Artykuły w czasopismach na temat „Student theatre”
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Aita, Sean. "The Theatre in Language Learning (TiLL) Model". Scenario: A Journal of Performative Teaching, Learning, Research III, nr 1 (1.01.2009): 64–80. http://dx.doi.org/10.33178/scenario.3.1.6.
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This article presents an outline of the Theatre in Language Learning (TiLL) model for second language learners, pioneered since 1966 by Vienna’s English Theatre in partnership with the Austrian Bundesministerium für Unterricht, Kunst und Kultur (BMUKK), linking text study, classroom based role play and professional performance with preshow and in-performance student interaction. It offers a reflection on the dramaturgy and practice of the Englisches Theater geht in die Schulen programme and explores how the model may impact upon student motivation in light of Ema Ushioda’s qualitative research in this field. The article is written from the perspective of a professional theatre practitioner reflecting on the context of theatre as pedagogy within an L2 environment. This article presents an outline of the Theatre in Language Learning (TiLL) model for second language learners, pioneered since 1966 by Vienna’s English Theatre in partnership with the Austrian Bundesministerium für Unterricht, Kunst und Kultur (BMUKK), linking text study, classroom based role play and professional performance with preshow and in-performance student interaction. It offers a reflection on the dramaturgy and practice of the Englisches Theater geht in die Schulen programme and explores how the model may impact upon student motivation in light of Ema Ushioda’s qualitative research in this field. The article is written from the perspective of a professional theatre practitioner reflecting on the context of theatre as pedagogy within an L2 environment.
2
Tanner, Judith. "Recruiting Students to Your Theatres". British Journal of Perioperative Nursing (United Kingdom) 12, nr 5 (maj 2002): 184–90. http://dx.doi.org/10.1177/175045890201200503.
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This article is based on a paper presented at the National Association of Theatre Nurses Congress and Exhibition in October 2001. In it, Judith Tanner asks why it is so difficult to recruit students to theatres, identifies some reasons given by students for not going into theatres, as well as their reasons for going into theatres, and gives advice on how perioperative departments can become more student-friendly.
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Richardson, John M. "Online “iDentity” Formation and the High School Theatre Trip". Articles 51, nr 2 (9.01.2017): 771–86. http://dx.doi.org/10.7202/1038602ar.
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Over the years that I have taken secondary school students to the theatre, the the digital revolution has moved through schools, classrooms, and even theatres, calling into question my goal of contributing positively to students’ identity formation through exposure to live plays. Responding to calls to examine the ways in which young people’s online and offline lives are interwoven, a one-year qualitative case study of student theatregoers suggests that online settings feature prominently in students’ identity formation and that non-digital school experiences such as the theatre trip are often experienced in light of students’ digital lives. Traditional events such as a trip to the theatre are influenced by and combined with online experiences to contribute to a new “iDentity” formation.
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Limniou, Maria. "The Effect of Digital Device Usage on Student Academic Performance: A Case Study". Education Sciences 11, nr 3 (12.03.2021): 121. http://dx.doi.org/10.3390/educsci11030121.
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The aim of this investigation was to explore student behaviour when students brought their own digital devices into a lecture theatre. A total of 361 undergraduate psychology students from the University of Liverpool who used at least one digital device during lecture time fully completed an online questionnaire (159 first-, 124 second- and 78 third-year psychology students) during the 2018–2019 academic year. Although all the three years of undergraduate students brought laptops and/or smartphones into a lecture theatre, there was no significant difference in academic performance over the years of studies. The findings have linked student multitasking processes in a lecture theatre to Social Cognitive Theory principles (reciprocal interactions between behaviours, learning environment, and individuals). There was a significant difference between the three years regarding the use of applications and student characteristics after controlling for the different types of devices. Students who used only one application during lecture time were more likely to achieve higher academic performance as they were less distracted from their primary tasks of processing and retaining information. Overall, this investigation concluded the importance of reconsidering the teaching delivery process so as to avoid students’ escapism using devices during lecture theatres due to their engagement level and lecture norm pressures.
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Ayebi-Arthur, Kofi, i Kofi Acheaw Owusu. "Using audience response system in a third world country: The good, bad and ugly". E-Learning and Digital Media 17, nr 5 (26.06.2020): 408–24. http://dx.doi.org/10.1177/2042753020935551.
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An effective classroom is where there are various forms of interactions: student-student and teacher-student. Unfortunately, most of the interactions that go on in our lecture theatres are minimal. This paper reports an innovative method of engaging students through the use of an Audience Response System (ARS) in a university course. The ARS was used to explore the possibility of improving the interactions in the lecture theatres. The overarching research question was: How best does ARS support lecturer-student interactions in the lecture theatre? A questionnaire and interview were used to elicit students’ views on the use of ARS as an instructional tool. Students reported that they enjoyed using ARS as it facilitated class interaction and collaboration. Internet onnectivity and incompatibility issues on some devices made teaching with the ARS a bit challenging. It is therefore recommended that lecturers can make use of ARS to improve interactions in their lecture rooms.
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Lee, M. S. W., M.-L. Montague i S. S. M. Hussain. "Student-perceived benefit from otolaryngology theatre attendance". Journal of Laryngology & Otology 119, nr 4 (kwiecień 2005): 293–98. http://dx.doi.org/10.1258/0022215054020412.
