotesque “Archangel Michael” — was passionately accepted by E.B. Vakhtangov and A.V. Lunacharsky, though never shown to a wide audience. At the Leningrad State Academic Drama Theater and the New Theater, N. Bromley not only successfully played, but also staged performances based on the works by A.P. Chekhov, A. Tolstoy, M. Gorky, F. Schiller, and W. Shakespeare.Boris Mikhailovich Sushkevich, brought up by the Theater School of the Moscow Art Academic Theatre and in the Vakhtangov tradition of the playing grotesque, is one of the most interesting and original theater directors of his time. His directorial work in the play “The Cricket on the Hearth” based on a Christmas fairy tale by Charles Dickens became the hallmark of the 1st Studio (and later of the Moscow Art Academic Theatre II as well). This play remained in the theatre’s repertoire until January 1936. B. Sushkevich was a recognized theatre teacher — with his help, the Leningrad Theater Institute (now the Russian State Institute of Performing Arts) was established in 1939. Together with N. Bromley, he managed to fill the New Theater with bright creative content and make it a favorite of the Leningrad audience.This research expands the understanding of a number of yet unexplored aspects of the history of theater in our country and recreates the event context of the era.

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Piddubnyi, Ihor. "Theatrical activities in Bukovyna during World War II (1941-1944)". Scientific Papers of the Kamianets-Podilskyi National Ivan Ohiienko University. History 42 (12 gennaio 2024): 297–321. http://dx.doi.org/10.32626/2309-2254.2023-42.297-321.

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The purpose of the study is to analyze the conditions of theater activities in Bukovyna during the German-Soviet war, based on the available sources and existing developments of theater history researchers. The methodology of the study is based on the principles of historicism, objectivity, system and the use of methods of analysis and synthesis, problem-chronological, biographical, historical-genetic ones. The scientific novelty lies in the fact that for the first time in Ukrainian historiography, the state of theatre activities during World War II, specifically the period of the German-Soviet campaign in 1941-1944, of the Romanian theater in Bukovyna was comprehensively analyzed. Conclusions. Thus, during the German-Soviet war, the theatrical activities remained an important component of the cultural space of Chernivtsi, a means of citizens' education. Despite the restoration of the National Theater, theater troupes from various cities in Romania, mainly Bucharest and Iași, presented their activities in the city and the region. The repertoire of the theaters included both world classics and Romanian drama, as well as plays on historical and patriotic topics. The theater faced the task of eliminating the 1940-1941 gap in cultural ties. Sometimes theatrical events carried some propaganda that was considered acceptable in wartime conditions. There was a practice of theatre tours in the cities of Bukovyna and Northern Bessarabia, which took place in 1942-1943. During the war, the fates of Romanian actors and actors of the Chernivtsi Ukrainian Regional Theater were different. Some actors were arrested by the Soviet authorities at the beginning of the German-Soviet war and in its final period.

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Agaeva, Ekaterina V., Tikhon S. Sergeev e Renata V. Mikhailova. "THE PROBLEM OF TRAINING THEATER PERSONNEL FOR CHUVASHIA IN THE 20–30s OF THE XX CENTURY". Vestnik Chuvashskogo universiteta, n. 2 (25 giugno 2021): 5–10. http://dx.doi.org/10.47026/1810-1909-2021-2-5-10.

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In the 1920s Chuvashia was developing rapidly, and the growth in the number of cultural institutions was observed. The cadres of the creative intelligentsia were in demand, but there were no field-oriented specialized educational institutions in the republic. The issue of training specialists began to be dealt with at the level of state and party bodies. One of the first to open was the theater studio, which gave the opportunity to strengthen the staff of two republican theaters. Moderate funding allocated to support the theater arts, and the entire culture as a whole, of course affected its quality. But the enthusiasm of I.S. Maksimov-Koshkinsky, I.A. Slobodsky and other people of art allowed to continue the work of personnel training. In the 1920s and 1930s, training of creative intelligentsia cadres reached a new qualitative level. Financing of cultural institutions, provision with qualified teaching staff, regulation of admission, training, and graduation in educational institutions yielded positive results. In 1935, a theater vocational school was opened in Cheboksary. In 1934, a special collective farm-state farm department was opened at the extramural department of the State Institute of Theater Arts, and a little later, in 1940, a specialized Chuvash theater studio was opened. The activity of the theater school was curtailed, but specialists training was successfully conducted by the studio under GITIS (the Russian University of Theatre Arts). In the pre-war years, 6 new theaters were opened in the republic. The national creative intelligentsia was formed.

