Gotowe bibliografie tematyczne / Drama experimental

Gotowa bibliografia na temat „Drama experimental”

Autor: Grafiati
Data publikacji: 26 lipca 2024
Data aktualizacji: 27 lipca 2024

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Artykuły w czasopismach na temat "Drama experimental"

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Liu, Juan. "The Rebellion Origins and Spiritual Symbols of American Experimental Drama". Yixin Publisher 2, nr 2 (30.04.2024): 17–23. http://dx.doi.org/10.59825/jhss.2024.2.2.17.

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In the 1950s and 1960s, American theater gradually diversified. Following the impact of the Absurdist theater on American realism and expressionism, American theater also moved from modern theater to exploration of postmodern theater. The experimental theater on Broadway and Broadway posed a challenge to traditional American theater. Experimental drama begins to weaken the story and script in terms of content, and instead invests a large amount of artistic creativity in formal expression. By weakening the script, it emphasizes the relationship between observation and performance, sensory perception, and spiritual state in the field, which distinguishes it from the traditional theatrical stage. This article will start from the cultural trends in the United States and explore the spiritual origins of American experimental drama’s rebellion against tradition; Taking representative figures and their works in American experimental drama as examples, analyze the specific characteristics and trends in content and form of American experimental drama, and understand the postmodern spiritual symbols conveyed in American experimental drama; Deeply understand the essence of the spirit of American experimental drama and the philosophical discussions conveyed by the concept of experimental drama.
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Horne, William. "American Television Drama: the Experimental Years". American Journalism 4, nr 4 (październik 1987): 204–5. http://dx.doi.org/10.1080/08821127.1987.10731124.

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Yuhan, Nataliia. "Between documentary (verbatim) and experimental theater: poetic features of the genre of modern biographical drama (based on comparative analysis)". InterConf, nr 33(155) (19.05.2023): 179–97. http://dx.doi.org/10.51582/interconf.19-20.05.2023.018.

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The genre of modern biographical drama is characterized by almost all types of “research biographies” (according to P. Kendell's classification): ironic biography (Thea Dorn, E. Narshi); meaningful and critical biography (R. Veretelnik); “standard” biography (T. Ivashchenko, V. Ognenovich, Nika Simonova); subjectively-interpreted biography (A. Ostermeier, Dea Loher); fictionalized biography (Thea Dorn); pseudobiography (E. Narshi). Among the genre and style innovations of the “biographical drama”, first of all, it is necessary to note the intergeneric approach (plays by T. Ivashchenko, Thea Dorn), as well as the interdisciplinary one – the destruction of barriers between the arts, word, dance, music, video art, visual arts, new media art and ballet (dramas by R. Veretelnik, Nika Simonova, Dea Loer).
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Al Rabeei, Ruqaya, Salma Al-Humaidi i Saleh Al-Busaidi. "The Impact of Drama Instruction on EFL Omani Fifth Graders’ Read-ing Comprehension". Journal of Educational and Psychological Studies [JEPS] 13, nr 4 (22.10.2019): 674–86. http://dx.doi.org/10.53543/jeps.vol13iss4pp674-686.

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Drama instruction is one of the methods recommended in EFL literature. This study aimed to investigate the impact of drama instruction on EFL fifth graders’ reading comprehension. It also explored the students’ and the teacher’s perceptions of the use of drama in reading lessons. A total of 74 randomly selected students participated in the study and formed the control group and the experimental group. The study followed the mixed quasi-experimental design. A pre- and posttest reading test was administered to examine the impact of drama on reading comprehension. A questionnaire was implemented to explore students’ perceptions of drama. Semi-structured interviews were also conducted to probe students’ and teacher’s perceptions of drama. The results were quantitatively and qualitatively analyzed. They showed no significant difference in reading comprehension between the control group and the experimental group. However, the experimental group performed better in the posttest than the control group although their mean scores in the pretest were lower. The participant teacher and students responded positively towards the use of drama in reading lessons. They reported that drama activities were exciting and made them love reading.
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Al Rabeei, Ruqaya, Salma Al-Humaidi i Saleh Al-Busaidi. "The Impact of Drama Instruction on EFL Omani Fifth Graders’ Read-ing Comprehension". Journal of Educational and Psychological Studies [JEPS] 13, nr 4 (22.10.2019): 674. http://dx.doi.org/10.24200/jeps.vol13iss4pp674-686.

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Drama instruction is one of the methods recommended in EFL literature. This study aimed to investigate the impact of drama instruction on EFL fifth graders’ reading comprehension. It also explored the students’ and the teacher’s perceptions of the use of drama in reading lessons. A total of 74 randomly selected students participated in the study and formed the control group and the experimental group. The study followed the mixed quasi-experimental design. A pre- and posttest reading test was administered to examine the impact of drama on reading comprehension. A questionnaire was implemented to explore students’ perceptions of drama. Semi-structured interviews were also conducted to probe students’ and teacher’s perceptions of drama. The results were quantitatively and qualitatively analyzed. They showed no significant difference in reading comprehension between the control group and the experimental group. However, the experimental group performed better in the posttest than the control group although their mean scores in the pretest were lower. The participant teacher and students responded positively towards the use of drama in reading lessons. They reported that drama activities were exciting and made them love reading.
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Humaira, Hera Wahdah, Syihabuddin Syihabuddin, Vismaia S. Damaianti i Sumiyadi Sumiyadi. "Peran Pengajaran Bahasa Berbasis Drama dalam Meningkatkan Kemampuan Presentasi Peserta Didik". Diglosia: Jurnal Kajian Bahasa, Sastra, dan Pengajarannya 5, nr 4 (1.11.2022): 873–82. http://dx.doi.org/10.30872/diglosia.v5i4.537.

