Gotowa bibliografia na temat „Group theatre productions”
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Artykuły w czasopismach na temat "Group theatre productions"
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.
Pełny tekst źródłaShevtsova, Maria. "Political Theatre in Europe: East to West, 2007–2014". New Theatre Quarterly 32, nr 2 (13.04.2016): 142–56. http://dx.doi.org/10.1017/s0266464x1600004x.
Pełny tekst źródłaHEMIŞ, ÖZLEM. "Origins and Developments: A Brief Overview". Theatre Research International 44, nr 3 (październik 2019): 296–98. http://dx.doi.org/10.1017/s0307883319000336.
Pełny tekst źródłaBalme, Christopher, i Astrid Carstensen. "Home Fires: Creating a Pacific Theatre in the Diaspora". Theatre Research International 26, nr 1 (marzec 2001): 35–46. http://dx.doi.org/10.1017/s0307883301000049.
Pełny tekst źródłaRodiņa, Ieva. "Režisors Eduards Miks. Brīvdabas lieluzvedumu prakse 20. gadsimta 30. gados". Aktuālās problēmas literatūras un kultūras pētniecībā rakstu krājums, nr 28 (24.03.2023): 215–22. http://dx.doi.org/10.37384/aplkp.2023.28.215.
Pełny tekst źródłaHoward, Pamela. "Designing the Shrew". New Theatre Quarterly 3, nr 10 (maj 1987): 184–87. http://dx.doi.org/10.1017/s0266464x00008678.
Pełny tekst źródłaBurns, Hilary. "The Market Theatre of Johannesburg in the New South Africa". New Theatre Quarterly 18, nr 4 (listopad 2002): 359–74. http://dx.doi.org/10.1017/s0266464x02000477.
Pełny tekst źródłaHughes, Gwenda. "Clocking on at the Play Factory: Some Thoughts on Running a Regional Theatre". New Theatre Quarterly 27, nr 1 (luty 2011): 14–27. http://dx.doi.org/10.1017/s0266464x11000029.
Pełny tekst źródłaWatson, Anna. "‘A Good Night Out’: When Political Theatre Aims at Being Popular, Or How Norwegian Political Theatre in the 1970s Utilized Populist Ideals and Popular Culture in Their Performances". Nordic Theatre Studies 29, nr 2 (5.03.2018): 87. http://dx.doi.org/10.7146/nts.v29i2.104615.
Pełny tekst źródłaCărbunariu, Gianina, i Bonnie Marranca. "The Reality of Fiction". PAJ: A Journal of Performance and Art 38, nr 2 (maj 2016): 112–22. http://dx.doi.org/10.1162/pajj_a_00323.
Pełny tekst źródłaRozprawy doktorskie na temat "Group theatre productions"
Kanjilal, Amitava. "Politics of gender in performance: study of group theatre reductions during left front rule in West Bengal". Thesis, University of North Bengal, 2018. http://hdl.handle.net/123456789/2796.
Pełny tekst źródłaRough, William W. "Walter Richard Sickert and the theatre c.1880-c.1940". Thesis, University of St Andrews, 2010. http://hdl.handle.net/10023/1962.
Pełny tekst źródłaMilne, Christina Lucy, University of Western Sydney i of Performance Fine Arts and Design Faculty. "Group devised performance: the study of a group devised performance piece as a rehearsal method in a high school environment". THESIS_FPFAD_XXX_Milne_C.xml, 1998. http://handle.uws.edu.au:8081/1959.7/264.
Pełny tekst źródłaMaster of Arts (Hons) (Performance)
Milne, Christina Lucy. "Group devised performance: the study of a group devised performance piece as a rehearsal method in a high school environment". Thesis, View thesis, 1998. http://handle.uws.edu.au:8081/1959.7/264.
Pełny tekst źródłaVale, Flávia Janiaski. "Produção e gestão no teatro de grupo como projeto de construção de autonomia". Universidade do Estado de Santa Catarina, 2008. http://tede.udesc.br/handle/handle/1329.