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Khubulova, Svetlana. "FORMATION OF THE NEW THEATER IN TIMES OF THE REVOLUTION AND CIVIL WAR ON TEREK". History, Archeology and Ethnography of the Caucasus 15, n. 1 (19 marzo 2019): 22–27. http://dx.doi.org/10.32653/ch15122-27.

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Abstract. The article is devoted to the problem of the state of theatre life in the Terek region in 1917-1920, which is little studied in the regional historiography. The author introduces into the scientific circulation a corpus of new archival documents, which makes it possible to reconstruct the main activities of local theaters, to consider the influence of Moscow touring groups on the theatrical repertoire and audience preferences in the Terek region. The author dwelled on the difficulties experienced by theater companies in the difficult conditions of the revolution, the Civil War and the post-war devastation. The analysis of the documents allowed us to identify new forms of theatrical art, including workers, amateur and national theatrical societies, which fit well into the concept of educating the “new” Soviet person. In the conditions of the most fierce ideological battles, theaters were given the task of introducing the broad masses to art, who had previously been far from it and preferred simpler forms of leisure. In this regard, the repertoire of theaters was represented not only by classical works but also by revolutionary plays of mediocre quality. By trial and error, the theater acquired a new repertoire in a new environment, a spectator who was to educate and instill a good taste for highly artistic theatrical productions. The role of M. Bulgakov in the development of the proletarian theater is also interesting: the plays written by him had ideological fullness and in quality were much higher than those that were present in the repertoire of local theaters. Thanks to the writer’s efforts, the Ossetian Youth Studio was founded in Vladikavkaz, which became the basis of the future professional theater.

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Szuster, Magdalena. "Theater Without a Script—Improvisation and the Experimental Stage of the Early Mid-Twentieth Century in the United States". Text Matters, n. 9 (30 dicembre 2019): 374–92. http://dx.doi.org/10.18778/2083-2931.09.23.

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It was in the mid-twentieth century that the independent theatrical form based entirely on improvisation, known now as improvisational/improvised theatre, impro or improv, came into existence and took shape. Viola Spolin, the intellectual and the logician behind the improvisational movement, first used her improvised games as a WPA worker running theater classes for underprivileged youth in Chicago in 1939. But it was not until 1955 that her son, Paul Sills, together with a college theater group, the Compass Players, used Spolin’s games on stage. In the 1970s Sills made the format famous with his other project, the Second City. Since the emergence of improv in the US coincides with the renaissance of improvisation in theater, in this paper, I will look back at what may have prepared and propelled the emergence of improvised theater in the United States. Hence, this article is an attempt to look at the use of improvisation in theater and performing arts in the United States in the second half of the 20th century in order to highlight the various roles and functions of improvisation in the experimental theater of the day by analyzing how some of the most influential experimental theaters used improvisation as a means of play development, a component of actor training and an important element of the rehearsal process.

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Agratina, Elena E. "Jean-Honoré Fragonard’s Work and the Theatre Culture of the 18th Century". Observatory of Culture 16, n. 4 (13 settembre 2019): 406–17. http://dx.doi.org/10.25281/2072-3156-2019-16-4-406-417.