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The value of theatre attendance by undergraduates is uncertain. This study aimed to evaluate the perceived benefits of attending operating theatre sessions during undergraduate otolaryngology attachments. The study comprised a questionnaire survey carried out in a university medical school. Fourth-year medical students were asked to complete a questionnaire at the end of their two-week attachment in otolaryngology. Completed questionnaires were returned by 152 students. The three most common student expectations were to see and learn common ENT operations, to see the anatomy involved and to learn about the disease being operated upon. Sixty per cent of students reported that their expectations had been met. On a Likert scale from 1 (strongly disagree) to 7 (strongly agree), the importance of theatre attendance as part of the curriculum was rated to be 4.7 (95 per cent confidence interval (CI) = 3.7 to 4.2) and the satisfaction of educational needs in operating theatre teaching was rated to be 3.9 (95 per cent CI = 3.7 to 4.2). Students perceived attending otolaryngology theatre sessions to be beneficial. This information is important in the planning of the otolaryngology undergraduate curriculum.
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Korsberg, Hanna. "Geographies of Theatre: the Finnish National Theatre in Stockholm in 1956". Nordic Theatre Studies 28, nr 1 (22.06.2016): 27. http://dx.doi.org/10.7146/nts.v28i1.23970.
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During the Cold War, the Finnish National Theatre actively sought possibilities for international visits and co-operation. It wanted to showcase its work abroad and especially connect itself with Western European theatres. In 1956, the Finnish National Theatre visited Stockholm. In terms of politics, it was interesting that the Finnish National Theatre chose to perform Aleksis Kivi’s The Seven Brothers and especially interesting that it performed Anton Chekhov’s The Three Sisters. It seems to be the case that there was a national border between the Finnish National Theatre and Anton Chekhov’s play that was hard to cross. The director of the production, Eino Kalima, was described as an expert in interpreting Chekhov due to his background as a student of Stanislavski. This was a myth created by the director of the Finnish National Theatre. However, it increased international interest for the production of The Three Sisters with Kalima as its director. Furthermore, it supported the theatre’s attempts at seeking mobility and engaging in international, cultural encounters.
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Tyszka, Juliusz. "Student Theatre in Poland: Vehicles of Revolt, 1954–57 and 1968–71". New Theatre Quarterly 26, nr 2 (maj 2010): 161–72. http://dx.doi.org/10.1017/s0266464x10000291.
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Polish student theatre was a unique artistic movement in the Soviet post-war empire, with a liberty of expression unparalleled elsewhere in the Soviet bloc. As in every political system, in any country, its creators and its public were students and young intellectuals. These theatre-makers used the umbrella of the Polish Students' Union – a surprisingly democratic institution in a totalitarian political order – and all attempts at their repression were usually appeased by the activists of the student organization, often the friends and supporters of the theatre-makers. After the creation of the Socialist Union of Polish Students these activists became more dependent on the Communist Party, but the Party establishment decided, in the period of the ‘thaw’ (1954–57), that the student artistic movement would be maintained as a kind of artistic kindergarten for avant-gardists and supporters of artistic and political revolt, to let them manifest their beliefs within the well-guarded, limited territory of student cultural centres. However, the young rebels overcame these restrictions and created a focus of artistic opposition which had a wide social and artistic influence, especially during subsequent periods of political crisis. Juliusz Tyszka was himself an activist in the student theatre movement in the late 1970s and early 1980s. Now an NTQ advisory editor, he is head of the Unit of Performance Studies, Institute of Cultural Studies, Adam Mickiewicz University at Poznań, Poland.
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McKay, Marlene E. "Readers Theatre—Take Another Look—It’s More Than Fluency Instruction". LEARNing Landscapes 2, nr 1 (1.02.2008): 131–44. http://dx.doi.org/10.36510/learnland.v2i1.280.
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This article argues that in spite of its benefits and value, there appears to be little attention given to the use of readers theatre or to its connection to theories of learning or reading. The author takes a "second look" at readers theatre and highlights its value in an attempt to reignite the excitement that it brings to reading. Social constructivism, Cambourne’s (1988) conditions for learning, and reader response theory are examined as the theoretical underpinnings. Using readers theatre increases comprehension, literature appreciation, and student engagement. Evidence is provided to support the claim that readers theatre is not only enjoyable for students, but it is also a sound pedagogy that results in more than improved fluency as reflected in the sample of student thoughts prefacing the next section.
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Forysiewicz, Barbara. "The Forum Theatre in the prevention of exclusion from a peer group in the school space". Journal of Education Culture and Society 11, nr 2 (11.09.2020): 335–42. http://dx.doi.org/10.15503/jecs2020.2.335.342.
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Aim. The article is a report from the research conducted in 2017 during the Forum Theatre performance, and it demonstrates the possibilities of using the Forum Theatre of Augusto Boal in activities to prevent exclusion from the peer group of teenage students. The purpose of this article is to signal the possibility of using the idea of Boal in preventing exclusions in the school space.
Methods. In order to discuss the problems, the analysis of source material and participant observations were used.
Results. At Forum Theatre, young people reveal their worldview and value system by interacting with actors and performing stage activities. The teacher, observing the students actions in the performance, can assess their empathy, sensitivity and interpersonal competence. The teacher gets to know the qualities that affect the student’s mental state at the time of exclusion from the peer group. In the theatrical activity, the personality of the student with his or her predisposition to being a victim or torturer is revealed. Using the example of the analysed spectacle The Cage directed by Jarosław Rebeliński in 2017, it is clearly seen that the Forum Theatre makes it possible to get to know the student, and thus his or her problems in relation with peers. Forum Theatre shows the effects and causes of exclusion while simultaneously signalling to the teacher the symptoms of the problem manifesting themselves in the behaviour of young people.
