Gotowe bibliografie tematyczne / Community theatre

Gotowa bibliografia na temat „Community theatre”

Autor: Grafiati
Data publikacji: 4 czerwca 2021
Data aktualizacji: 27 lipca 2024

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Artykuły w czasopismach na temat "Community theatre"

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Vojnović, Milica. "Arts marketing: Choice criteria of theatre visitors". Marketing 54, nr 4 (2023): 264–70. http://dx.doi.org/10.5937/mkng2304264v.

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The purpose of this research is to identify key choice criteria of theater visitors in Serbia. The method used to conduct the research was the survey method, with statistical analysis of the obtained results. Key results suggest that the most important choice criteria of theatres are the plot of the play, personal recommendations and the genre of the play. A special focus was set on examining if there are differences in evaluation of observed criteria between respondents from generational cohorts X and Z, as well as between rare and frequent decision makers. In both cases, differences between the observed groups were discovered. Results of this research are useful for better understanding of consumer behavior of theater visitors and the way they make decisions. This can be helpful for decision-makers in theatre organizations for creating theatre marketing strategies to attract different market segments.
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Pekkala, Laura, i Riku Roihankorpi. "An Artistic Community and a Workplace". Nordic Theatre Studies 30, nr 1 (2.08.2018): 115–43. http://dx.doi.org/10.7146/nts.v30i1.106926.

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The article analyzes how money interacts with the practices and organizational activities of independent theatres in Finland in the 2010s. It discusses what kind of development the interaction entails or favors in the wider context of Finnish cultural policy. We share the results of Visio (2015-16), an empirical study and development project funded by the Ministry of Education and Culture and carried out with four professional independent theatres, which originated as group theatres, but are now institutionalized and operate with discretionary state subsidies. During the development project supported by Theatre Centre Finland, the study observed aspects of organizational development and learning as well as sustainable work in the said theatres. This was done via ethnographic and multiple case study methodologies. The study defined a theatre organization as a community for artistic work and a workplace for a diverse group of theatre professionals. The cases and the ethnographies were then reflected against current Finnish cultural policy.As descendants of the group theatre movement – arising from artistic ambition and opposition to commercialism – Finnish independent theatres have developed in different directions in their ideas of theatre, artistic visions, objectives, production models, and positioning in the field. Yet, there is a tendency to define independent theatres in opposition to theatres subsidized by law (the so-called VOS theatres), instead of laying stress on their specific artistic or operational visions or characteristics. This emphasis is present in public discussions, but also in the self-definitions of independent theatres. Money, and the economic affairs it underlines, strongly interact with the development, organizational learning, and working culture of Finnish independent theatres. Theoretically, we promote a Simmelian framework that stresses the socio-cultural dimension of money. Thus, we examine how the practices of the monetary economy are present in the practices and the development of independent theatres, and how this reflects their position within the current cultural policy and funding systems. Based on the above, the article suggests a more versatile approach to artistic independent theatres – one that emphasizes recognizing the heterogeneity of their operating models and artistic orientations, and their roles as diverse artistic communities aside from workplaces.
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Bird, Kym, i Ed Nyman. "Quipping Against the Pricks: Comedy, Community and Popular Theatre". Canadian Theatre Review 77 (grudzień 1993): 8–12. http://dx.doi.org/10.3138/ctr.77.002.

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The Company of Sirens and the Workman Theatre Project are only two of the many members of the Canadian Popular Theatre Alliance who are using theatre, as Brecht did, to change political and social consciousness while entertaining audiences. Liberal humanist notions of “art” (of greatness, genius, the masterpiece) have caused many to denigrate popular theatre for its political agenda, as though other theatres can be free from the political and ideological conditions under which they are produced. Most popular theatre workers, however, accept that all cultural labour is ideologically committed and yet must live with the threat of alienating sponsors and audiences and with the challenge of working out a vision with artistic integrity.
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Johnston, Denis. "Directors in Vancouver: The New Community". Canadian Theatre Review 76 (wrzesień 1993): 25–30. http://dx.doi.org/10.3138/ctr.76.006.

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As far as stage directors are concerned, the community in Vancouver is comprised of a few mainstream theatres, a couple of layers of alternative companies, and some individual artists. Among the alternative theatres are several artistic directors whose body of work has drawn a good deal of attention here. Since these directors run their own companies, and sometimes their own spaces too, they probably have more latitude in play selection than either free-lance directors or mainstream companies. The kinds of plays they choose, in turn, largely determine their role in the theatre community. Despite their broad impact on theatre locally, however, these directors are not well known outside Vancouver. This article is intended to introduce you to five of them.
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HAENNI, SABINE. "‘A Community of Consumers’: Legitimate Hybridity, German American Theatre, and the American Public". Theatre Research International 28, nr 3 (październik 2003): 267–88. http://dx.doi.org/10.1017/s0307883303001135.