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The article, for the first time, examines the work of the master of the 18th century Jean-Honoré Fragonard (1732—1806) within the context of the theatre culture of that time. Being a student of François Boucher (1703—1770), who was working as a theater decorator for a long time, Fragonard from his youth had the opportunity to join the world of theater. The painter’s passion for the stage greatly influenced the thematic and figurative composition of his works. Early historical paintings of Fragonard, such as “Jeroboam Sacrificing to Idols” (1752, School of Fine Arts, Paris), were created under the influence of Baroque theater and decorative art and opera productions. Undoubtedly, Fragonard’s familiarity with theatre was promoted by his long stay in Italy, where the famous families of theater decorators Bibiena and Galliari was working at that time. The article pays special attention to the process of planning and execution of the painting “The High Priest Coresus Sacrificing Himself to Save Callirhoe” (1765, Louvre), made not without regard to the opera “Callirhoe”, popular in Paris in the 18th century. It was theater that inspired the master to create his famous costume series of “Fantasy Portraits”, one of which depicted Marie-Madeleine Guimard (1743—1816), who not only had posed for the artist, but also ordered him to design her own mansion conceived as a temple of Terpsichore, the Muse of dance. In addition, Fragonard was the author of several panoramic genre paintings conveying the atmosphere of the then popular street theater. Works of this brilliant master exemplify the relationship of arts that determined the nature of the cultural environment of that era and requires constant attention from modern researchers.

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Pransiska, Dona, e Hasan Hasan. "Pembelajaran Teater Tradisional Melalui Metode Sosiodrama Pada Kelas X SMA Islam Az-Zahrah Palembang". Jurnal Sitakara 8, n. 2 (9 agosto 2023): 183–92. http://dx.doi.org/10.31851/sitakara.v8i2.12830.

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This study aims to identify and describe the traditional theater learning process through the sociodrama method in class X Islamic Senior High School Az-Zahrah Palembang. This research method uses qualitative methods with data collection techniques, namely observation, interviews and documentation. In the processof collecting data, the researchers directly observed the traditional theater learning process at Islamic Senior High School AzZahrah Palembang, where the subject in this study wasclass X IPA3 withatotalof 20 students. The researcher also directly interviewed the arts and culture teacher and one of the students Sinclass X IPA3.There sult softh is study can be concluded that learning traditional theate rthrough the sociodrama method in class X SMA Islam Az-Zahrah Palembang is going well. This can be seen from there sult sof the evaluation or students'ability to practice traditional the ater infront of the class. For the traditional theater itself, the teacher provides Dulmuluk theater material from South Sumatra. The method used by the teacher is using the sociodrama method in which students can directly practice the script thatwill be played and guided directly by the teacher. In this traditional theater learning, students are happy and enthusiastic because they not only learn theory but can also practice it directly so that students becomemore aware and understand the role that will be played. In addition, students can recognize and preserve the local culture, especially the ater arts. Keywords: Traditional Theatre, Sociodrama Method, Dulmuluk Theater.

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Cull Ó Maoilearca, Laura. "Die Gleichsetzung von Theater und Philosophie: Laruelle, Badiou & Gesten der Autorität in der Philosophie des Theaters". Performance Philosophy 3, n. 2 (21 dicembre 2017): 487. http://dx.doi.org/10.21476/pp.2017.32179.

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In diesem Artikel werde ich François Laruelles Begriff der ‚Non-Standard‘ Ästhetik untersuchen, um eine kritische Perspektive auf Alain Badious vielfältige Äußerungen über die Philosophie des Theaters zu entwickeln. Während es zunächst so erscheint, als ob Badiou in Werken wie In Praise of Theatre (2015) aufgeschlossen gegenüber dem eigenen Denken des Theaters wäre und tatsächlich die Funktion der Philosophie im Verhältnis zu einem ontologischen Privileg zurückzustufen würde, das (von ihm) nun der Mengentheorie zugesprochen wird, werde ich aufzeigen, dass eben dieses Wohlwollen, aus einer Laruellschen Perspektive, eine andere Form von philosophischem Authoritarismus konstituiert. Das heißt, während Badiu bekanntermaßen das Theater als „ein Ereignis des Denkens“ beschreibt, „das direkt Ideen hervorbringt“ (Badiou 2009, 121), wird dieser Text von Laruelle ausgehend argumentieren, dass Badiou sich zuletzt als Autorität über das positioniert, was als Theater im „eigentlichen Sinne“ gilt (vgl. Badiou 2015, 72); sein eigenes Denken in performativer Weise als normative Ausnahme und als Türhüter dieser Ausnahme festlegt.