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This study aimed to study the effect of drama-based language teaching on students' presentation skills in college. This study used a quasi-experimental method by dividing two groups of participants, namely experimental and control. The samples involved in this study were 100 students from semester 5, divided into 2 groups with the composition of each group of 50 students. The experimental group received a drama-based teaching intervention and was assigned to perform live drama at the end of the semester, while the control group did not. The research results show that drama-based language teaching contributes significantly to students' presentation skills. The improvement in presentation skills is seen in the presentation aspect, namely organization, adaptability, and presentation content. It can be concluded that the intervention of language teaching through drama can improve students' oral language skills or presentation skills. This study implies that in supporting academic activities, students' speaking skills can use drama as an alternative, especially for students who take language studies programs.
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Usakli, Hakan. "Drama Based Social Emotional Learning". Global Research in Higher Education 1, nr 1 (19.04.2018): 1. http://dx.doi.org/10.22158/grhe.v1n1p1.

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<p><em>This experimental study evaluates effectiveness of drama on social emotional learning. Social-Emotional Skills Perception Scale was applied to 255 elementary fourth grades. The students who got average and below average social emotional score were selected for experimental and control group. Those groups are equal in participant (42 each) and have approximately similar means in the study. Ten weeks interventions that are drama sessions about social emotional learning were presented to experimental group students. It is apparently seen that there is significant difference between experimental and control groups in terms of social emotional learning on behalf of experimental group. Social emotional learning is very important issue for a child not only in school life but also family and social life. Drama seems to be very effective tool teaching social emotional learning to the kids. Schools can add their curriculum drama based social emotional learning hours. Future studies recommend upon different socio-economic backgrounds and age groups.</em><em></em></p>
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Dong, Rui. "An Effective Quantum Genetic Algorithm Based on Drama Resource Mining Using Wireless Sensing Technology". Scientific Programming 2021 (24.06.2021): 1–12. http://dx.doi.org/10.1155/2021/4122372.

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Wireless sensor technology has penetrated various domains of today’s life and plays a vital role in the advanced technology. Numerous researchers have combined this outstanding technology with other fields such as resource mining, industry, healthcare, automobile system, gaming industry, and dramas. However, in traditional resource mining, long mining time leads to incomplete mining results along with low accuracy. In order to improve the effect of resource mining, we have proposed an effective Quantum Generic Algorithm (QGA) based on drama resource mining by using wireless sensor technology. In our proposed scheme, we have combined the RFID technology of wireless sensor with wireless network protocol stack for the purpose of collecting drama resources on the network platform. We have classified the drama resources on the network platform by using QGA based on the results of resources collection. Additionally, we have mined the semantic association features of frequent patterns of the drama resources on the platform and combined with the fuzzy attribute feature detection method. The experimental results show that this method is superior to the traditional methods in terms of resource mining time, mining results’ comprehensiveness, and mining results’ accuracy, which shows that this method has practical application value.
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Eripuddin, Eripuddin, Jufrizal Jufrizal i Agustina Agustina. "The Effectiveness of the Intercultural Learning Materials in Teaching English Drama". AL-ISHLAH: Jurnal Pendidikan 14, nr 4 (22.11.2022): 5615–26. http://dx.doi.org/10.35445/alishlah.v14i4.2860.

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Teaching English drama to multicultural students has the problem of solving the similarities and differences between language and culture. This research aimed to determine the effectiveness of intercultural learning materials (ILM) in English drama at English Department. This study was quantitative research that explored quasi-experimental research. The sample of this research was eleven students in the experimental group and ten in the control group. The sample was taken by using random cluster sampling. The instrument of this research was a test that developed the student drama performance test. The data were analysed by using a T-test. The result shows that the students scored significantly in the experimental group with an average score of 201.85 % (a sig value of 0.003 0.05). Based on the result of this research, there was a significant effect of intercultural learning material in improving students' English drama. Then, the intercultural learning materials were the alternative resources for linking the different languages and cultures in teaching and learning drama.
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Rahmatunnisa, Sabila, Titin Nurhayatin i Rendy Triandy. "PEMBELAJARAN MENULIS TEKS DRAMA MENGGUNAKAN MEDIA FLIPBOOK BERBASIS KOMIK PADA PESERTA DIDIK KELAS VIII SMPN 40 BANDUNG TAHUN PELAJARAN 2021/2022". Didaktik : Jurnal Ilmiah PGSD STKIP Subang 8, nr 2 (19.12.2022): 1795–804. http://dx.doi.org/10.36989/didaktik.v8i2.340.

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This research is motivated by the low ability of students and their difficulties in writing drama texts. One of the factors that causes this is the lack of creative and innovative use of media and technology by educators. As is known, the use of media and technology in learning can increase students' interest and motivation to learn. The purpose of this research is to improve the ability of students to write drama texts according to the content, language, and structure; to describe the differences in the ability to write drama texts between the experimental class using comic-based flipbook media and the control class using image media; and to test the effectiveness of comic-based flipbook media in learning to write drama texts. The method used is a quasi-experimental method of pre-test - post-test design with a control group. The data obtained were pre-test and post-test data from the experimental and control classes of students in class VIII of SMPN 40 Bandung. The results of this study proved that the ability of students to increase in learning to write drama texts using comic-based flipbook media. This is evident from the average value of the pretest experimental class of 20.75 which increased to 86.00 at the time of the post-test. There is a significant difference in learning outcomes between the experimental and control classes, in the experimental class an average post-test of 86.00 was obtained, while the post-test average of 75.75 was obtained in the control class. Comic-based flipbook media is effectively applied in learning to write drama texts compared to image media. This is evidenced by the results of the Mann Whitney Test with a significance value of 0.000 <0.05. This proves that the comic-based flipbook media is effectively used in learning to write drama texts.
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Rozprawy doktorskie na temat "Drama experimental"

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Chan, Mei-ling Vera, i 陳美玲. "An experimental stage and workshop for drama". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1997. http://hub.hku.hk/bib/B31983194.