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German American theatre in late nineteenth- and early twentieth-century New York City became a model for both a national American theatre and other diasporic theatres in the US. This theatre aspired to an autonomous, class-free, universal culture, which was seen as the legacy of a German Enlightenment tradition epitomized by Schiller's national(izing) theatre. German Americans were thus exceptionally positioned to claim the ideology of a universal culture as a national characteristic. At the same time, however, the theatre was structured by market demands and the need to appeal to a diverse German American constituency. This oscillation between idealistic and commercial culture made the German American theatre attractive. In the end, the theatre not only helped legitimize New York City's cultural periphery, but became a model when a new American ‘national’ culture, the national theatre, was being imagined, which ultimately illustrates the importance of the concept of legitimacy for hybrid public cultures.
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Patonay, Anita. "The Development of Children’s and Youth Theatre in Hungary: the Path of Institutionalization and Beyond the Professional Sphere (1949–1989/1992)". Theatron 17, nr 4 (2023): 40–52. http://dx.doi.org/10.55502/the.2023.4.40.

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It was after the Second World War and the nationalisations that autonomous theatres for children and youth and theatre performances targeting this age group were first established in Hungary. In my study, I will present the institutional history of children’s and youth theatres in the period 1949–1989/1992 and the children’s and youth theatre-makers who were amateur theatre-makers alongside the institutionalised theatres. I will give an insight into the productions that were produced during this period, the problems faced by the children’s and youth theatre community, and the contradictions that creators had to face during the period of state socialism. I will look at decisions, decrees, and laws on the medium of children’s and youth theatre productions from 1949 to 1989/1992, in order to gain a better understanding of the cultural context in which amateur theatre groups produced performances in the context of children’s and youth theatre culture, alongside the institutionalised children’s and youth theatres.
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Filewod, Alan. "Popular Theatre". Canadian Theatre Review 53 (grudzień 1987): 3. http://dx.doi.org/10.3138/ctr.53.fm.

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Only recently has the phrase “popular theatre” won acceptance in Canada to describe theatre for social action and community development. Ever since Kam Theatre’s Bread & Circuses Festival in Thunder Bay in 1981, where representatives of a dozen companies founded the Canadian Popular Theatre Alliance, the idea of theatre as a tool of development has made increasing inroads among educators, development agencies, and of course, in the theatre profession itself. Three successive CPTA festivals (Bread & Roses, Edmonton 1983, Bread & Dreams, Winnipeg 1985, and Standin’ the Gaff, Sydney 1987) have done much to legitimize the work of Canadian popular theatres.
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Markovic-Bozovic, Ksenija. "Theatre audience development as a social function of contemporary theatres". Zbornik Matice srpske za drustvene nauke, nr 175 (2020): 437–51. http://dx.doi.org/10.2298/zmsdn2075437m.

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From the last decades of the previous century, the re-examination of the social functions of cultural institutions began - especially the institutions of elite art, to which the theatre belongs. In this regard, numerous researches are conducted focusing on the ?broader? social role of the theatre, as well as exploring the dynamics and quality of the relationship between theatre and its audience. Their outcomes are the recommendations of innovative strategic activities, by which the theatre can establish deeper relations with the existing and attract new audiences, i.e. more efficiently realize its cultural-emancipatory, social-inclusive, social-cohesive, educational, and other similar potentials. Extensive research of the functional type, which combines the analysis of the process of theatre production, distribution and reception, and sheds light on the ways in which theatre functions in the community, has not been conducted in Serbia so far. However, for many years, there have been conducted researches that provide sufficiently relevant answers, analysing this topic from individual aspects of the audience, marketing activities, cultural policy and theatre management. Their overall conclusion is that theatres in Serbia must (re)orient themselves to the external environment - (re)define their social mission and actively approach the process of diversification of the audience. However, the practical implementation of such recommendations is still lacking, theatre organizations find it difficult to adopt the idea that changes must be initiated by themselves, which brings us to the question of the attitudes on which these organizations establish their work. In this regard, the paper maps of and analyzes the opinions of managers and employees of Belgrade theatres on the topic of the role of theatre in the audience development and generation of the ?additional? social value, contextualizing the opinions in relation to the current circumstances, i. e. specific practices of these institutions. In conclusion, an original theoretical model of ?two-way adaptation of public city theatres? is developed, recognizing the importance of strategic action in culture both ?bottom-up? and ?top-down?, and proposing exact activities and approaches to theatre and cultural policy in the field of theater audience development.
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Jovanov, Lazar. "Theatre City and Identity: Narodno pozorište-Nepszίnház-KPGT". Issues in Ethnology and Anthropology 11, nr 1 (18.04.2016): 63. http://dx.doi.org/10.21301/eap.v11i1.3.

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This study considers the concept of Theatre City and its role in the formation of the desired identity of a community. More specifically, the research is at a crossroads of sociological and anthropological use of this theater form, in a function of the reconstruction of the community, examining the relationship between theater and the city, as a functional European theater concept, which has the potential to generate multiple socio-cultural values, participating in the formation of the so-called free spaces, free theater, which rejects the idea of elitism because it is intended for the wider population.In this regard, the subject of this research is the concept of Subotica Theatre City established by National Theater-Nepszίnház-KPGT in the context of creating a (multicultural) identity of the community, while the focus is on socio-anthropological, philosophical and aesthetic analyse of the play Madach, the comments, which was the inaugural project of the new aesthetic and cultural policy of the city of Subotica in the former Yugoslavia in 1985.
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Skene, Rick. "Winnipeg Close-ups / 4, PRIMUS Theatre Training for Independence". Canadian Theatre Review 66 (marzec 1991): 32–35. http://dx.doi.org/10.3138/ctr.66.006.