Conclusion. Forum Theatre can be a diagnostic method for teachers in activities preventing the exclusion of a student from a peer group at school. Forum Theatre can be used as a method of working with students at risk of exclusion due to intolerance, lack of acceptance or lack of developed communication skills.
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Giannachi, Gabriella, i Lizbeth Goodman. "Which Freedom? An Overview of Contemporary Bulgarian Theatre". New Theatre Quarterly 8, nr 32 (listopad 1992): 362–76. http://dx.doi.org/10.1017/s0266464x00007144.
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Our ‘Update from Eastern Europe’, following this article, includes reports from Poland, Czechoslovakia, and Russia – on all of which countries we have published earlier features concerning the problems faced by theatre people in the wake of the disintegration of the Communist bloc. However, the theatre of Bulgaria has been little previously noticed, whether by NTQ or its contemporaries, and requires a more detailed overview. This is now provided by Gabriella Giannachi and Lizbeth Goodman, who visited the country in October 1991, interviewing a wide range of people working in its theatres and seeing a selection of productions in which they were involved. Gabriella Giannachi is a graduate student based at Trinity Hall, Cambridge, and Lizbeth Goodman is Lecturer in Literature at the Open University, whose series of feminist theatres interviews has been published in earlier issues of NTQ.
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Hughes, Suzanne J. "Student Nurse Theatre Placements the New Curriculum". British Journal of Perioperative Nursing (United Kingdom) 13, nr 9 (wrzesień 2003): 366–73. http://dx.doi.org/10.1177/175045890301300903.
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Curtis, Joel Nicholas. "The mental health of musical theatre students in tertiary education: A pilot study". Studies in Musical Theatre 13, nr 3 (1.12.2019): 333–48. http://dx.doi.org/10.1386/smt_00011_1.
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This article seeks to illuminate questions of mental health in tertiary-level musical theatre training. Professional performing artists, students of singing, dance and acting, as well as undergraduate university students are all at greater risk of mental health problems than the general population. At the nexus of these domains is the tertiary-level musical theatre student. Through a survey conducted with recent musical theatre graduates in Australia, this study investigated the impact of tertiary-level musical theatre study on the psychological wellbeing of its students, identifying relevant stressors and mitigating factors. The results demonstrate a higher instance of mental health concerns in this cohort than the general population and other tertiary-level groups. Some solutions to mitigate the issue are presented.
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Lydon, Christina, i Eimear Burke. "Students Experiences of Theatre Allocations". Journal of Perioperative Practice 22, nr 2 (luty 2012): 45–49. http://dx.doi.org/10.1177/175045891202200201.
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WAGNER, MEIKE. "De-monopolizing the Public Sphere: Politics and Theatre in Nineteenth-Century Germany". Theatre Research International 37, nr 2 (3.05.2012): 148–62. http://dx.doi.org/10.1017/s0307883312000053.
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This article focuses on an incident of censorship and police intervention at the Königstädtische Theater in Berlin in 1828, occasioned by a performance of Gotthilf August von Maltitz'sThe Old Student(Der alte Student). Identifying how the playwright and his actors sought to represent political topics onstage allows me to explore how theatre functioned as a potential player in an incipient public sphere. In turn this reveals how the desire to represent political topics onstage and to become a performative player in the public sphere was already under way in the 1820s, well before the revolutionary turbulence of 1848.
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Burdenko, Elena Viktorovna, Irina Artsis i Natalia Ilyushchenko. "International Theatrical Educational Programs: Moscow Art Theatre School Experience". Multidisciplinary Journal of Educational Research 8, nr 2 (15.06.2018): 179. http://dx.doi.org/10.17583/remie.2018.3155.
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This paper presents research results regarding the creation, development, and implementation of the international theatrical educational programs organized by the Moscow Art Theatre School together with leading American universities: the first program carried out together with the Eugene O'Neill Theatre Centre; the first international Master's theatre program carried out together with Carnegie Mellon University; the international Master's theatre program, which is currently being carried out together with the American Repertory Theatre at Harvard University, and the short-term international theatrical educational program carried out together with Wayne State University in Detroit (Michigan). The results confirm the necessity of carrying out international theatrical educational programs for training foreign students which are facilitated by the ongoing rise in global student mobility.
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Cresswell, Becky, Corrina Davies, Sue Langlois i Dan Richter. "Growing our own theatre staff: Practice development and education". Journal of Perioperative Practice 28, nr 5 (maj 2018): 128–32. http://dx.doi.org/10.1177/1750458918769199.
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Royal Bournemouth & Christchurch Hospitals NHS Foundation Trust engaged in a quality improvement project aimed at improving quality and safety in theatres. The improvements delivered were recruitment to full staffing template, reduction in agency staffing to zero, and creating a theatre coordinator role to ensure safe staffing. The Practice Education Team was increased fivefold with no extra investment as a result of these improvements. Student satisfaction results amongst ODPs and nurses have increased alongside staff morale and productivity.
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Tyszka, Juliusz. "Polish Alternative Theatre during the Period of Transition, 1989–94". New Theatre Quarterly 12, nr 45 (luty 1996): 71–78. http://dx.doi.org/10.1017/s0266464x00009647.
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AN ALTERNATIVE theatre movement emerged in Poland in the mid 1950s, following the post-Stalinist thaw. Its creators invented and applied new means of communication between actor and spectator thanks to their radical opposition to the mainstream state repertory theatres. This resulted not only in the internationally known achievements of Grotowski and Kantor, but also in the creation of thousands of independent student and amateur groups of great artistic and social importance. The new political and economic order in Poland has liberated these alternative theatres from their political duties and charged them with the even more difficult task of helping and supporting the search for new means of social communication.