Pełny tekst źródłaCoordenação de Aperfeiçoamento de Pessoal de Nível Superior
This dissertation is a reflexion on production procedures related to Group Theatre. Developed research analyses group production procedures regarding the ways of autonomous management associated to articulation in the areas of autonomy which are characteristic to group work. Therefore, I analyse procedures of three national groups: Galpão Group (MG); Imbuaça Group (SE); Carona Company (SC). These groups constitute a polyvalent universe as to working procedures, and at the same time, they represent distinct cultural zones of a certain theatre produced in the largest Brazilian capitals RJ and SP. The dissertation intends to draw a profile of these groups, highlighting affinities and differences in order to identify production and anagement organization strategies that work as basis in the construction of the autonomy of these groups. Following the principle that the Producer and Theatre Manager are seen as a link between the market, the artists, the State and the public. And that they producer and manager constitute a management nucleus of group theatre with the role of thinking about production strategies as well as distribution of cultural goods strategies, and that this nucleus is closely related to the process of artistic creation of the groups. The main question to be anwered is: how will the producer/manager overcome the logic of art goods into meaningful art? By making the artistic project to define the financing means and not that the financing means define the artistic Project. On a second level, I try to draw production strategies that look for financial autonomy as well as artistic autonomy of group theatre
A presente dissertação apresenta uma reflexão sobre os procedimentos de produção relacionados com o Teatro de Grupo. A pesquisa desenvolvida analisa os procedimentos de produção grupais enquanto formas de gestão autônoma associadas à articulação de zonas de autonomia características do trabalho de grupo. Para tanto analiso os procedimentos de três grupos nacionais: Grupo Galpão (MG); Grupo Imbuaça (SE); Companhia Carona (SC). Estes grupos constituem um universo polivalente no que se refere aos procedimentos de trabalho, e ao mesmo tempo representam zonas culturais distintas de um certo teatro produzido nas mega-capitais brasileiras RJ e SP. A dissertação se propõe a delinear um perfil destes grupos, destacando suas afinidades e diferenças para identificar estratégias de produção e de organização administrativas que sirvam de alicerce na construção de autonomia destes grupos. Partindo do princípio de que o Produtor e Administrador Teatral são vistos como um elo entre o mercado, os artistas, o Estado e o público. E que estes - produtor e administrador constituem o núcleo administrativo do teatro de grupo com a função de pensar estratégias de produção e distribuição do bem cultural, e este núcleo está intrinsecamente ligado ao processo de criação artística do mesmo. A principal questão a ser respondida é: como este produtor/gestor vai ultrapassar a lógica da arte de mercadoria para a arte com significação? Fazendo com que o projeto artístico defina o financiamento e não o financiamento defina o projeto artístico. Em segundo plano procuro delinear estratégias de produção que busquem a autonomia financeira e artística do teatro de grupo
Książki na temat "Group theatre productions"
Identité(s) et territoire du théâtre politique contemporain: Claude Régy, le Groupe Merci et le théâtre du Radeau, un théâtre apolitiquement politique. Paris: Harmattan, 2011.
Znajdź pełny tekst źródła1945-, Parker Scott J., i McCalmon George d. 1965, red. Creating historical drama: A guide for communities, theatre groups, and playwrights. Wyd. 2. Carbondale: Southern Illinois University Press, 2005.
Znajdź pełny tekst źródłaOmar Porras & le Teatro Malandro. Nantes: Joca seria, 2010.
Znajdź pełny tekst źródła1949-, Smyth Robert, i Lamb's Players, red. Lamb's Players presents Developing a drama group: A practical approach for director, actor & designer. Minneapolis, Minn: World Wide Publications, 1989.
Znajdź pełny tekst źródłaCuerpo y arte contemporáneo en Colombia: Problemas políticos y sociales en teatro y performance : Horacio de Mapa Teatro. Bogotá: Trilce Editores, 2011.
Znajdź pełny tekst źródłaMegale, Teresa, red. Occasioni malapartiane. Progetti teatrali della compagnia universitaria dei Corsi di Laurea in Pro.Ge.A.S e in Pro.S.M.Ar.T. Florence: Firenze University Press, 2009. http://dx.doi.org/10.36253/978-88-8453-864-2.
Pełny tekst źródłaAntonio, Cibotto Gian, red. Mezzo secolo di baruffe: Il Piccolo teatro città di Chioggia, 1945-1995. Venezia: Marsilio, 1996.