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Founded in 1988, primus is one of several small theatre companies that have sprung up in Winnipeg. Fickle subscription audiences have made times tough for larger theatres, and recent cuts to arts funding have seen the Manitoba Arts Council cancel operations funding for three small companies: Agassiz Theatre, Forty Below Mime and the Manitoba Puppet Theatre. Although the mac claims that specific circumstances demanded the cuts in each case, we have not seen any new grants of operations funding awarded to small theatres since. Nonetheless, small companies continue to struggle into existence and provide essential artistic vitality to Winnipeg’s theatrical community.
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Rozprawy doktorskie na temat "Community theatre"

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Oliver, Sarah Miranda Londré Felicia Hardison. "Kansas City's Community Children's Theatre a history /". Diss., UMK access, 2008.

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Thesis (M.A.)--Dept. of Theatre. University of Missouri--Kansas City, 2008.
"A thesis in theatre." Typescript. Advisor: Felicia Hardison Londreʹ Vita. Title from "catalog record" of the print edition Description based on contents viewed Sept. 12, 2008. Includes bibliographical references (leaves 118-120). Online version of the print edition.
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Farrow, Angela Rosina. "Community theatre in the Manawatu". Thesis, University of Exeter, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.312439.

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Lawver, Kimberly. "SWOT Analysis of Theatre 8:15, A Children's Community Theatre". University of Akron / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=akron1336245437.

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Madzik, Christine, i Christine Madzik. "Sojourn Theatre Company: A Case Study in Community-Based Theatre". Thesis, University of Oregon, 2012. http://hdl.handle.net/1794/12372.

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This thesis examines contemporary community-based theatre processes and efficacy through a case study of Sojourn Theatre Company. Chapter II overviews Sojourn's production history and explores the company's style. Chapter III discusses the theatre-making process, from project conceptualization to performance. Chapter IV examines approaches for assessing Sojourn's efficacy. The research was based on company interviews, primary observation, archive materials, and audience reviews. The results of the study indicate that Sojourn relies heavily on audience engagement and community participation to assess its work. In addition, both a production's purpose and its target audience play a large role in determining efficacy.
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Robinson, Yvonne Natalie. "The cultural geographies of community theatre". Thesis, University College London (University of London), 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.415200.

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Against a backdrop of growing interest in performance geographies and performative notions of embodiment and social identity, this thesis critically examines the geographies of 'community theatre' (or 'theatre in the community'). Drawing on in-depth qualitative research, the study is concerned to analyse the forms of 'community' presumed in and produced through the performances of community theatre companies in London. It focuses in particular on detailed case studies of three companies - London Bubble, Outside Edge and Tamasha - which were chosen to examine how different engagements with the notion of 'community' are made through performance and practice. This thesis demonstrates how practices of community theatre have been positioned marginally to that of mainstream and established theatre. Through the empirical analysis, it examines both the opportunities and contradictions that an engagement with the discourse and practice of 'community' brings for community theatre companies. It also illustrates how 'theatre in the community' companies mobilise themselves in ways which may be both subversive, democratic and powerful. Engaging with forms of performative art that work with ideas of community and notions of communality articulated through performance, the thesis helps to rectify the absence of geographic research on the social spatial constitution of the arts. In so doing, it seeks to contribute to emergent understandings of the social and cultural geographies of performance.
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Woodruff, Graham James Michael. "Community arts theatre : subversion or incorporation?" Thesis, Royal Holloway, University of London, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.405025.

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Farrow, Heather Lynn Carleton University Dissertation Geography. "Local organizing and popular theatre: case studies from Namibia and South Africa". Ottawa, 1992.

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Coon, Sarah Marie. "Crossing the Aether-Net: Community and the Theatre of Team StarKid". Bowling Green State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1429204552.

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Guse, Anna. ""I Am More Than an Inmate...": Re/Developing Expressions of Positive Identity in Community-Engaged Jail Performance". The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1587636691932172.

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Sollish, David S. "Musical Theatre in the Mountains: An Examination of West Virginia Public Theatre's History, Mission, Practices, and Community Impact". Bowling Green State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1276802020.

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Książki na temat "Community theatre"

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Community Theatre. London: Taylor & Francis Group Plc, 2004.

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Erven, Eugen van. Community Theatre. London: Taylor & Francis Inc, 2004.

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Duruaku, A. B. C. Understanding community theatre. Owerri, Nigeria: Colon Concepts Ltd. Specialized Publishers, 1999.

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Charles, Vance, Hackworth-Young Jane i Streatfeild Jill, red. Amateur theatre yearbook: Incorporating community theatre & training. London: Platform Publications, 1991.

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Johansson, Ola. Community Theatre and AIDS. London: Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230300439.

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Nwamuo, Chris. Perspectives on community theatre. Calabar [Nigeria]: AP Publications, 1996.

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Erven, Eugène Van. Community theatre: Global perspectives. London: Routledge, 2000.

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Charles, Vance, i Streatfeild Jill, red. Amateur theatre yearbook: Incorporating community theatre and training. London: Platform Publications, 1997.

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Charles, Vance, i Streatfeild Jill, red. Amateur theatre yearbook: Incorporating community theatre and training. London: Platform Publications, 1995.

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Jill, Streatfeild, red. Amateur theatre yearbook: Incorporating community theatre and training. London: Platform Publications, 1997.