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Blomberg, Ann-Catrin, Elin Willassen, Iréne von Post i Lillemor Lindwall. "Student nurses’ experiences of preserved dignity in perioperative practice – Part I". Nursing Ethics 22, nr 6 (7.08.2014): 676–87. http://dx.doi.org/10.1177/0969733014542675.
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Background: In recent years, operating theatre nurse students’ education focussed on ethical value issues and how the patient’s dignity is respected in the perioperative practice. Health professionals are frequently confronted with ethical issues that can impact on patient’s care during surgery. Objective: The objective of this study was to present what operating theatre nurse students experienced and interpreted as preserved dignity in perioperative practice. Research design: The study has a descriptive design with a hermeneutic approach. Data were collected using Flanagan’s critical incident technique. Participants and research context: Operating theatre nurse students from Sweden and Norway participated and collected data in 2011, after education in ethics and dignity. Data consisting of 47 written stories and the text were analysed with hermeneutical text interpretation. Ethical considerations: The study was conducted accordance with the Declaration of Helsinki and approved by a local University Ethics Research Committee. Findings: The findings revealed that students experienced that operating theatre nurses perserved patient's dignity in perioperative practice by being present for each other and making themselves known to the patient. Operating theatre nurses caring for the patient by being compassionate and preserved the patient privacy. The new understanding that emerged was that the operating theatre nurse students understood that the operating theatre nurse wanted to care for the patient like a human being. Discussion: In the discussion, we have illuminated how professional ethics may be threatened by more pragmatic and utilitarian arguments contained in regulations and transplant act. Conclusion: Preserved dignity is an ethical and caring act. Ethical questions and how to preserve dignity in perioperative practice should be discussed more both in educations of healthcare professionals and in clinical practice.
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Bentley, Eric, Robert Brustein i Stanley Kauffmann. "The Theatre Critic as Thinker: a Round-Table Discussion". New Theatre Quarterly 25, nr 4 (listopad 2009): 310–23. http://dx.doi.org/10.1017/s0266464x09000608.
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In 1946, Eric Bentley published The Playwright as Thinker, a revolutionary study of modern drama that helped to create the intellectual climate in which serious American theatre would thrive in the second half of the twentieth century. In 1964 Robert Brustein published an equally influential study of modern drama entitled The Theatre of Revolt. And in 1966, Stanley Kauffmann began a brief, combative stint as first-string theatre critic for the New York Times. Kauffmann's short-lived tenure at the Times dramatized the enormous gap that had arisen between mainstream taste and the alternative vision of the theatre that he shared with Bentley and Brustein. Collectively, these three critics championed the European modern dramatists, like Pirandello, Brecht, Beckett, and Genet, whose plays were rarely if ever performed on Broadway. They also embraced the early work of performance groups such as Julian Beck and Judith Malina's Living Theater when they were either ignored or deplored by most mainstream reviewers. Above all, they challenged the time-honoured idea that the primary goal of the theatre is to provide the audience with an emotional catharsis achieved by realistically identifying with the dramatic protagonist. By contrast, Bentley, Brustein, and Kauffmann championed a theatre that emphasized poetic stylization, intellectual seriousness, and social engagement. The discussion which follows, held on 27 October 2007 at the Philoctetes Center, New York, examines the legacy of these leading American theatre critics of the past fifty years. Bert Cardullo, who transcribed and edited the discussion, was Stanley Kauffmann's student at the Yale School of Drama and is the author, editor, or translator of many books, among them Theater of the Avant-Garde, 1889–1950, What Is Dramaturgy?, and American Drama/Critics: Writings and Readings.
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Raffield, Paul. "Student Lawyer-Playwrights and the Theatre of Law". Law and Humanities 8, nr 1 (9.06.2014): 136–45. http://dx.doi.org/10.5235/17521483.8.1.136.
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Thomas, Piers. "A junior medical student meets the operating theatre". Clinical Teacher 3, nr 4 (grudzień 2006): 202–5. http://dx.doi.org/10.1111/j.1743-498x.2006.00115.x.
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Hoffman, Ari, Brynn Utley i Dan Ciccarone. "Improving medical student communication skills through improvisational theatre". Medical Education 42, nr 5 (maj 2008): 537–38. http://dx.doi.org/10.1111/j.1365-2923.2008.03077.x.
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Daniel Bryan. "Acting Activism: “Introduction to Theatre” Confronts Student Apathy". Theatre Topics 18, nr 2 (2008): 131–45. http://dx.doi.org/10.1353/tt.0.0032.
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Evjáková, Daniela. "Directing in student theatre: from educator to director". Research in Drama Education: The Journal of Applied Theatre and Performance 22, nr 2 (10.03.2017): 220–25. http://dx.doi.org/10.1080/13569783.2017.1294978.
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Marchant, Graham. "The Funding of Drama Student Training in Britain". New Theatre Quarterly 17, nr 1 (luty 2001): 31–44. http://dx.doi.org/10.1017/s0266464x00014305.
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The National Council for Drama Training represents the drama sector of the British performing arts industry and is responsible for the accreditation of the standard and content of the courses at vocational drama schools for professional actors and stage managers, to ensure their relevance to the industry. The Council has three wings: the employers (Society of London Theatre, Theatrical Management Association, the BBC, Channel 4, Channel 5, and ITV), the trades union (Equity), and the leading professional training providers. The purpose of the report which follows was to provide as objective as possible an assessment of the workings of the government's new Dance and Drama Awards scheme, to assist the industry in discussions with Government on improvements to the scheme. Its author, Graham Marchant, is an arts consultant with an exceptional breadth of knowledge and experience, particularly as theatre administrator, senior Arts Council officer, and principal of a vocational school for professional dancers. The NCDT was enabled to commission the Report through the generous provision of funds from the Mackintosh Foundation and the Society of London Theatre.