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Chan, Mei-ling Vera. "An experimental stage and workshop for drama". Hong Kong : University of Hong Kong, 1997. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25946456.

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Thesis (M. Arch.)--University of Hong Kong, 1997.
Includes special report study entitled: Edge park in an urban environment. Added title page title: Stages and workshops for amateur drama. Includes bibliographical references.
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Theodoridou, Danae. "Short (research) stories : drama and dramaturgy in experimental theatre and dance practices". Thesis, Roehampton University, 2013. http://hdl.handle.net/10142/283932.

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This practice-as-research project discusses modes, processes and aesthetics of contemporary dramaturgy, as practiced in experimental theatre and dance works in Europe from the 1990s onwards. In order to do this, the project draws particularly on discourses around ‘drama’ and suggests that the term can be redefined and usefully rehabilitated for both analysis and the creation of experimental performances. More specifically, this project defines drama (deriving from the Greek dro=act) as stage action, and dramaturgy (deriving from the Greek drama + ergo= work) as a practice that works endlessly for the creation of this drama/action on stage and is therefore always connected with it. In order to approach the newly proposed notion of ‘experimental drama’, this research uses the six main dramatic elements offered by Aristotle in his Poetics: plot, character, language, thought, the visual and music. Furthermore, it adds a seventh element: the spectator and contemporary understandings around the conditions of spectatorship. It then offers an analysis of dramaturgical processes and aesthetics of experimental stage works through these elements. Given that this is a practice-as-research project, it is accordingly multi-modal and offers its perspectives on dramaturgy and experimental drama through both critical and performance texts, documentation traces (photographs and video recordings) of artistic practice – all present in this thesis – and a live event; all these modes complement each other and move constantly between the stage and the page to proceed with the research’s inquiries. The current thesis has borrowed the dramaturgical structure of two artistic projects, created within the frame of this research practice, to generate its writings. The introductory parts of this text place the work within the discourse on practice-as-research and discuss the project’s proposal for an analysis of contemporary dramaturgy through drama. The Short (Research) Stories that follow analyze experimental works, created both within the frame of this research practice and outside it, by other artists, following the Aristotelian model. The element of spectatorship intervenes in this analysis instead of standing separately in the thesis. The project’s closing live event returns from the page to the stage to continue and add to discussions around central issues of the work, in its various distinct modes.
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Marquez, Tamayo Lily A., i University of Lethbridge Faculty of Arts and Science. "Transdiscipline : in the search for new forms of theatrical expression". Thesis, Lethbridge, Alta. : University of Lethbridge, Faculty of Arts and Science, 2006, 2006. http://hdl.handle.net/10133/268.

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This document describes and analyses the process of research and production for the experimental play Via Marina: A woman's journey. Based on a personal experience between the Mexican and the Canadian lifestyles, Via Marina presents a vision toward the benefits of transdisciplinarity for the stage. By definition, transdisciplinarity is a new approach marked by the rapid advance of technology that seeks to create new areas of knowledge working between, across and beyond disciplines. For my Master's project I expermented among New Media, Women's Studies and Theatre Arts to learn to intertwine these disciplines on stage by creating a theatrical production based on a transdisciplinary technique. As a result of two-years of practical and theoretical research, the creation of the production Via Marina tries to break the conventional theatre forms using a transdisciplinary mixture of video, dance and feminist exploration of gender roles. It is just beginning of the development of a new language transcending disciplines in my work as actress, director, artist - woman.
viii, 102 leaves : ill. ; 29 cm.
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Batzoglou, Antonia. "Towards a theatre of psychagogia : an experimental application of the Sesame approach into psychophysical actor training". Thesis, Central School of Speech and Drama, 2012. http://crco.cssd.ac.uk/381/.

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This thesis based in practice as research proposes a pedagogical model for supporting the actor’s inner psychological process within the area of psychophysical actor training. By invoking Socrates’ concept of psychagogia, I critically examine key aspects of psychophysical actor training in order to clarify the conceptual and pragmatic meaning of ‘psyche’ within the psychophysical process. Socrates describes psychagogia as the educational art of leading the psyche towards dialectical examination of the good. It is Aristotle, however, who identifies the art of tragedy as the greatest form of psychagogia, and it is in this context that the thesis re-introduces psychagogia for actor training. My research investigates in practice the application of a modified Sesame Drama and Movement Therapy approach for actors. It entails a series of projects and workshops exploring a pedagogical model based on the Sesame methodology and structure, and using ancient Greek myths as vehicles to encounter conscious and unconscious aspects of the psyche. The research addresses the necessity for an embodied experience and awareness of the psyche by confronting creatively its conscious and unconscious aspects. I aim to show how a Sesame Drama and Movement Therapy approach facilitates this process in a safe and reflexive way, raising the actor’s awareness of this tacit and intangible inner quality.
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Miranda, Rita Alves. "O teatro experimental de Brecht". Pontifícia Universidade Católica de São Paulo, 2013. https://tede2.pucsp.br/handle/handle/11641.