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Części książek na temat "Community theatre"

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

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Shem-Tov, Naphtaly. "Community-based theatre". W Israeli Theatre, 15–34. London ; New York : Routledge, 2021. | Series: Routledge Jewish studies series: Routledge, 2021. http://dx.doi.org/10.4324/9781351009089-2.

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Richardson, Mariah L. "Community as Theatre". W Theatre Responds to Social Trauma, 151–60. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003197034-16.

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Sivakumaran, Shamila. "Community theatre and community work". W Art in Social Work Practice, 203–18. 1st Edition. | New York: Routledge, 2018. |: Routledge, 2018. http://dx.doi.org/10.4324/9781315144245-21.

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Rhine, Anthony. "Theatre advocacy and community engagement". W Theatre Management, 221–35. London: Macmillan Education UK, 2017. http://dx.doi.org/10.1057/978-1-352-00175-4_14.

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McCaffrey, Tony. "Community Theatre and Myths of Community". W Giving and Taking Voice in Learning Disabled Theatre, 51–83. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003083658-3.

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Alon, Chen, Sonja Arsham Kuftinec i Jan Cohen-Cruz. "Community". W The Routledge Companion to Theatre of the Oppressed, 348–59. Abingdon, Oxon ; New York : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9781315265704-39.

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Masura, Nadja. "Theorizing Place/Community: Issues of Access and Performativity". W Digital Theatre, 233–54. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-55628-0_10.

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Snyder-Young, Dani. "Spectatorship, Community, and ‘Otherness’". W Theatre of Good Intentions, 95–109. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137293039_6.

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Johansson, Ola. "HIV Prevention as Community-Based Theatre". W Community Theatre and AIDS, 33–55. London: Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230300439_2.

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Streszczenia konferencji na temat "Community theatre"

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Malinina, Elena. "Contemporary Art Culture as a Creator of Publicity New Forms: Experience of Perm Theatrical Community". W The Public/Private in Modern Civilization, the 22nd Russian Scientific-Practical Conference (with international participation) (Yekaterinburg, April 16-17, 2020). Liberal Arts University – University for Humanities, Yekaterinburg, 2020. http://dx.doi.org/10.35853/ufh-public/private-2020-13.

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This article covers some new forms of publicness in the field of art culture of the Russian city of Perm, e.g. dramatics as a performance in a street environment, and synthetic museum-theatrical form under the conditions of a stage box. The study was accomplished mainly via culturological method. At one time theatre left the urban environment, but in the 21st century theatrical forms have begun to permeate urban space again, the statement primarily concerns site-specific theatre. This is equivalent to the birth of new theatrical-city publicity, a new modality of the interpenetration of the public and the private. One of the best-known theatrical projects in this field is ‘Remote X’ (‘Rimini Protokoll’ band). Here, the close co-existence habitual to city dwellers turns into a social substrate, and a way to implement interpersonal artistic communication, thereby largely changing the disposition of the former, and transforming itself. Another new form of relationship between collective and individual aspects in the public sphere is the synthetic museum-theatre form, on the example of immersion dramatics ‘Permian Pantheon’ (Perm Academic Theatre, stager Dmitry Volkostrelov). The natural ‘calendar-seasonal’ tempo-rhythm of the dramatics creates a triple semantic effect risen from artistic reality. It immerses the viewer into the process of traditional subsistence in whole (actualisation of the cultural collective unconscious), represents cultural phenomena (which corresponds to the culture-focused paradigm of artistic consciousness of the second half of the 20th century to the early 21st century), reaches the level of worldview values, the philosophical generalisation of cultural-existential reality. Thus, on the example of two Perm theatrical plays the author can speak about the origin of new forms of publicness in contemporary culture to entail new relationships between publicity and privacy in the current realities.
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Adnan, Sadaf, i Helen Brown. "P-44 Dying matters- engaging our community through theatre, literature and ale!" W Dying for change: evolution and revolution in palliative care, Hospice UK 2019 National Conference, 20–22 November 2019, Liverpool. British Medical Journal Publishing Group, 2019. http://dx.doi.org/10.1136/bmjspcare-2019-huknc.68.

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Jara Calabuig, Aaron. "Urban stages: when cities and architecture become a theatre". W 3rd Valencia International Biennial of Research in Architecture, VIBRArch. València: Editorial Universitat Politècnica de València, 2022. http://dx.doi.org/10.4995/vibrarch2022.2022.15109.

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Throughout history, the theatre has played a decisive part in urban space configuration, not only because of the location of theatre buildings within the city. Outdoor performances in squares, streets and community facilities have also assumed an essential role in the organisation of public space. In this sense, touring theatre must be understood as a resource for transforming and revitalising cities. Festivals such as Avignon, Bilbao and Tàrrega are clear examples of how theatre can appropriate the urban or architectural context and generate new atmospheres. The study of these three cases aims to show how performing practice finds or makes its place in the city, adapting itself to existing urban structures and enhancing their value. In addition, the purpose is also to analyse some buildings and public places that have been designed with an evident scenographic vocation. From Piazza di Sant’Ignazio (Rome) to Can Sau (Olot, Girona), several constructions are conceived as street stages, where everyday life becomes a live performance.
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Wilson, Liam, Alexandra Quayle, Shelly McGuffie i Claire Clarke. "P58 Community simulation". W Abstracts of the Association for Simulated Practice in Healthcare 9th Annual Conference, 13th to 15th November 2018, Southport Theatre and Convention Centre, UK. The Association for Simulated Practice in Healthcare, 2018. http://dx.doi.org/10.1136/bmjstel-2018-aspihconf.150.