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LIZUNOV, PAVEL. "POSTCARD PORTRAIT: LIFE AND FATE ARTISTS OF THE IMPERIAL MARIINSKY BALLET THEATER LYDIA MUROMSKAYA (CHUPYATOVA)". History and Modern Perspectives 4, n. 4 (28 dicembre 2022): 113–21. http://dx.doi.org/10.33693/2658-4654-2022-4-4-113-121.

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The article is dedicated to the ballet dancer L.N. Muromskaya (Chupyatova). After completing the course of the ballet department of the St. Petersburg Theater School in 1906, she was accepted into the ballet troupe of the corps de ballet of the Imperial Mariinsky Theater. She danced with such «stars» of Russian ballet as M.F. Kshesinskaya, A.P. Pavlova, T.P. Karsavina, A.Ya. Vaganova, V.F. Nezhinsky and others. In 1912, Muromskaya became the first dancer of the Mariinsky Theatre. There was only one step left before the title of ballerina, i.e., obtaining the highest rank in the hierarchy of Russian ballet theaters. She did not manage to go through this last segment of her creative path for many reasons. In 1920, at the age of 32, she committed suicide.

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Tesi sul tema "Theater"

Recklies, Donald F. "Spectacle and illusion : the mechanics of the horse race on the theatrical stage, 1883-1923 /". The Ohio State University, 1985. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487259580263868.

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

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

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

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

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Metzger, Stephanie. "Theater und Fiktion : Spielräume des Fiktiven in Inszenierungen der Gegenwart /". Bielefeld : Transcript, 2010. http://deposit.d-nb.de/cgi-bin/dokserv?id=3391365&prov=M&dok_var=1&dok_ext=htm.

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

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

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

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Midthun, Amy L. "Manipulating the Stage: A Comparison of the Government-Sponsored Theaters of the United States and Nazi Germany". Ohio : Ohio University, 2002. http://www.ohiolink.edu/etd/view.cgi?ohiou1040072155.

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

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

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

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Shelton, Rebecca S. "Paint manager for 2008-2009 academic year and paint charge for three sisters and twelfth night". [Kent, Ohio] : Kent State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=kent1241724077.

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Libri sul tema "Theater"

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

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Georges, Aperghis, a cura di. Theater und Musik =: Theatre and music. Brussel: Kaaitheater, 1995.

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Yann, Chateigné, Museu d'Art Contemporani (Barcelona, Spain) e Colecção Berardo, a cura di. A theater without theater. Barcelona: Museu d'Art Contemporani de Barcelona, MACBA, 2007.

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Handwerg, Ute. Theater über Leben: Entwicklungsbezogene Theaterarbeit = Theatre of relevance : theater work focusing on development. Berlin: Schibri-Verlag, 2006.

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Girshausen, Theo. Ursprungszeiten des Theaters: Das Theater der Antike. Berlin: Vorwerk 8, 1999.

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Breton, Gaëlle. Theater. Stuttgart: Karl Krämer, 1991.

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Roca, Núria. Theater. Hauppauge, NY: Barron's, 2004.

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Little, Jean. Theater. Austin, Tex: Steck-Vaughn Library, 1990.

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Knigge, Adolph Franz Friedrich Ludwig von. Theater. Hannover: Fackelträger, 1993.

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Malam, John. Theater. Lincolnwood, Ill: Peter Bedrick Books, 2000.

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Capitoli di libri sul tema "Theater"

Burghardt, Charlotte. "Stadt- und Staatstheater in Bewegung? Zur Rolle von öffentlich subventionierten Theatern in der Stadtgesellschaft und den veränderten Erwartungen des Publikums". In Cultural Governance, 261–77. Wiesbaden: Springer Fachmedien Wiesbaden, 2021. http://dx.doi.org/10.1007/978-3-658-32159-8_19.