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Made available in DSpace on 2016-04-27T17:27:05Z (GMT). No. of bitstreams: 1 Rita Alves Miranda.pdf: 2197473 bytes, checksum: 27e1b604e4f02f387a522aa42435e2a0 (MD5) Previous issue date: 2013-10-23
Conselho Nacional de Desenvolvimento Científico e Tecnológico
This master s thesis aims to approach the passage of Bertolt Brecht through the theater history and the influence of his proposal for the contemporary art. Initially, we analyzed Brecht s criticism towards some traditional conceptions of theater and the path taken by the author to think the crisis of drama that had settled times before. Along the way were considered some references and possible objections from Brecht to Aristotle and the Aristotelian model of theater. In this controversial debate, we analyzed the references to the Greek philosopher, to clarify weather Brecht really wanted to reject Aristotle, or he proposed an appropriation of that formal model. It is known that the Aristotelian model of theater was removed from the Poetics of Aristotle and suffered different appropriations in different epochs, one of them being the bourgeois reading. This view is refuted by Brecht, when he analyzes the reality of bourgeois drama and realizes that it was necessary that it be revised immediately, because the theater is no longer affecting the people, in the sense that their willingness depended on a relationship of passivity on the part of viewers. Facing this crisis of drama, some artists tried to reformulate it without however succeeding. Brecht, when began his work, had knowledge of these attempts and facing their failures, the goal was to make theater inaugurate a new place in society. In search of the best place he has in mind a place of production of consciousness, radically opposed to the bourgeois-capitalist logic that sought the alienation of individuals. So, now located outside the debate of reckoning with the past, Brecht focuses on your present and faces the ideas of György Lukács which oppose Brecht by thinking art in a different manner and attributing to him the image of Formalist. We also deal whit defending Brecht from these charges. This dissertation, different from common aspect of texts on Bertolt Brecht is not intended to scrutinize the techniques developed by the playwright in the formulation of the Epic Theater, or talking about the formal aspects of his work, but it is based on a philosophical approach, passing briefly through a few moments of the author s thought until it reaches the stage considered as a mature conception of theater, which is also the last phase of his career, when he revised many of his previous positions. This phase is one in which he writes pieces like The Good Soul of Setsuan (1939-1942) and Life of Galileo (1938-1939). Being so, our focus was this mature conception of the author s work and the characteristics of his thinking at that time, thinking that we take as very Brechtian itself. We focus at this moment of his work, to show the compatibility of his thought and a contemporary conception of theater
Este trabalho tem por objetivo abordar a passagem de Bertolt Brecht pela história do teatro e a influência de sua proposta na fase contemporânea da arte. Inicialmente, analisamos a crítica de Brecht dirigida a algumas concepções tradicionais de teatro e o caminho percorrido pelo autor para pensar a crise do drama que se instalara tempos antes. Nesse percurso foram consideradas algumas referências e possíveis objeções de Brecht a Aristóteles e ao modelo aristotélico de teatro. Nesse debate polêmico, analisamos as referências ao filósofo grego, a fim de esclarecer se o que Brecht pretendia era rejeitar mesmo Aristóteles, ou mais uma apropriação daquele modelo formal. Sabe-se que o modelo aristotélico de teatro foi retirado da obra Poética de Aristóteles e que sofreu apropriações segundo as épocas, sendo uma delas a leitura burguesa. Essa leitura é rebatida por Brecht que revê a realidade do drama burguês e percebe que era preciso que ele fosse revisto imediatamente, pois o teatro já não atingia mais as pessoas, mas sua disposição dependia de uma relação de passividade por parte dos espectadores. Frente a dessa crise do drama, alguns artistas, tentaram reformulá-lo sem, no entanto, obter sucesso. Brecht, quando deu início a seu trabalho, já tinha conhecimento dessas tentativas e diante desses fracassos, o objetivo era fazer o teatro inaugurar um novo lugar dentro da sociedade. Em busca do melhor lugar, ele tem em mente um lugar de produção de consciências, opondo-se radicalmente à logica burguesa-capitalista que buscava a alienação dos indivíduos. Assim, localizado já fora do debate de acerto de contas com o passado, Brecht concentrase em seu presente e enfrenta György Lukács que se opõe a Brecht ao pensar a arte de uma forma diferente, atribuindo a este a imagem de Formalista. Nos ocupámos de defender Brecht também dessas acusações. Esta dissertação, diferente do aspecto comum de textos sobre Bertolt Brecht não se propõe a analisar minuciosamente as técnicas desenvolvidas pelo dramaturgo na formulação do Teatro Épico, ou a falar dos aspectos formais de sua obra, senão que se apoia numa abordagem filosófica, que passa rapidamente por alguns momentos do pensamento do autor até chegar à fase considerada como fase de uma concepção madura de teatro, que é também a última fase de sua carreira, quando ele reviu muitas de suas posições anteriores. Esta fase é aquela em que ele escreve peças como A Alma Boa de Setsuan (1939-1942) e Vida de Galileu (1938- 1939). Neste momento do trabalho nosso foco foi essa dada concepção madura da obra do autor e as características de seu pensamento nessa época, pensamento que tomamos como próprio brechtiano. Concentramos nossa atenção neste momento da obra, a fim de mostrar a compatibilidade desse pensamento e uma concepção de teatro contemporânea
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Venter, Tania. "The nature of a drama-based program for young first offenders in South Africa / Tania Venter". Thesis, North-West University, 2004. http://hdl.handle.net/10394/529.

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The increasing tendency of youth getting involved in crime, globally as well as in South Africa is an indication of the comprehensive problem and the duty that is resting upon professionals dealing with the youth. It is therefore important that in South Africa attention will be given to the young first offender. Various intervention methods such as drama-based intervention can be used as service delivery for the young first offender. Drama based intervention hold various therapeutic values for the young first offender. This program can make use of various methods for intervention such as, dance, movement and theatre. The objectives of the program, the need of the participants as well as the background of each individual participant are determining the choice of the intervention method. A drama-based intervention program was used for the study. The aim of this study was to examine the nature of a drama-based intervention for young first offenders. The aims were to: • Through an intensive literature study the various intervention methods was studied. The finding of the literature study was that the involvement of the first young offender within any creative activity has a lasting effect on the social development of the client resulting in a decrease in anti-social behaviour such as crime. Experimental exercises that is based on social learning-; role- and cognitive-behavioural theory are very effective in working with young people • To develop, implement and evaluate a drama-based intervention program through an intensive literature study and empirical research. This program needs to focus on the decreasing and prevention of recidivism with young first offenders. This goal was achieved as the program was developed according to guidelines of the GEESE theatre, which was adapted for South-African circumstances. The program was implemented and evaluated with a group of seven young first offenders. The research showed that the most effective intervention program for young first offenders should be more experimental and based upon creative arts, rather than a structured goal-oriented program, creating opportunities for in-depth exploration of the inner self. The program would then also help the respondent to develop resiliency by building on protective factors, identifying risk factors and developing skills to manage factors such as low self esteem, family relations, peer pressure and poverty.
Thesis (M.A. (MW))--North-West University, Potchefstroom Campus, 2005.
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Robbie, Sheila. "Drama and writing in the 'English as a foreign language' classroom : an experimental study of the use of drama to promote writing in the foreign classroom". Thesis, University College London (University of London), 1998. http://discovery.ucl.ac.uk/10020299/.