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Taylor, Shira. "Adapting with our Community: Peer Mentorship Among the Youth of SExT: Sex Education by Theatre". W 2021 AERA Annual Meeting. Washington DC: AERA, 2021. http://dx.doi.org/10.3102/1689378.

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Зайченко, А. Н. "Educational opportunities of theatre in the context of modern digital development". W Современное социально-гуманитарное образование: векторы развития в год науки и технологий: материалы VI международной конференции (г. Москва, МПГУ, 22–23 апреля 2021 г.). Crossref, 2021. http://dx.doi.org/10.37492/etno.2021.93.35.075.

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в статье рассматриваются новые формы театрального искусства, имеющие образовательную направленность, с учетом развития современных цифровых технологий, особенно актуальных во время пандемии коронавируса. Большое внимание уделяется проблеме коммуникации театрального сообщества со зрительской аудиторией в новых условиях и вопросу передачи атмосферы театра посредством информационных технологий. Подчеркивается важность полученного в период пандемии опыта реализации образовательного процесса творческими образовательными организациями для создания новых форм обучения искусству. Синтез информационных технологий и театра не только предоставляет новые возможности для приобщения детей и молодежи к театральному искусству, но и актуализирует его образовательную и просветительскую функции. the article discusses new forms of theater art with an educational focus, considering the development of modern digital technologies, which have become most relevant during the coronavirus pandemic. Much attention is paid to the problem of communication between the theater community and the audience in the new conditions, as well as to the issue of transmitting the atmosphere of the theater through information technologies. The importance of the experience gained during the pandemic in the implementation of the educational process by creative educational organizations for the creation of new forms of art education is also emphasized. The synthesis of information technologies and theater not only provides new opportunities for introducing children and young people to the theatrical art, but also actualizes its educational and educational functions.
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Moumoutzis, Nektarios, Dessislava Paneva-Marinova, Chara Xanthaki, Polyxeni Arapi, Nikos Pappas i Stavros Christodoulakis. "Using the PerFECt Framework to Establish an Onlife Community for Theatre in Mathematics to Teach Principles of Computing". W 2020 IEEE 44th Annual Computers, Software, and Applications Conference (COMPSAC). IEEE, 2020. http://dx.doi.org/10.1109/compsac48688.2020.0-128.

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Bostenaru Dan, Maria. "Carol Cortobius Architecture". W World Lumen Congress 2021, May 26-30, 2021, Iasi, Romania. LUMEN Publishing House, 2022. http://dx.doi.org/10.18662/wlc2021/08.

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Carol Cortobius was an architect trained in Germany, with an initial practice at Otto Wagner in Vienna, who worked for the Hungarian community in Bucharest building churches. An introduction on the catholic Hungarian community in Bucharest will be given. Dănuț Doboș in a monograph of one catholic church in Bucharest offers an overview of all his works. For the three catholic churches on which he intervened (two built, one restored, but altered now) there are monographs showing archive images not available for the general public. Apart of the catholic churches (two of the Hungarian community) he also built the baptist seminar. Particularly the first built church, Saint Elena, is interesting as an early example of Art Deco and will be analysed in the context of the Secession in Vienna and Budapest, which will be introduced. With help of historic maps the places of the works were identified. Many of them do not exist today anymore because of demolitions either to build new streets or those of the Ceaușescu period (ex. the opereta theatre, a former pharmacy). Images of these were looked for in groups dedicated to he disappeared Uranus neighbourhood The paper will show where these were located. Some of the common buildings have an interesting history, such as the first chocolate factory. Another interesting early Art deco building is the pelican house. There are common details between this and the restored church. The research will be continued with archive research in public archives when the sanitary situation will permit.
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Walmsley, Rowan, i Deepta Churm. "P19 Use of high fidelity simulation as an effective and acceptable method of training community palliative care specialist nurses: a pilot project". W Abstracts of the Association for Simulated Practice in Healthcare 9th Annual Conference, 13th to 15th November 2018, Southport Theatre and Convention Centre, UK. The Association for Simulated Practice in Healthcare, 2018. http://dx.doi.org/10.1136/bmjstel-2018-aspihconf.112.

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Swiecicki, Klaudiusz. "THEATRE AGAINST NON-HUMAN REALITY A FEW SENTENCES ABOUT THE THEATRE OF THE EIGHTH DAY". W 10th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2023. SGEM WORLD SCIENCE, 2023. http://dx.doi.org/10.35603/sws.iscah.2023/vs08.11.