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ZusammenfassungAngesichts einer vielfältiger werdenden Gesellschaft und gleichzeitig stetig rückläufiger Besuchszahlen stellt sich die Frage, welche Bedeutung Theater in der Stadtgesellschaft haben. Wer ist der Motor für mögliche Veränderungen in den Häusern und welche Erwartungen und Wünsche richtet das Publikum an seine Theater? Anhand von qualitativen Interviews mit Mitarbeitenden aus denStädtischen Theatern Chemnitz,demTheater für Niedersachsenin Hildesheim und demMaxim Gorki Theaterin Berlin und unterstützt durch eine Spielzeitanalyse, beleuchtet dieser Beitrag die Binnenperspektive der Theater.

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Sood, Sara Owsley, e Athanasios V. Vasilakos. "Digital Theater: Dynamic Theatre Spaces". In Handbook of Multimedia for Digital Entertainment and Arts, 423–45. Boston, MA: Springer US, 2009. http://dx.doi.org/10.1007/978-0-387-89024-1_19.

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Weber, Ulrich. "Theater". In Dürrenmatt-Handbuch, 26–27. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05314-5_5.

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Lenz, Achim. "Theater". In Traum und Schlaf, 120–32. Stuttgart: J.B. Metzler, 2018. http://dx.doi.org/10.1007/978-3-476-05356-5_8.

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Immer, Nikolas. "Theater". In Faust-Handbuch, 154–62. Stuttgart: J.B. Metzler, 2018. http://dx.doi.org/10.1007/978-3-476-05363-3_19.

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Rohde, Carsten. "Theater". In Faust-Handbuch, 284–94. Stuttgart: J.B. Metzler, 2018. http://dx.doi.org/10.1007/978-3-476-05363-3_33.

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Eke, Norbert Otto. "Theater". In Faust-Handbuch, 451–59. Stuttgart: J.B. Metzler, 2018. http://dx.doi.org/10.1007/978-3-476-05363-3_51.

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Martin, Dieter. "Theater". In Faust-Handbuch, 72–79. Stuttgart: J.B. Metzler, 2018. http://dx.doi.org/10.1007/978-3-476-05363-3_8.

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Weixler, Antonius. "Theater". In Erzählen, 102–7. Stuttgart: J.B. Metzler, 2017. http://dx.doi.org/10.1007/978-3-476-05364-0_17.

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Koch, Hans-Albrecht. "Theater". In Hofmannsthal-Handbuch, 391–95. Stuttgart: J.B. Metzler, 2016. http://dx.doi.org/10.1007/978-3-476-05407-4_149.

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Atti di convegni sul tema "Theater"

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". In 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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Abstract (sommario):

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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Starciuc, Mariana. "Traditional theater versus documentary theater: theoretical references and conceptual boundaries". In Conferința științifică internațională "Învăţământul artistic – dimensiuni culturale". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2022. http://dx.doi.org/10.55383/iadc2022.15.

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The purpose of the author’s approach is to identify the characteristics of the documentary theater by referring to the traditional one. Reflecting on the concepts of theater theorists, we conclude that traditional theater is illusory, the receiver-spectator believes the fictional world produced by the theatrical performance as reality. Dramatic subjects have an integral and logical structure, with „beginning, middle and end”, the stage action succeeds in a canonical order. Unlike traditional theatre, documentary theater is anti-illusory, anti-fiction and stands out for its faithful, exact reproduction of the real, based on the investigation, research and reflection of archival documents, legislative acts, reports, court transcripts, minutes recorded at various actions, meetings, congresses, etc.; biographies; testimonies, interviews taken from the respondents-donors and transposed into an artistically unprocessed formula; cases, events that happened in an immediate reality, etc.

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Koroliova, Elfrida. "The book on theater – an element of cultural heritage". In Simpozionul Național de Studii Culturale, Ediția a 2-a. Institute of Cultural Heritage, Republic of Moldova, 2022. http://dx.doi.org/10.52603/9789975352147.07.