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Schuler, Catherine. "Anna Brenko and the Pushkin Theatre: Moscow's First art Theatre?" Theatre Survey 33, nr 1 (maj 1992): 85–105. http://dx.doi.org/10.1017/s0040557400009637.
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Western scholarship on Russian theatre has been so dominated by a few prominent figures that the casual student of theatre history might justifiably be left with the impression that Russian theatre began in 1898 with the founding of the Moscow Art Theatre and ended in the 1930s with Stalin's “purification” of Soviet art and literature and the untimely disappearance of Meierhold. The absence of a significant body of research further reinforces the notion that a small gaggle of men—most notably, those associated with the MAT—were solitary beacons of progress in the otherwise barren landscape of nineteenth-century popular theatre.
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Oberrauch, Sophia. "‘Poor Theatre’, Russian Avant-garde and the Art of Anna Bochkova". Journal of Extreme Anthropology 1, nr 2 (7.09.2017): 21–25. http://dx.doi.org/10.5617/jea.5382.
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A student essay for the Special Student Issue of the Journal of Extreme Anthropology accompanying the art exhibition 'Artist's Waste, Wasted Artists', which opened in Vienna on the 19th of September 2017 and was curated by the students of social anthropology at the University of Vienna. This essay discusses the art of the Viennese based Russian artist Anna Bochkova in the context of the Russian avant-garde.
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Skoyles, Alison, i Erin Bloxsidge. "Have You Voted? Teaching OSCOLA with Mentimeter". Legal Information Management 17, nr 4 (grudzień 2017): 232–38. http://dx.doi.org/10.1017/s1472669617000457.
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AbstractThis article details a small project undertaken by Information Skills Advisers at London South Bank University to increase student engagement in lecture theatre settings through the use of a web-based audience response system (ARS), Mentimeter. Supporting the School of Law, librarians delivered an interactive OSCOLA referencing session to a large capacity lecture theatre. A previous session was redesigned to increase student engagement and active learning utilising interactive quiz questions which students answered using mobile devices. The majority of feedback from students and staff who participated in this pilot project was positive and showed an increase in student engagement. This article is based on the presentation, ‘Have You Voted?: Teaching OSCOLA with Mentimeter’ delivered at the BIALL Annual Conference 2017. It will examine the process of adapting a lecture to include interactive content using an ARS, and will discuss the outcomes of the pilot session and explore benefits and challenges inherent in using technology of this type in a large classroom.
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Elpus, Kenneth, i Bruce Allen Carter. "Bullying Victimization Among Music Ensemble and Theatre Students in the United States". Journal of Research in Music Education 64, nr 3 (3.08.2016): 322–43. http://dx.doi.org/10.1177/0022429416658642.
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The purpose of this study was to analyze the prevalence of reported school victimization through physical, verbal, social/relational, and cyberbullying aggression among music ensemble and theatre students in the middle and high schools of the United States as compared to their peers involved in other school-based activities. We analyzed nationally representative data from five waves (2005–2013) of the biannual School Crime Supplement to the National Crime Victimization Survey, a joint project of the U.S. Bureau for Justice Statistics and the National Center for Education Statistics. Logistic regression results showed that music ensemble and theatre students were significantly more likely to be victimized by in-person bullying than their non-arts peers. A significant interaction between sex and arts status showed that male music and theatre students faced the greatest risk of being subjected to physical bullying aggression while female music and theatre students faced the greatest risk of victimization through social/relational aggression. Though incidents of experiencing hate speech were rare, music and theatre students faced a significantly greater risk of hate speech victimization than non-arts students. The overall probability of a music student being victimized by any type of in-person bullying was .34 compared to .25 for non-arts students.
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Pavis, Patrice. "Theatre Analysis: Some Questions and a Questionnaire". New Theatre Quarterly 1, nr 2 (maj 1985): 208–12. http://dx.doi.org/10.1017/s0266464x00001573.
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One of the problems of applying semiotic techniques to theatre work has been a vocabulary which too often mystifies rather than clarifies the theatre experience for the non-specialist student. Patrice Pavis, in his work with students at the University of Paris III, has evolved a questionnaire about theatre performance which, while not in itself utilizing semiotic terminology, attempts to direct the respondents' attention to all the aspects of theatrical signification upon which it touches. In the following article, Patrice Pavis, whose major study of theatrical terminology, entitled Dictionnaire du Théâtre, was published by Editions Sociales in 1980, outlines the purpose of the questionnaire, and provides explanatory notes to the individual questions, outlining an approach on which many involved in theatre teaching may wish to comment and build.
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Arvola, Mattias, Marcus Samuelsson, Mathias Nordvall i Eva L. Ragnemalm. "Simulated Provocations: A Hypermedia Radio Theatre for Reflection on Classroom Management". Simulation & Gaming 49, nr 2 (26.03.2018): 98–114. http://dx.doi.org/10.1177/1046878118765594.