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The Theatre of the Eighth Day from Poznan has been the phenomenon of the Polish independent theatre. It was founded in 1964 by students of the University of Adam Mickiewicz in Poznan. As the students theatre of poetry, for the first few years it operated under the direction of Tomasz Szymanski. The change of the stage form began two years after the group was founded, when Zbigniew Osinski became involved with him. He brought fascination of the Grotowski's method. The Theatre of the Eighth Day marked their disagreement with the communism reality. Stanislaw Baranczak, one of the most talented poets of the Generation'68, joined the group. In the 1970s he was an activist of the anti-communist opposition. For last years, liberal, pro-European Poland has been experiencing an identity crisis. It seems that the demons have put in the forefront: religious obscurantism, anti-Semitism, xenophobia and sexism. Cultural and intellectual openness is replaced by populism and nationalism. The Theatre of the Eighth Day does not remain indifferent to these processes. As in the days of communism takes the side of the open society. The research methods adopted in the article are: analysis of performances, archival materials, photographs and documentary films. Interviews with actors were also conducted.
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Raporty organizacyjne na temat "Community theatre"

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Pond, Robert. The history of community theatre in Anchorage, Alaska, 1946-1976. Portland State University Library, styczeń 2000. http://dx.doi.org/10.15760/etd.2970.

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McIntyre, Phillip, Susan Kerrigan i Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Coffs Harbour. Queensland University of Technology, 2021. http://dx.doi.org/10.5204/rep.eprints.208028.

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Coffs Harbour on the north coast of NSW is a highway city sandwiched between the Great Dividing Range and the Pacific Ocean. For thousands of years it was the traditional land of the numerous Gumbaynggirr peoples. Tourism now appears to be the major industry, supplanting agriculture and timber getting, while a large service sector has grown up around a sizable retirement community. It is major holiday destination. Located further away from the coast in the midst of a dairy farming community, Bellingen has become a centre of alternative culture which relies heavily on a variety of festivals activated by energetic tree changers and numerous professionals who have relocated from Sydney. Both communities rely on the visitor economy and there have been considerable changes to how local government in this region approach strategic planning for arts and culture. The newly built Coffs Harbour Education Campus (CHEC) is an experiment in encouraging cross pollination between innovative businesses and education and incorporates TAFE NSW, Coffs Harbour Senior College and Southern Cross University as well as the Coffs Harbour Technology Park and Coffs Harbour Innovation Centre all on one site. The 250 seat Jetty Memorial Theatre is the main theatre in Coffs Harbour for local and touring productions while local halls and converted theatres are the mainstay of smaller communities in the region. As peak body Arts Mid North Coast reports, there is a good record of successful arts related events which range across all genres of music, art, sculpture, Aboriginal culture, street art, literature and even busking and opera. These are mainly managed by passionate local volunteers.
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Kerrigan, Susan, Phillip McIntyre i Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Bendigo. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.206968.

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Bendigo, where the traditional owners are the Dja Dja Wurrung people, has capitalised on its European historical roots. Its striking architecture owes much to its Gold Rush past which has also given it a diverse cultural heritage. The creative industries, while not well recognised as such, contribute well to the local economy. The many festivals, museums and library exhibitions attract visitors from the metropolitan centre of Victoria especially. The Bendigo Creative Industries Hub was a local council initiative while the Ulumbarra Theatre is located within the City’s 1860’s Sandhurst Gaol. Many festivals keep the city culturally active and are supported by organisations such as Bendigo Bank. The Bendigo Writers Festival, the Bendigo Queer Film Festival, The Bendigo Invention & Innovation Festival, Groovin the Moo and the Bendigo Blues and Roots Music Festival are well established within the community. A regional accelerator and Tech School at La Trobe University are touted as models for other regional Victorian cities. The city has a range of high quality design agencies, while the software and digital content sector is growing with embeddeds working in agriculture and information management systems. Employment in Film, TV and Radio and Visual Arts has remained steady in Bendigo for a decade while the Music and Performing Arts sector grew quite well over the same period.
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Kerrigan, Susan, Phillip McIntyre i Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Ballarat. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.206963.

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Description Ballarat sits on Wathaurong land and is located at the crossroads of four main Victorian highways. A number of State agencies are located here to support and build entrepreneurial activity in the region. The Ballarat Technology Park, located some way out of the heart of the city at the Mount Helen campus of Federation University, is an attempt to expand and diversify the technology and innovation sector in the region. This university also has a high profile presence in the city occupying part of a historically endowed precinct in the city centre. Because of the wise preservation and maintenance of its heritage listed buildings by the local council, Ballarat has been used as the location for a significant set of feature films, documentaries and television series bringing work to local crews and suppliers. With numerous festivals playing to the cities strengths many creative embeddeds and performing artists take advantage of employment in facilities such as the Museum of Australian Democracy at Eureka. The city has its share of start-ups, as well as advertising, design and architectural firms. The city is noted for its museums, its many theatres and art galleries. All major national networks service the TV and radio sector here while community radio is strong and growing.
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Mehra, Tanya, Merlina Herbach, Devorah Margolin i Austin C. Doctor. Trends in the Return and Prosecution of ISIS Foreign Terrorist Fighters in the United States. ICCT, sierpień 2023. http://dx.doi.org/10.19165/2023.3.04.