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The article “The book on theater – an element of cultural heritage” includes publications on Moldovan Drama Theater, from the late 60s of the XX century to the 20s of the XXI century. Books signed by D. Prilepov, L. Cemortan, E. Coroliova, N. Bătrânu, V. Tăzlăuanu, N. Rojkovskaia, B. Zavatin, P. Proca, P. Pelin, A. Manoil, A. Ghilaș, A. Roșca, I. Nechit, L. Ungureanu, V. Fedorenco, T. Kotovici and others analyze the evolution processes of the Moldovan theater during the decades, of personalities – directors, actors, who worked in the theaters of the republic “Mihai Eminescu” National Theater, “Luceafărul” Theater, “B. P. Hasdeu” Musical-Dramatic Theater in Cahul, “Vasile Alecsandri” National Theater from Bălți, etc.

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Semenov, Igor Vitalievich. "Saratov - theater city". In 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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Crump, Evan. "Amputating Shakespeare: Theater Becoming-Theater". In 2021 AERA Annual Meeting. Washington DC: AERA, 2021. http://dx.doi.org/10.3102/1681701.

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Chandler, Corey D., Gloria Lo e Anoop K. Sinha. "Multimodal theater". In CHI '02 extended abstracts. New York, New York, USA: ACM Press, 2002. http://dx.doi.org/10.1145/506443.506642.

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Lorig, Gray. "Electronic theater". In ACM SIGGRAPH 92 Visual Proceedings. New York, New York, USA: ACM Press, 1992. http://dx.doi.org/10.1145/131340.260553.

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Ahonen, Jussi-Pekka. "Belzebubs — The 360° Hexperience". In SIGGRAPH VR Theater '24: ACM SIGGRAPH 2024 VR Theater. New York, NY, USA: ACM, 2024. http://dx.doi.org/10.1145/3641231.3649294.

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Hurard, Oriane. "Emperor". In SIGGRAPH VR Theater '24: ACM SIGGRAPH 2024 VR Theater. New York, NY, USA: ACM, 2024. http://dx.doi.org/10.1145/3641231.3649149.

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Quota, Malak. "Surrounded Serenity". In SIGGRAPH VR Theater '24: ACM SIGGRAPH 2024 VR Theater. New York, NY, USA: ACM, 2024. http://dx.doi.org/10.1145/3641231.3646557.

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Rapporti di organizzazioni sul tema "Theater"

Newman, J. L. Theater Missile Defense. Fort Belvoir, VA: Defense Technical Information Center, maggio 1998. http://dx.doi.org/10.21236/ada351808.

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Medlock, Glenn, e Christopher M. Stacy. Pacific Theater Operations. Fort Belvoir, VA: Defense Technical Information Center, gennaio 2011. http://dx.doi.org/10.21236/ada559809.

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NICHOLS RESEARCH CORP HUNTSVILLE AL. Theater Missile Defense. Fort Belvoir, VA: Defense Technical Information Center, marzo 1990. http://dx.doi.org/10.21236/ada219432.

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Harmatz, Howard I. Joint Theater Missile Defense. Fort Belvoir, VA: Defense Technical Information Center, gennaio 1996. http://dx.doi.org/10.21236/ada309658.

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Meyer, S. Soviet Style Theater Assessments. Fort Belvoir, VA: Defense Technical Information Center, settembre 1989. http://dx.doi.org/10.21236/ada269791.

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Krahling, William M. Expeditionary Theater Opening Strategy. Fort Belvoir, VA: Defense Technical Information Center, marzo 2013. http://dx.doi.org/10.21236/ada589227.

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Nehrkorn, Thomas, Rose N. Hoffman, Jeanne Sparrow, Min Yin e Stan Ryckman. Theater Analysis Procedures (TAP). Fort Belvoir, VA: Defense Technical Information Center, novembre 1997. http://dx.doi.org/10.21236/ada340975.

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Ramos, Octavio. Nuclear Weapons Theater Experience_V1. Office of Scientific and Technical Information (OSTI), dicembre 2022. http://dx.doi.org/10.2172/1903534.

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Brown, Gerald G., e Alan R. Washburn. The Fast Theater Model (FATHM). Fort Belvoir, VA: Defense Technical Information Center, gennaio 2002. http://dx.doi.org/10.21236/ada486674.

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Pate, Steven W. Transforming Logistics: Joint Theater Logistics. Fort Belvoir, VA: Defense Technical Information Center, marzo 2006. http://dx.doi.org/10.21236/ada448696.

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