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This thesis explores issues in the development of foreign language writing abilities in a Portuguese setting. The study is based on a research project carried out in 1993 in three University classrooms, where the author was teaching. It investigates what happens when educational drama is brought into the EFL classroom as part of a teaching programme with a view to improving writing abilities. Set in a Vygotskian framework, educational drama is used as a mediating device to attend to a whole set of factors not usually salient in L2 writing. The study covers all 108 students majoring in EFL at that time. The students were proficient in both oral work and grammar exercises but had difficulties writing in English. Two obligatory drama workshops were carried out in English with each group of students during their second term of study and all written work carried out during the term stemmed from the workshops. Large amounts of data were analysed by qualitative and quantitative methods. Writing assignments pre/post drama workshops were collected. Drama workshops were monitored via audio and video recording. Questionnaires were given to the students during the pre and post data collection periods to measure writing apprehension. Student writing was found to improve significantly in both content and grammatical fluency in a relatively short period of time. Drawing on linguistic and social semiotic analyses, the project examines the nature of the different written texts produced in this particular educational environment and the interaction between the use of drama and the writing process itself through the concept of transformation. In terms of a larger Vygotskian framework it looks at the role of thinking in learning, development and instruction in a way which bridges difficult conceptual phases in foreign language teaching. Key words: EFL, foreign languages, writing, Vygotsky, drama, Social Semiotics, transformation.
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Skordis, Ranza (Ranza Nora-J). "Improvisation and playmaking : a look at some improvisation techniques and their applications during the directing process". Thesis, Stellenbosch : Stellenbosch University, 2003. http://hdl.handle.net/10019.1/53461.

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Thesis (MDram)--Stellenbosch University, 2003.
ENGLISH ABSTRACT: In this thesis the author investigates aspects of the use of improvisation and improvisational methods, techniques and exercises by modem practitioners. The study commences with a look at the beginnings of modem improvisation in the nineteenth century, when improvisation was used only tentatively by performers as a preproduction aid to the exploration of character and personal response. In more recent times the process has become one of collaboration and research; as a means of selfdiscovery, as a means of text creation and as a vehicle for finding a 'voice' for the silent majority within a particular community or society. This study also traces the use of improvisation in South Africa where the improvisational process has been incorporated into democratic and collaborative forms like workshop theatre and workers' theatre, and serves as a useful method of political investigation and conscientisation. The study will also briefly touch what on is now termed 'theatre-fordevelopment', since its practitioners make extensive use of improvisational techniques, and its techniques are allied to those of workers' and workshop theatre. The final chapter provides an application of the theories discussed in the bulk of the study in a brief discussion of the author's own attempts at utilising improvisation as a directing and scriptwriting tool in a student production.
AFRIKAANSE OPSOMMING: In hierdie tesis ondersoek die outeur die gebruik van improvisasie en die verskillende metodes, tegnieke en praktiese toepassings daarvan deur moderne praktisyns. Die tesis begin deur te kyk na die oorsprong van moderne improvisasie in die 1ge eeu toe imporvisasie slegs tentatief deur akteurs gebruik is om vóór die produksiefase as 'n hulpmiddel te dien om 'n karakter en persoonlike reaksies te ondersoek. Die proses het onlangs tot een van samewerking en navorsing verander; as 'n methode tot selfontdekking, 'n hulpmiddel by teks-skepping en as 'n medium om 'n "stem te vind" vir die 'stille meerderheid' binne 'n gegewe gemeenskap of samelewing. Hierdie studie ondersoek ook die gebruik van improvisasie in Suid Afrika waar die improvisasieproses in demokratiese en spanwerk vorme soos bv. werkswinkelteater en werkersteater geïnkorporeer is, waar hulle as uiters nuttige vorme van politieke ondersoek en -bewusmaking dien. Die studie raak ook vlugtig aan 'teater-virontwikkeling', aangesien die praktisyns daarvan grootliks gebruik maak van improvisasie-tegnieke en die tegnieke wat hulle gebruik redelike ooreenstem met dié van werkswinkelteater en werkersteater. Die finale hoofstuk verskaf 'n toepassing van die verskeie teorieë wat in die hoofgedeelte van die tesis bespreek word, in 'n kort bespreking van die outeur se eie pogings om improvisasie as 'n regie- en teksskeppingsinstrument in 'n studenteproduksie, te gebruik.
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Romero, Echeverría Patricia A. "Discurso crítico periodístico: archivo y memoria de la actividad escénica del Teatro Experimental de la Universidad de Chile 1941-1950". Tesis, Universidad de Chile, 2009. http://repositorio.uchile.cl/handle/2250/108539.