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Approximately 300 Americans are estimated to have traveled or attempted to join the Islamic State (ISIS) as part of the group’s campaign in Syria and Iraq between 2013 and 2019. These individuals joined more than 53,000 men, women, and minors from roughly 80 countries. Often referred to as foreign (terrorist) fighters (FTF), these are individuals from third countries who travel to join a terrorist group to support its activities. In the United States (U.S.) context, the FTF designation does not denote the act of fighting itself, but rather the support of a designated foreign terrorist organization (FTO). While many of these radicalized individuals traveled alone to the conflict zone, others brought their families or formed new ones in-theater. As ISIS’ selfdeclared caliphate collapsed, many were killed, some fled to other locations, and many were captured and held by Kurdish forces. Men and some teenage boys were primarily placed in prisons, while women and minors were often moved into detention camps. Today, an estimated 10,000 male FTFs remain held in northeastern Syria including 2,000 men and boys from 60 countries outside Syria and Iraq (third country nationals, or TCNs). In addition, local camps hold close to 55,000 female FTF and FTF-affiliated family members, including roughly 10,000 TCN women and children. Some of these individuals have now been in detention for four years or more. The indefinite detention of FTF and FTF-affiliated families in northeastern Syria is not a tenable solution. In addition to clear humanitarian concerns, there is a significant security risk that the facilities’ inhabitants provide a groundswell of recruits to the still active ISIS campaign in the region. A 2022 U.S. military report puts it bluntly, “These children in the camp are prime targets for ISIS radicalization. The international community must work together to remove these children from this environment by repatriating them to their countries or communities of origin while improving conditions in the camp.” In lockstep, U.S. diplomatic leaders have made repatriation a policy priority empowered by a general domestic partisan consensus that the repatriation of FTF and FTF-affiliated families from northeastern Syria should be done expediently. Progress has been slow, while many Western nations were strongly resistant to bringing their detained citizens home, there is recent evidence for cautious optimism. Approximately 9,200 persons – including 2,700 TCNs and 6,500 Iraqis repatriated since 2019. This year, 13 countries have repatriated roughly 2,300 persons, including more than 350 TCNs. However, more work remains to be done. As of July 15, 2023, 39 U.S. persons have been officially repatriated, including both adults and minors. At least 11 additional U.S. persons have returned on their own accord, ten of whom remained in the U.S. following their return. Furthermore, the U.S. has made the decision to bring several non-U.S. persons to the U.S. to stand trial.
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O'Connell, Kelly, David Burdick, Melissa Vaccarino, Colin Lock, Greg Zimmerman i Yakuta Bhagat. Coral species inventory at War in the Pacific National Historical Park: Final report. National Park Service, 2024. http://dx.doi.org/10.36967/2302040.