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Background. Learning to manage a classroom is a difficult but important part of teacher education. Earlier research on simulations for learning classroom management has highlighted the difficulty of supporting reflection. Purpose. This case study explores and evaluates the design of a simulation for student teachers’ reflection on classroom management. Design. The design process resulted in the scenario-based SIMPROV simulation, which was made in the form of a hypermedia radio theatre that students go through in pairs or triads. Authoritarian, authoritative, democratic, and compliant leadership styles were built into the choices student teachers made. Evaluation. The simulation was evaluated in two courses where the participants’ level of reflection and perceived knowledge improvement was measured using a questionnaire. Forty-three first-year student teachers, 48 third-year student teachers, and 38 of the student teachers’ mentors participated in the evaluation. Results. The results indicate that participants engaged in reflection and understanding to a high degree, and only to a low degree in critical reflection or habitual action. Conclusions. The conclusions are that the scenario-based simulation designed as a hypermedia radio theatre supported knowledge improvement, understanding, and reflection and that social interaction during and after simulation sessions was an important feature.
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Șușu, Petre, Carmen Mihaela Crețu i Aurelian Bălăiță. "1. The Acting Student’s Choreographic Training. Several Cognitive Objectives". Review of Artistic Education 15, nr 1 (1.03.2018): 110–26. http://dx.doi.org/10.2478/rae-2018-0012.
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Abstract Dance is an artistic genre that is more and more frequently used in theatre productions. The syncretism of theatre and dance can take many shapes, from inserting dance sequences in dramatic performances, to new artistic genres, such as dance theatre. Due to the fact that they offer manifold innovating possibilities for artistic expression in a greatly audience-oriented universal language, theatrical forms that include dance, and especially the artistic genre of dance theatre are increasingly often put on stage by directors who work in Romania. Thus, training actors in the area of dance at a high level of performance that allows them to approach these types of syncretic artistic genres becomes a priority for the Romanian theatre school. The director, one of the stakeholders in higher education theatre schools, is the one who decides both the form of a performance and an actor’s involvement (or lack thereof) in that certain performance. Limited or stimulated by the actor’s training level, the director is also a beneficiary of the education the acting student receives in drama school. This study aims at identifying the opinions of ten Romanian directors on the matter of the choreographic categories and skills the acting student acquires during his years of training at a higher education institution. We have used qualitative methodology research, based on semi-structured interviews, applied to a cross-section of ten directors from Bucharest, Cluj-Napoca, Constanţa, Craiova, Iaşi, and Tg. Mureş. This article tackles the issue of cognitive didactic objectives and students’ cognitive competencies that have been emphasized during the conversations with the aforementioned directors.
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Booth, R., R. Higgin, B. Saunders i D. Cadoux-Hudson. "Improving medical student education in the operating theatre through a novel, multidisciplinary theatre induction course". International Journal of Surgery 23 (listopad 2015): S107. http://dx.doi.org/10.1016/j.ijsu.2015.07.501.
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Dalziel, Fiona, i Andrea Pennacchi. "Looking for Henry: Improvisation and Storytelling in Foreign-Language Theatre". Scenario: A Journal of Performative Teaching, Learning, Research VI, nr 2 (1.07.2012): 7–17. http://dx.doi.org/10.33178/scenario.6.2.3.
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This article describes the role of improvisation and storytelling in a student production of Shakespeare’s Henry VI, Part One at Padua University. It explains why the student directing the play and language instructor chose this challenging piece and how they attempted to increase engagement with the project by involving the participants directly in text adaptation. The article explores the improvisation and storytelling activities proposed to the students, which had the aim of fostering their language competence and creating strong group dynamics while familiarising them with the play. These tasks formed the basis of the final version for performance, which consisted in a selection of the original scenes together with some novel scenes, linked together by short narratives produced by the students themselves. In describing this experience, the authors reflect on the benefits of the multidisciplinary nature of foreign language drama, where influences as diverse as Bertolt Brecht, Peter Brook and Bruce Lee can converge in a truly learner-centred approach to second language acquisition.
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Free, Rebecca, i Mark Ingram. "Collaborative Mapping to Enhance Local Engagement and Interdisciplinary Dialogue in a Short-term Study Abroad Program". International Journal of Humanities and Arts Computing 12, nr 1 (marzec 2018): 5–14. http://dx.doi.org/10.3366/ijhac.2018.0202.
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A central challenge in short-term study abroad programs is making sure that students have meaningful interactions with people abroad, something that scholarship has shown to be tremendously beneficial, both for linguistic gains and for cross-cultural exchange. This article examines the potential benefits of collaborative mapping for encouraging student interaction with local residents, while also considering the value of spatial analysis to the interdisciplinary aims of a course centered on theatre and French Studies. One author is a cultural anthropologist and professor of French, and the other is a professor of theatre. The course explores theatre as a window into French society and culture in three distinct geographic settings (Avignon and the rural Vaucluse, Marseille, and Paris). Space is important to its study of theatrical literature, of theatrical form and site-specific performance, and of the varied meanings of theatre to people living in diverse social environments, including rural settings and neighborhoods in urban centers and peripheries. Written prior to implementing the project for the 2017 version of the course, this article examines a mapping project intended to fully exploit the opportunities of study abroad for student engagement with other perspectives abroad, and for inter-disciplinary dialogue and exchange.
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Kemp, Joy. "Exploring empowerment issues with student midwives using forum theatre". British Journal of Midwifery 17, nr 7 (czerwiec 2009): 438–39. http://dx.doi.org/10.12968/bjom.2009.17.7.43058.
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De Marinis, Marco, i Giulia Vittori. "Maud Robart, Student/Teacher: Collaborating with Grotowski". TDR/The Drama Review 61, nr 1 (marzec 2017): 114–23. http://dx.doi.org/10.1162/dram_a_00626.