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La presente tesis se enmarca en el contexto de la investigación sobre la crítica teatral periodística. Se propuso recuperar y valorar analíticamente la recepción crítica generada en torno a la puesta en escena del Teatro Experimental de la Universidad de Chile durante el período comprendido entre 1941 y 1950 y establecer las constantes que configuran el discurso crítico periodístico generado en torno al desarrollo de El Teatro Experimental durante el período establecido. Para ello fue necesario recolectar, seleccionar y analizar la crítica periodística esparcida en los diarios El Mercurio, La Tercera y El Diario Ilustrado y Las Últimas Noticias para, posteriormente, determinar los aspectos de la puesta en escena del Teatro Experimental que la crítica periodística destaca y describir las constantes que configuran el discurso crítico periodístico. El acercamiento a la crítica teatral periodística se sustenta en una plataforma teórica enmarcada en las teorías de Mijail Bajtin y Julia Kristeva en torno a las nociones de dialogismo e intertextualidad e, inserta el ejercicio crítico dentro de la teoría de la recepción teatral. Nuestro análisis de la recepción crítica periodística constituye un significativo aporte, al rescatar la memoria espectacular que constituyen las críticas, complementando la historia teatral, que existe dispersa en los medios de comunicación impresos de la época y, constituye una revalorización y estudio del trabajo espectacular del Teatro Experimental, contribuyendo con la preservación de la memoria artística y cultural nacional.
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Książki na temat "Drama experimental"

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Hawes, William. American television drama: The experimental years. University, AL: University of Alabama Press, 1986.

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Zhongguo shi yan xi ju: Experimental drama of China. Shanghai: Shanghai ren min shu ban che, 2009.

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Etchells, Tim. Experimental theatre: A submission to ACE Drama. [U.K.]: Forced Entertainment, 1995.

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Marc, Robinson. The other American drama. Baltimore: Johns Hopkins University Press, 1997.

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Mesa, Fernando Duque. Antología del teatro experimental en Bogotá. [Bogotá, Colombia]: Instituto Distrital de Cultura y Turismo, 1995.

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Graham, Holderness, red. The Politics of theatre and drama. New York: St. Martin's Press, 1992.

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Salvador, Montesa Peydró, i Universidad de Málaga, red. Teatro y antiteatro: La vanguardia del drama experimental. [Málaga, Spain]: Publicaciones del Congreso de Literatura Española Contemporánea, 2002.

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Brooks, McNamara, i Dolan Jill 1957-, red. The Drama review: Thirty years of commentary on the avant-garde. Ann Arbor, Mich: UMI Research Press, 1986.

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Zaydān, ʻAbd al-Raḥmān Bin. al- Tajrīb fī al-naqd wa-al-drāmā. al-Rabāṭ: Manshūrāt al-Zaman, 2001.

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Playwrights, Outlaw, red. Mortuary Puppies (original script en totem). State College/Conshohocken, Pa: Art Recess 6/Outlaw Playwrights, 1999.

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Części książek na temat "Drama experimental"

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Wang, Shou-ren. "Robert Browning: Experimental Drama". W The Theatre of the Mind, 55–82. London: Palgrave Macmillan UK, 1990. http://dx.doi.org/10.1007/978-1-349-20388-8_3.

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Walton, Phoebe. "James v Birnmann: Designing a Never-ending Legal Drama, in a World Where Judges are No Longer Human". W Experimental Realism, 94–102. London: RIBA Publishing, 2022. http://dx.doi.org/10.4324/9781003297338-12.

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Fordyce, Ehren. "Experimental Drama at the End of the Century". W A Companion to Twentieth-Century American Drama, 536–51. Oxford, UK: Blackwell Publishing Ltd, 2007. http://dx.doi.org/10.1002/9780470996805.ch33.

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Ruiz, Noelia. "Scenic Transitions: From Drama to Experimental Practices in Irish Theatre". W The Palgrave Handbook of Contemporary Irish Theatre and Performance, 293–308. London: Palgrave Macmillan UK, 2018. http://dx.doi.org/10.1057/978-1-137-58588-2_20.

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Shan, Cuiping, Weiying Wu i Xiaoqian Shi. "Construction of A Virtual Simulation Experimental Platform for Children’s Drama Creation". W Proceedings of the 2022 3rd International Conference on Artificial Intelligence and Education (IC-ICAIE 2022), 995–1002. Dordrecht: Atlantis Press International BV, 2023. http://dx.doi.org/10.2991/978-94-6463-040-4_150.

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Dean, Joan FitzPatrick, i Radvan Markus. "The Internationalist Dramaturgy of Hilton Edwards and Micheál mac Liammóir". W Cultural Convergence, 15–46. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-57562-5_2.

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Abstract In part because the Gate explored an experimental dramaturgy, its artistic directors Micheál mac Liammóir and Hilton Edwards often wrote, spoke and advocated for a drama that could move beyond realism. The analysis of Hilton Edwards’s dramatic commentary reaches from his early articles on dramaturgy right up to his encounter with the Berliner Ensemble in 1956 that influenced Edwards’s most elaborate statement on drama, The Mantle of Harlequin (1958). An important part of Edwards’s vision was his cosmopolitanism, his refusal to view drama within a restricted national framework. Nationality, on the other hand, was more important for the self-styled Irishman Micheál mac Liammóir. On close inspection, however, we find that his outlook did not differ much from Edwards’s. Mac Liammóir’s main concern was for Irish(-language) drama to absorb elements from abroad, to escape the straitjacket of Abbey realism and to become distinctive in a global context.
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Galatà, Francesco. "Per la fortuna del Decameron nella letteratura di fine Ottocento: riscritture pascoliane edite e inedite". W Studi e saggi, 155–74. Florence: Firenze University Press, 2022. http://dx.doi.org/10.36253/978-88-5518-668-1.09.