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The War in the Pacific National Historical Park (WAPA), a protected area managed by the National Park Service (NPS), was established "to commemorate the bravery and sacrifice of those participating in the campaigns of the Pacific Theater of World War II and to conserve and interpret outstanding natural, scenic, and historic values on the island of Guam." Coral reef systems present in the park represent a vital element of Guam?s cultural, traditional, and economical heritage, and as such, are precious and in need of conservation. To facilitate the management of these resources, NPS determined that a scleractinian (stony coral) species survey was necessary to establish a baseline for existing coral communities and other important factors for conservation. EnviroScience, Inc. performed a survey of stony coral species, coral habitat, and current evidence of stressors at WAPA?s H?gat and Asan Units in 2022. This report summarizes these findings from a management perspective and compares its findings to previous survey data from 1977 and 1999 (Eldridge et al. 1977; Amesbury et al. 1999). WAPA is located on the tropical island of Guam, located on the west-central coast of the island, and encompasses 2,037 acres. Underwater resources are a significant component of the park, as 1,002 acres consists of water acres. The park is comprised of seven units, of which two of these, the H?gat and Asan Beach Units, include all the oceanic water acres for the park. The H?gat Beach Unit (local spelling, formerly known as ?Agat?) is located at the south-west portion of the park and consists of 38 land acres and 557 water acres (NPS 2003). The Asan Beach Unit consists of 109 acres of land and 445 water acres (NPS 2003). A current baseline for existing coral communities and other important factors for conservation necessitates the need for up-to-date data on the location, presence, relative abundance, and present health of corals. Park managers need this updated data to determine where and how to best focus conservation priorities and identify restoration opportunities. Management actions in park reef areas informed by this inventory included identifying locations where there were: high rates of sedimentation; high coral biomass; rare or threatened species, with a priority given to species endemic to Guam and listed as ?threatened? under the U.S. Endangered Species Act (ESA; Acropora globiceps, A. retusa, A. speciosa, and Seriatopora aculeata); coral persistence and decline, disease and/or nuisance species, including the crown-of-thorns starfish (Acanthaster cf. solaris, ?COTS?) and the sponge Terpios hoshinota; and bleached areas. All work carried out was in accordance with the NPS statement of work (SOW) requirements, which involved a quantitative inventory using both new and pre-existing transects. The resulting transects totaled 61 (including the four from the 1999 study), each measuring 50 meters in length and distributed across depths of up to 50 feet. Divers took photo-quadrat samples covering an area of approximately 9 m?, encompassing 50 photo-quadrats of dimensions 0.50 m x 0.36 m (n=50). The collective area surveyed across all 61 transects amounted to ~549 m?. Additionally, a qualitative search was conducted to enhance documentation of coral species that have limited distribution and might not be captured by transects, along with identifying harmful species and stressors. Timed roving diver coral diversity surveys were carried out at a total of 20 sites occurring within the waters of WAPA, including eight sites at the H?gat unit and 12 sites at the Asan unit. The findings from this report reveal significant disparities in benthic cover compositions between H?gat and Asan units. The H?gat unit exhibits high abundances of turf algae and unconsolidated sediment while the Asan beach unit presents a different scenario, with hard coral as the dominant benthic cover, followed closely by crustose coralline algae (CCA). The Asan unit is also more difficult to access from shore or boat relative to H?gat which provides that unit some protection from human influences. The Asan beach unit's prevalence of hard coral, CCA, and colonizable substrate suggests a more favorable environment for reef growth and the potential benefits of maintaining robust coral cover in the area. These distinct differences in benthic communities highlight the contrasting ecological dynamics and habitats of the two study areas. Across both H?gat and Asan beach unit transects, a total of 56 hard coral species were recorded from 27 genera, with 44 species recorded from the H?gat unit and 48 species recorded from the Asan unit. Of the four historical transects surveyed in the Asan unit from 1999, three experienced declines in percent coral cover (17.38-78.72%), while the fourth had an increase (10.98%). During the timed roving diver coral diversity surveys, a total of 245 hard coral species, including 241 scleractinian coral species representing 49 genera and 4 non-scleractinian coral species representing 4 genera were recorded. Uncertainties related to coral identification, unresolved boundaries between morphospecies, differences in taxonomists' perspectives, and the rapidly evolving state of coral taxonomy have significant implications for species determinations during coral diversity surveys. While the recent surveys have provided valuable insights into coral diversity in WAPA waters, ongoing taxonomic research and collaboration among experts will be essential to obtain a more comprehensive and accurate understanding of coral biodiversity in the region. Of the several ESA coral species that were searched for among the H?gat and Asan beach units, Acropora retusa was the only coral species found among quantitative transects (n=2) and A. globiceps was observed during coral diversity surveys. Acropora speciosa, which was dominant in the upper seaward slopes in 1977, is now conspicuously absent from all the surveys conducted in 2022 (Eldredge et al., 1977). The disappearance and reduction of these once-dominant species underscores the urgency of implementing conservation measures to safeguard the delicate balance of Guam's coral reefs and preserve the diversity and ecological integrity of these invaluable marine ecosystems. Other formerly common or locally abundant species were infrequently encountered during the diversity surveys, including Acropora monticulosa, A. sp. ?obtusicaulis?, A. palmerae, Stylophora sp. ?mordax?, Montipora sp. ?pagoensis?, and Millepora dichotoma. Significant bleaching-associated mortality was recorded for these species, most of which are restricted to reef front/margin zones exposed to moderate-to-high levels of wave energy. Sedimentation was present in both H?gat and the Asan units, though it was more commonly encountered in H?gat transects. While significant portions of the reef area within the WAPA H?gat unit are in poor condition due to a variety of stressors, some areas still hosted notable coral communities, which should be a potential focus for park management to prevent further degradation. There is a need for more effective management of point source pollution concerns, particularly when subpar wastewater treatment or runoff from areas with potential pollution or sediment-laden water is flowing from nearby terrestrial environments. Future monitoring efforts should aim to establish a framework that facilitates a deeper understanding of potential point source pollution incidents. This would empower park managers to collaborate with adjacent communities, both within and outside of park boundaries, to mitigate the localized impacts of pollution (McCutcheon and McKenna, 2021). COTS were encountered during transect surveys as well as in coral diversity surveys. including along the upper reef front/reef margin at site Agat-CS-2. The frequency of these observations, particularly in the WAPA H?gat unit and where stress-susceptible corals are already uncommonly encountered, raise concern about the ability of the populations of these coral species to recover following acute disturbance events, and calls in to question the ability of some of these species to persist in WAPA waters, and in Guam?s waters more broadly. More frequent crown-of-thorns control efforts, even if only a handful of sea stars are removed during a single effort, may be required to prevent further loss to vulnerable species. There were several documented incidents of Terpios hoshinota covering large sections of branching coral in the reef flat along transects, but it is still unclear how detrimental this sponge is to the overall reef system. There is a concern that elevated levels of organic matter and nutrients in the water, such as those resulting from sewage discharge or stormwater runoff, could lead to increased Terpios populations (De Voogd et al. 2013). Consequently, it is important to track populations in known areas of sedimentation and poor water quality. The presence of unique species at single survey sites within the study areas underscores the ecological importance of certain locations. Some species are known to occur in other locations in Guam, while a few may be limited to specific sites within WAPA waters. These differences are likely influenced by environmental and biological factors such as poor water quality, severe heat stress events, chronic predation by crown-of-thorns sea stars, disease, and reduced herbivore populations. These factors collectively shape the condition of the benthic community, leading to variations in species distribution and abundance across the study sites. Documenting coral stress and identifying potentially harmful species allows for proactive management strategies to prevent the establishment of nuisance or detrimental species while populations are still manageable. Updated data on the location, presence, relative abundance, and health of corals is essential for park managers to prioritize conservation efforts and identify restoration opportunities effectively. Observations from this report raise concerns about the health and resilience of coral ecosystems in the H?gat unit and emphasize the need for knowledge of local factors that shape benthic community structure. Understanding the drivers responsible for these variations is crucial for effective conservation and management strategies to preserve the ecological balance and overall health of coral reefs in both units. Continued monitoring efforts will be critical in assessing long-term trends and changes in benthic cover and enabling adaptive management approaches to safeguard these valuable marine ecosystems in the face of ongoing environmental challenges.
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