Bibliografias temáticas / Native theater

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Literatura científica selecionada sobre o tema "Native theater"

Autor: Grafiati
Publicado: 25 de julho de 2024
Última modificação: 31 de julho de 2024

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Artigos de revistas sobre o assunto "Native theater"

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Waegner, Cathy C. "Staging (during) Crisis: Indigenous Zoomlets in the Pandemic". American, British and Canadian Studies 39, n.º 1 (1 de dezembro de 2022): 7–30. http://dx.doi.org/10.2478/abcsj-2022-0015.

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Abstract The COVID-19 pandemic with its lockdowns and social distancing whirled theaters worldwide into an economic and cultural crisis. The San Francisco Playhouse, however, implemented an experimental theater genre based on computer-mediated communication (CMC) that proved to be highly productive and successful. The “Monday night Zoomlets” presented short plays by, among others, Indigenous authors, embedded in discussion by director, actors, and playwright, with a second reading of the play applying the insights gained. The presentations took advantage of technical finesses, as well as informality and humor, and the Zoom spectators in their home settings could interact via a chat function. This article analyzes three of the innovative Zoomlets focusing on crises in contemporary Native American families, crises that have arisen through the “slow violence” (Nixon) of centuries-long hegemonic colonization. DeLanna Studi’s Flight, Claude Jackson Jr.’s Cashed Out, and Lee Cataluna’s Funeral Attire. All these plays show young Native Americans attempting to reclaim rituals or knowledges through forms of “remembering,” a feature of twenty-first-century Indigenous theater according to engagé drama theorists Jaye Darby, Courtney Mohler, and Christy Stanlake’s Critical Companion to Native American and First Nations Theatre and Performance (2020). Relevant theories of transformations of chronotope, fourth wall, and third skin in performance within the Zoom environment are considered.
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Sidoní López e Hanane Belali. "Native American Theater: A Concise History". Miscelánea: A Journal of English and American Studies 54 (15 de dezembro de 2016): 93–111. http://dx.doi.org/10.26754/ojs_misc/mj.20166882.

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This paper provides a concise and brief history of Native American theater from its beginnings in indigenous oral traditions to its consolidation in the 21st century. To start with, the essay will deal with the origins of American Indian theater in Native oral traditions through storytelling and its performance. The paper will then explore the dark period of Native American drama during the emergence of Native American writing in the 18th and 19th centuries. In like manner, the essay will deal with the emergence of contemporary Native American theater as a genre during the second part of the 20th century through the numerous and multiple Native theater companies and plays. Finally, the paper will conclude with the path towards the consolidation of contemporary indigenous theater during the new millennium and will attempt to shed light on the collections and anthologies of Native American plays, a considerable body of scholarship which has just started to gain momentum, and the promotion of the genre through different institutions, companies and festivals across the country. As will be demonstrated, although Native drama is a relatively new phenomenon in the American literary landscape, the history of its development is long, complex and still developing.
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Zehra, Shamail, Kiran Karamat e Niza Qureshi. "THEATRE IN THE DIGITAL AGE: CHALLENGES AND AUDIENCE VIEWING EXPERIENCES". Pakistan Journal of Social Research 05, n.º 01 (4 de março de 2023): 609–16. http://dx.doi.org/10.52567/pjsr.v5i01.1384.