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Although Boccaccio’s name is rarely encountered in published works of Giovanni Pascoli (1855-1912), traces of a constant reading and reuse of the Decameron have emerged and continue to emerge from the poet’s manuscripts. The article outlines the history of the already known contacts between the two authors and adds a new document: the unknown verse drama ‘Messer Gentile’, inspired by the novella X 4. This drama, designed as a one-act play with a prologue and three scenes, has been left unfinished: only the prologue and the first scene are preserved, but it is enough to appreciate some dynamics that characterize the rewriting process. A dense network of references to the most ancient Italian poetic tradition emerges from the dramatic lines, and among the manuscripts one discovers an experimental rhythmic prose composed of hendecasyllables arranged in a line that the study reconnects to the reform of modern tragic theater envisaged by Pascoli. Sebbene il nome di Boccaccio si incontri molto raramente nell'opera di Giovanni Pascoli (1855-1912), dai manoscritti del poeta sono emerse e continuano a emergere tracce di una lettura costante del Decameron. Il contributo ripercorre la storia dei contatti già noti tra i due autori e aggiunge un nuovo documento: l'inedito dramma in versi 'Messer Gentile' ispirato alla novella X 4. Il dramma, progettatto come atto unico con prologo e tre scene, rimase incompiuto: ci sono giunti soltanto il prologo e la prima scena, che sono sufficienti per apprezzare alcune delle dinamiche che caratterizzano la riscrittura. Dai versi emerge una fitta rete di riferimente alla tradizione poetica italiana delle origini e tra i manoscritti si ritrova un esperimento di prosa modulata sul ritmo continuato degli endecasillabi riconducibile all'idea di moderno teatro tragico di Pascoli.
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Fleer, Marilyn, Glykeria Fragkiadaki, Elin Eriksen Ødegaard, Prabhat Rai i Alicja Sadownik. "Closing Remarks on Innovations and Theorisations of an Educational Experiment". W Cultural-historical Digital Methodology in Early Childhood Settings, 297–302. Cham: Springer Nature Switzerland, 2024. http://dx.doi.org/10.1007/978-3-031-59785-5_25.

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AbstractThis chapter concludes our book—a book dedicated to the theorisation of an educational experiment but does so in relation to digital methods. The methods presented across the chapters on this book foreground the many ways an educational experiment can be undertaken. The methods are all in response to the societal and global conditions of a global pandemic. Theorised methods bring forward a system of concepts that enable a digital educational experiment to proceed under conditions of crisis, contradiction, and drama. Hedegaard’s writings on an educational experiment, and the new methods presented across the book and discussed in this chapter, bring closure for the concepts of motives and demands in relation to digital environments and interactions, where time, space, and physicality are virtually defined and enabled. Key points for meeting future challenges, dramas, and crises with digital agility are foregrounded in this chapter.
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Wharton, T. F. "Moral Experiments in Jacobean Drama". W Measure for Measure, 57–59. London: Macmillan Education UK, 1989. http://dx.doi.org/10.1007/978-1-349-20069-6_5.

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Swartjes, Ivo, i Mariët Theune. "An Experiment in Improvised Interactive Drama". W Lecture Notes of the Institute for Computer Sciences, Social Informatics and Telecommunications Engineering, 234–39. Berlin, Heidelberg: Springer Berlin Heidelberg, 2009. http://dx.doi.org/10.1007/978-3-642-02315-6_25.

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Streszczenia konferencji na temat "Drama experimental"

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Kilinc, Sultan. "A Quasi-Experimental Examination of Drama Frames: A Teacher Professional Development Program That Targets Reading Achievement". W 2020 AERA Annual Meeting. Washington DC: AERA, 2020. http://dx.doi.org/10.3102/1574121.

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Zhang, Xiaohua, i Fang Sun. "Research on the Application of xR Extended Reality Shooting Technology in the Experimental Drama "Pipa Xing"". W 2023 38th Youth Academic Annual Conference of Chinese Association of Automation (YAC). IEEE, 2023. http://dx.doi.org/10.1109/yac59482.2023.10401853.

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Cenusa, Felicia. "Vladimir Beșleagă or about internal exile". W Conferință științifică internațională "FILOLOGIA MODERNĂ: REALIZĂRI ŞI PERSPECTIVE ÎN CONTEXT EUROPEAN". “Bogdan Petriceicu-Hasdeu” Institute of Romanian Philology, Republic of Moldova, 2023. http://dx.doi.org/10.52505/filomod.2023.17.13.

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If in Romania, during the communist period, one can speak of a literature of external exile and dissidence, then the concept of internal exile can be applied to the literature of Bessarabia, from the same period. Thus, some writers took refuge, in the happiest cases, in the professions of the book, especially in translations, others – in essayistic, parabolic, experimental or diary writings. They were all approached as forms of internal exile, undertaken by writers, thus risking that their works would not be published. Internal exile, most of the time, produced psychoses, neuroses, humiliations similar in amplitude to the drama characteristic of external exile. Namely, these manifestations of internal exile are reflected, for the most part, in the writings of Vladimir Beșleăgă, which constitute the research object of the present study.
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Torres, Ana, Sérgio Soares i Maribel Carvalhais. "Nursing Relational Laboratory: Educational, dialogical and critical projet". W Fourth International Conference on Higher Education Advances. Valencia: Universitat Politècnica València, 2018. http://dx.doi.org/10.4995/head18.2018.8170.

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Nursing is a relational profession and communication is the basic instrument in its practice. The Nursing Relational Laboratory aims to collaborate in the development of communication skills of students of the Nursing, using Portuguese sign language, dramatization and emotional facial expression. 73 students participated (Experimental group; EG; n=38; Control group; CG; n=35). General self-efficacy scale(GSES), the Patient Health Questionnaire-9 Depression Module(PHQ-9), assertiveness questionnaire(ASS), Emotional Thermometer(ET), Inventory of Barrett-Lennard interpersonal relations(OS-M-40), and autoscopies, are used. The main results were as follows: a) better outcomes of EG on final autoscopy; b) significant reduction of the levels of assertiveness and revolt from the beginning to the end in EG; c) lower levels of emotional distress and need for help of EG, compared with CG at the beginning; d) lower levels of emotional distress, anxiety, need for help, empathy and congruence, and higher levels of revolt and unconditionality in EG, at the end; e) teachers recognize the high potential of the LRE. The LRE allowed the development of communicational skills of GE students through sign language, drama and emotion analysis. It is incentivized the development of projects in the area and reinforces the importance of this skills training in health professionals.
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Eschelmüller, V., A. Stren, M. Issa, J. Bauer, A. Goswami, E. Vitztum, K. Repän, W. Treberspurg i C. Scharlemann. "Development of a CubeSat CLIMBing to the Van-Allen belt". W Symposium on Space Educational Activities (SSAE). Universitat Politècnica de Catalunya, 2022. http://dx.doi.org/10.5821/conference-9788419184405.048.