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Intermittently from 1977 to 1993, Maud Robart and Jerzy Grotowski worked together through the Polish director’s various post-theatre phases. Archival research reveals a rare professional collaboration that went beyond the relationship Grotowski had with other students. Robart and Grotowski created a reciprocal relationship that allowed them to be simultaneously student and teacher to one another. Exchanging singing and dancing with acting techniques, they crafted a unique performance training.
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Goršič, Niko. "To the last breath". Maska 31, nr 181 (1.12.2016): 146–49. http://dx.doi.org/10.1386/maska.31.181-182.146_7.
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While still a student of sociology, Damir Domitrović co-founded Club B-51 on Gerbičeva Street, a nexus of the subculture in Ljubljana. In 1991, during the beginnings of the wars in former Yugoslavia, he conceived the B-51 Cultural Society, then two years later started the EX PONTO festival as a sort of creative-spiritual meeting point of refugee artists from the Balkan Wars. In the 22 years since, it has grown into an important international festival of the performing arts. He supported the Rajvosa project, which was dedicated to the Bosnian minority community in Slovenia, was an instigator of the Kluže festival at the tri-border of Slovenia, Italy and Austria, and in 2005 co-founded the New European Theatre Action (NETA), the largest theatre network in South-Eastern Europe, which today encompasses 68 festivals and theatres in 20 countries.
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Fernandez, Agna, i Francis David Kullu. "Theatre that Enthrals, Engages and Educates: An Artistic Pedagogical Tool". South Asian Journal of Business and Management Cases 8, nr 3 (9.08.2019): 312–23. http://dx.doi.org/10.1177/2277977919860295.
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Theatre in education is a student-centred pedagogical tool. It provides learning opportunities, which are powerful emotionally and cognitively. This case study portrays the manner in which Dr Bennis uses different forms of theatre to teach subjects in the field of human resource management and organizational behaviour. Through a collaborative venture with a theatre group headed by Mr V. Balakrishnan, students enjoy, live and learn the subject, which would not be possible in a traditional, lecture-based classroom. The impact of learning through theatre was assessed, and the results clearly indicated greater preference and impact of learning through theatre. In courses of study, involving human inter-actions, theatre helps the learner to channel their energy and excitement into a structured environment. By enabling learners to become engaged as thinkers, a passive learning system is transformed into an active embodiment of true knowledge generation. As a teaching innovation, it seems to have gone beyond engagement to establish a new kind of consciousness towards the application of the subject taught. Its success shattered the myths of its approach and established its appeal and relevance. For Dr Bennis, it was time to look forward to times that are more theatrical.
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Weltsek, Gustave. "Devising in the Pandemic: Trauma and a Dramatic Redesign of a Youth Theatre Tour". International Journal of Designs for Learning 12, nr 1 (12.04.2021): 171–80. http://dx.doi.org/10.14434/ijdl.v12i1.31291.
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Z402 Youth Theatre Tour was designed from a critical performative pedagogical positioning (Weltsek, 2019). Here learning emerges from how individuals and communities perform their emergent identities as they cross literal and metaphorical socio-cultural borders. Z402 resulted in a 100% student created new play, parallel workshop, and study guide. This new play was based solely upon the students’ perspectives, voices, and ways of being. The design used devised theatre, the use of improvisation and games, to create a new play versus a solely written approach. The new play dealt with healing in the face of suicidal thoughts. The course addressed four Indiana educational licensing requirements; student technical, artistic, educational, and class practicum experiences. In March 2020, due to the novel coronavirus (COVID-19) pandemic, the University instituted obligatory Online instruction. Students redesigned their stage play into a virtual experience using Zoom and integrated their emotional struggles due to pandemic isolation. The live play, slated for three schools, is now accessible to a large virtual audience
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Scutariu, Irina. "Artistic Forms of Speech in a One-Person Show". Theatrical Colloquia 7, nr 2 (1.12.2017): 247–54. http://dx.doi.org/10.1515/tco-2017-0023.
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AbstractThis one-man show type of performance is a theatrical project in which the actor Alexandru Dobinciuc, a final year master’s student at the George Enescu University of Arts, Department of Theatre was involved. We aim to describe both the specific evolution of a character in a one-person show, and the strategies and technical means used in this type of show, such as scenography, costumes, music and video projections. The latter element is what makes this show exciting; from a purely technical standpoint, the show has the benefit of being easy to relocate. Nowadays, actors need these means of practicing artistic skills: any actor should include in his repertoire this type of show to be able to demonstrate his artistic talents. We use the metaphor of Dialogue of the arts in contemporary theatre to support faculties in the field of arts and young actors who are no longer eligible for indefinite employment contracts, even if they play in an institution-based cultural environment. (The highly debated issue of vacancies in theatres is not part of our discussion.) It is worth mentioning that the actor with whom I have worked on this project is one of the few graduates who were hired by a theatre institution. He is employed by the Mihai Eminescu Theatre in Botoşani.
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BAUM, ROB. "The Mark, the Gestus, and the Moment of Witnessing". Theatre Research International 35, nr 1 (27.01.2010): 43–53. http://dx.doi.org/10.1017/s0307883309990368.
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A remembered piece of student theatre returns the writer to an examination of what was staged: a play centring on survival of the Shoah; the actor himself, a survivor; or an old man's self-discovery in the theatre. A shocking gestus in this production broke the boundaries of theatre and (while the fourth wall remained intact) transformed the audience into witnesses, and theatre into testimony. The article theorizes traumatic memory and its manifestations in the body, trauma's staging and the shape of narrative, and the difference between history, its performance and its mark.
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Lawrence, William. "Advice to a student of Classics". Journal of Classics Teaching 18, nr 36 (2017): 15–16. http://dx.doi.org/10.1017/s2058631017000162.