Znajdź pełny tekst źródłaThistle, Louise. Dramatizing myths and tales: Creating plays for large groups. Palo Alto, CA: Dale Seymour Publications, 1995.
Znajdź pełny tekst źródłaKubák, Ivo Kristián. Imerzivní divadlo a média: Immersive theatre and media : Golem: Meyerink, Štvanice, Cube. Praha: Pražská scéna ve spolupráci s Tygr v tísni, z.s., a s Výzkumným pracovištěm katedry alternativního a loutkového divadla Divadelní fakulty AMU, 2015.
Znajdź pełny tekst źródłaCréer, ensemble: Points de vue sur les communautés artistiques, fin du XIXe-XXe siècles. Montpellier: Entretemps, 2013.
Znajdź pełny tekst źródłaCzęści książek na temat "Group theatre productions"
Chinoy, Helen Krich. "Harold Clurman: Author of the Stage Production". W The Group Theatre, 129–45. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137294609_9.
Pełny tekst źródłaBrook, Peter. "The Holy Theatre: Happenings (1968)". W Modern Theories of Drama, 205–7. Oxford University PressOxford, 1998. http://dx.doi.org/10.1093/oso/9780198711407.003.0033.
Pełny tekst źródłaKinservik, Matthew. "Macklin as Theatre Manager". W Charles Macklin and the Theatres of London, 131–48. Liverpool University Press, 2022. http://dx.doi.org/10.3828/liverpool/9781800855984.003.0007.
Pełny tekst źródłaHonzl, Jindřich. "Dynamics of the Sign in the Theatre (1940)". W Modern Theories of Drama, 269–78. Oxford University PressOxford, 1998. http://dx.doi.org/10.1093/oso/9780198711407.003.0042.
Pełny tekst źródłaHaagensen, Cecilie. "«Speil, speil på veggen der»: Målgruppearbeid i egenskapt teaterproduksjon for ungdom". W Teaterproduksjon, 199–222. Cappelen Damm Akademisk/NOASP, 2018. http://dx.doi.org/10.23865/noasp.43.ch8.
Pełny tekst źródłaBordman, Gerald. "1931-1932". W American Theatre: A Chronicle of Comedy and Drama, 1930-1969, 29–56. Oxford University PressNew York, NY, 1996. http://dx.doi.org/10.1093/oso/9780195090796.003.0002.
Pełny tekst źródłaCole, Emma. "The Wooster Group’s To You, The Birdie!" W Postdramatic Tragedies, 143–76. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198817680.003.0005.
Pełny tekst źródłaBordman, Gerald. "1915–1916". W American Theatre: A Chronicle of Comedy and Drama, 1914–1930, 27–45. Oxford University PressNew York, NY, 1995. http://dx.doi.org/10.1093/oso/9780195090789.003.0002.
Pełny tekst źródłaBordman, Gerald. "1928–1929". W American Theatre: A Chronicle of Comedy and Drama, 1914–1930, 355–84. Oxford University PressNew York, NY, 1995. http://dx.doi.org/10.1093/oso/9780195090789.003.0015.
Pełny tekst źródłaBen-Zvi, Linda. "Fire from Heaven on MacDougal Street". W Susan Glaspell Her Life and Times, 191–202. Oxford University PressNew York, NY, 2007. http://dx.doi.org/10.1093/oso/9780195313239.003.0020.
Pełny tekst źródłaStreszczenia konferencji na temat "Group theatre productions"
Chronopoulou, Anna. "Music in the service of the directorial vision: The case study of the theatrical performance of Acharnians in 1976 by the Greek Art Theatre (Theatro Technis)". W 8th International e-Conference on Studies in Humanities and Social Sciences. Center for Open Access in Science, Belgrade, 2022. http://dx.doi.org/10.32591/coas.e-conf.08.03033c.
Pełny tekst źródłaSoares, Liliana, Ermanno Aparo i Rita Almendra. "Design and creativeness for a three-act session". W 14th International Conference on Applied Human Factors and Ergonomics (AHFE 2023). AHFE International, 2023. http://dx.doi.org/10.54941/ahfe1003537.
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