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Based on its successful CubeSat mission PEGASUS, the University of Applied Sciences Wiener Neustadt (FHWN) is preparing its new CubeSat mission called CLIMB. CLIMB is a 3U CubeSat that will be launched to a low, circular orbit of about 500 km. Using a Field Emission Electric Propulsion (FEEP) system commercialized by the company ENPULSION, the satellite will be lifted to an elliptical orbit with its apogee around 1000 km – well inside the inner Van Allen belt. During its 1.5 yearlong ascent and its operation in the Van Allen belt, the satellite will continuously monitor the space radiation with a RadFET dosimeter payload and the impact on CLIMB’s subsystems. Comparisons with radiation testing on ground will allow the assessment of the capability of ground tests to predict effects of space radiation on CubeSat subsystems. The operation of the propulsion system will raise the satellite’s apogee on average 16 times a day. A comprehensive analysis has been conducted to assess its collision probability throughout its mission time. Using various tools, provided by ESA (CROC, MASTER and the DRAMA ARES python package), the collision probability for the entire mission duration (~3 years) was calculated to be 3.38 × 10-5, i.e. a magnitude smaller than the requested probability of 10-4. The second payload of CLIMB is an anisotropic magnetoresistance (AMR) magnetometer with a, for CubeSats high, sensitivity of about 10 nT RMS. The first results of measurements with this COTS based magnetometer are presented as well as experimental assessments of the satellite’s magnetic cleanliness. The benign thermal conditions on CubeSats operating close to Earth are complicated by the relatively high-power propulsion system onboard CLIMB. Detailed numerical analysis (ANSYS, ESATAN) and experimental verifications resulted in the identification of possible methods to deal with up to 18 W of dissipated electric power. The main heat sources are the thruster and the battery unit, during thruster operation
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Henkels, Lu, Hwang, Rajeevakumar, Franch, Jenkins, Bumlot, Heidel i Immediato. "An experimental low temperature DRAM". W 1993 Symposium on VLSI Circuits. IEEE, 1989. http://dx.doi.org/10.1109/vlsic.1989.1037471.

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Praciano, Francisco D. B. S., Joaquim Filipe L. De Sousa i Javam C. Machado. "Uma Análise Experimental da Utilização de Diferentes Tecnologias de Armazenamento em um SGBD Relacional". W XXXIV Simpósio Brasileiro de Banco de Dados. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbbd.2019.8833.

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Os Sistemas Gerenciadores de Banco de Dados (SGBD) tradicionais são construídos com a premissa de que os dados estão armazenados em discos rígidos (HDD). Recentemente, surgiram várias alternativas aos HDDs, tais como as unidades de estado sólido (SSD), as memórias não voláteis (NVM) e as novas memórias principais (DRAM). As diferentes características desses dispositivos podem impactar no desempenho dos SGBDs. Neste trabalho, nos propomos a analisar um SGBD que armazena seus dados de quatro formas distintas, em HDD, SSD NVM, DRAM e de forma híbrida, utilizando os três dispositivos em conjunto. Para isso, usamos a carga de trabalho TPC-C e discutimos os motivos que dão origem aos resultados obtidos para cada tipo de armazenamento.
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Hasegawa, T., D. Takashima, R. Ogiwara, M. Ohta, S. i. Shiratake, T. Hamamoto, T. Yamada i in. "An experimental DRAM with a NAND-structured cell". W 1993 IEEE International Solid-State Circuits Conference Digest of Technical Papers. IEEE, 1993. http://dx.doi.org/10.1109/isscc.1993.280090.

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Dhong, Henkels, Lu, Scheuerlein, Brunner, Kitamura, Katavama i in. "An experimental 27w 1Mb CMOS high-speed DRAM". W 1993 Symposium on VLSI Circuits. IEEE, 1989. http://dx.doi.org/10.1109/vlsic.1989.1037512.

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Tipa, Violeta. "The Night Guguta project: theatrical experiments". W Simpozion Național de Studii Culturale, dedicat Zilelor Europene ale Patrimoniului. Ediția III. Institute of Cultural Heritage, Republic of Moldova, 2022. http://dx.doi.org/10.52603/sc21.07.

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The study highlights the role of the Night Guguta Project in the theatrical art of the Republic of Moldova. A team of young actors are making their debut with this project. They have oriented themselves both from the thematic perspective and from that of the actor’s mastery to the requirements of the current audience, imposing themselves as an explosion of the new in local theatrical art. This new “explosion” started three decades after the formation the troupe, which came from the “Schukin” Theater School in Moscow, and imposes a new breath, a novel vision in the Moldovan theatrical art. Night Guguta brings both classic and contemporary universal dramaturgy onto the stage. The undergraduate show - the comedy “Leonce and Lena” by Georg Büchner and directed by the late Vlad Ciobanu, the course leader, - is among the launched shows. The directing experiments of the actor Catalin Lungu in the “Pillow Man” by Martin McDonagh, which involve the spectators on the stage, deserve attention. Also, V. Sambris rejects the traditional stage by staging the drama “Helver’s Night” by Ingmar Villqist in a non-traditional space. The young director Iulian Bubuioc makes experiments with the theatrical language in the performances: “The Players” by Nikolai Gogol, ”An Incident with a Page Designer” and “The Shattered Jug” by Heinrich von Kleist.
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