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Look at the secondary school timetable and you will see that almost all the subjects are ancient Greek words; so the Greeks studied these ideas first and are worth studying for their ideas in their own language (just like the Romans in Latin!). Greek: Biology, Physics, Zoology, Philosophy, Mathematics, Economics, Politics, Music, Drama, Geography, History, Technology, Theatre Studies. Latin: Greek, Latin, Art, Science, Information (Latin) Technology (Greek), Computer Science, Media Studies.
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Willassen, Elin, Ann-Catrin Blomberg, Iréne von Post i Lillemor Lindwall. "Student nurses’ experiences of undignified caring in perioperative practice – Part II". Nursing Ethics 22, nr 6 (7.08.2014): 688–99. http://dx.doi.org/10.1177/0969733014542678.
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Background: In recent years, operating theatre nurse students’ education focused on ethics, basic values and protecting and promoting the patients' dignity in perioperative practice. Health professionals are frequently confronted with ethical issues that can impact on patient’s care during surgery. Objective: The objective of this study was to present what operating theatre nursing students perceived and interpreted as undignified caring in perioperative practice. Research design: The study has a descriptive design with a hermeneutic approach. Data were collected using Flanagan’s critical incident technique. Participants and research context: Operating theatre nurse students from Sweden and Norway participated and collected data in 2011, after education in ethics and dignity. Data consisting of 47 written stories and the text were analysed with hermeneutical text interpretation. Ethical considerations: The study was approved by the Karlstad University's Research Ethics Committee. Findings: The findings show careless behaviour and humiliating actions among health professionals. Health professionals commit careless acts by rendering the patient invisible, ignoring the patient’s worry and pain and treating the patient as an object. They also humiliate the patient when speaking in negative terms about the patient’s body, and certain health professionals blame the patients for the situation they are in. Health professionals lack the willingness and courage to protect the patient’s dignity in perioperative practice. Discussion: In the discussion, we have illuminated how professional ethics may be threatened by more pragmatic and utilitarian arguments contained in regulations and transplant act. Conclusion: The findings reveal that patients were exposed to unnecessary suffering; furthermore, the operating theatre nurse students suffered an inner ethical conflict due to the undignified caring situations they had witnessed.
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Agratina, Elena E. "Jean-Honoré Fragonard’s Work and the Theatre Culture of the 18th Century". Observatory of Culture 16, nr 4 (13.09.2019): 406–17. http://dx.doi.org/10.25281/2072-3156-2019-16-4-406-417.
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The article, for the first time, examines the work of the master of the 18th century Jean-Honoré Fragonard (1732—1806) within the context of the theatre culture of that time. Being a student of François Boucher (1703—1770), who was working as a theater decorator for a long time, Fragonard from his youth had the opportunity to join the world of theater. The painter’s passion for the stage greatly influenced the thematic and figurative composition of his works. Early historical paintings of Fragonard, such as “Jeroboam Sacrificing to Idols” (1752, School of Fine Arts, Paris), were created under the influence of Baroque theater and decorative art and opera productions. Undoubtedly, Fragonard’s familiarity with theatre was promoted by his long stay in Italy, where the famous families of theater decorators Bibiena and Galliari was working at that time. The article pays special attention to the process of planning and execution of the painting “The High Priest Coresus Sacrificing Himself to Save Callirhoe” (1765, Louvre), made not without regard to the opera “Callirhoe”, popular in Paris in the 18th century. It was theater that inspired the master to create his famous costume series of “Fantasy Portraits”, one of which depicted Marie-Madeleine Guimard (1743—1816), who not only had posed for the artist, but also ordered him to design her own mansion conceived as a temple of Terpsichore, the Muse of dance. In addition, Fragonard was the author of several panoramic genre paintings conveying the atmosphere of the then popular street theater. Works of this brilliant master exemplify the relationship of arts that determined the nature of the cultural environment of that era and requires constant attention from modern researchers.
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Hughes, Suzanne. "Evaluating Operating Theatre Experience Student Nurses in South East Wales". Journal of Perioperative Practice 16, nr 6 (czerwiec 2006): 290–98. http://dx.doi.org/10.1177/175045890601600604.
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O'Hara, Larry. "The operating theatre as degradation ritual: A student nurse's view". Science as Culture 1, nr 6 (styczeń 1989): 78–103. http://dx.doi.org/10.1080/09505438909526249.
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Croghan, Stefanie M., Catherine Phillips i William Howson. "The operating theatre as a classroom: a literature review of medical student learning in the theatre environment". International Journal of Medical Education 10 (23.04.2019): 75–87. http://dx.doi.org/10.5116/ijme.5ca7.afd1.
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Herbert, Ian. "Computer Databases for Theatre Studies". New Theatre Quarterly 2, nr 6 (maj 1986): 175–80. http://dx.doi.org/10.1017/s0266464x00002049.
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Slowly the theatre is coming to terms with the computer – not only in practical matters ranging from lighting control to ticket sales, but also in the collection and collation of the material which is the concern of the theatre student and scholar. Ian Herbert, whose own editorial work on Who's Who in the Theatre was largely assisted by lots of box-files and strong coffee, has converted the production of his invaluable London Theatre Record, now into its fifth year, to a computer-based system, and has recently been appointed to a fellowship at the City University to investigate the use of computerized databases for the theatre. In this capacity he helped to organize a conference held at the University in the summer of 1985, which brought together many theatre people with experience of using computers: in the following article he summarizes some of their contributions, and the conclusions of the conference.