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A digital native audience may find it more difficult to be captivated by a theatrical performance in the age of technology, yet theater has evolved and survived every technological advancement. The popularity of the plays in Shakespeare's day appears to have been largely dependent on audience behavior, much as it was in the times of Aristophanes and Plautus. In our local Pakistani context, the study investigates whether theater can survive in the present digital media landscape and addresses the key elements that can affect a viewer's decision to see theater in a live setting. A good play, production, and performance are evaluated by audiences who are highly "theatre-literate. Despite the latest developments in technology, there are audiences who are essentially motivated by human interaction and insight, who yearn for the live experience, who appreciate being live in the room with the entertainer and that audience is the reason for the survival of theatre in a digital age. A survey method is utilized to collect data from 200 theater-savvy audiences in order to glean the most pertinent information and enhance the analysis of the information gathered. The results will demonstrate that regular theatergoers choose to attend theater live rather than for free online in order to experience a sense of relationship with the performers and other audience members. The majority of theatergoers said that attending live theater in an era of digital technology was still very much worthwhile. Because theater is a global cultural phenomenon that exists in all societies, the study is important on both a national and international level. Keywords: Theatre, Digital culture, Technology, Audience, Liveness, Brecht Theatre.
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Gilula, Leah. "No Sabras in the Fields?" Israel Studies Review 36, n.º 1 (1 de março de 2021): 128–43. http://dx.doi.org/10.3167/isr.2021.360109.

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The Cameri Theatre of Tel Aviv has always presented itself as the first repertory theater in the Yishuv that represented the sabras, creating the impression that its actors and artists were themselves mainly sabras and Hebrew their native language. However, this image, based chiefly on the successful performance of the play He Walked through the Fields, does not reflect reality. The article questions the myth by exploring the actual number of sabra theater artists and actors in the troupe, their place and measure of influence. Exposing this image sheds light on The Cameri Theatre at its beginning as well as on the creation of the image of the sabra, as presented by the character of Uri, and embraced by Hebrew culture.
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Shevchenko, Elena N. "YOUNG DIRECTING ON THE KAZAN STAGE". Челябинский гуманитарий 66, n.º 1 (3 de maio de 2024): 77–84. http://dx.doi.org/10.47475/1999-5407-2024-66-1-77-84.

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The article is devoted to the young generation of directors working on the Kazan stage. These are those who have entered the profession over the past ten years. Among them there are already established masters such as Ilgiz Zainiev, Aidar Zabbarov, Timur Kulov, Ilsur Kazakbayev, a director from Bashkiria who is actively working in Tatarstan. There are also those who are at the very beginning of their career, but have already attracted attention with interesting productions and projects – Lilia Akhmetzyanova, Bulat Gataullin, Bulat Minkin and others. These young artists are successfully implemented in the multicultural environment of Tatarstan. Ilgiz Zainiev heads the Tatar Puppet Theater “Ekiyat”, working with both its Tatar and Russian troupes. His portfolio includes numerous productions in the Tatar drama theaters of Kazan and other cities of the republic: Almetyevsk, Atnya, Menzelinsk, Naberezhnye Chelny, performances in the Kazan Russian Youth Theater and the Naberezhnye Chelny Puppet Theater. Aidar Zabbarov is a director in demand by Russian theaters. In his native republic, he works mainly in the Tatar theaters of Kazan, Almetyevsk, Atnya, while simultaneously being the author of productions at several Russian theater venues. Timur Kulov also successfully cooperates with both Tatar and Russian theaters of the republic. Ilsur Kazakbayev works mainly in national theaters – Bashkir and Tatar. Lilia Akhmetzyanova is the director of the Kazan Russian Youth Theater and at the same time the author of productions at the Kazan Tatar Youth Theater named after G.Kariev and at the venues of the Living City Foundation for the Support of Contemporary Art. These and other directors largely determine the appearance of today’s theatrical Kazan. The purpose of this article is to identify the features of the author’s style of young directors who have especially vividly declared themselves on the Kazan stage, and through the individual try to consider something in common – the qualities inherent in the new generation of directing as such.
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López Pérez, Sidoní. "Confrontation and reconcilement in contemporary native american theater". HUMAN REVIEW. International Humanities Review / Revista Internacional de Humanidades 11, Monográfico (27 de dezembro de 2022): 1–10. http://dx.doi.org/10.37467/revhuman.v11.4344.

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Contemporary Native American theater consists of a long list of plays which normally include indigenous and mixed-blood characters who often find themselves living between two worlds, that is, Native culture and white American society. Therefore, it is common to find a significant confrontation and conflict between the two cultures, which is usually solved at the end of the plays with the characters’ reconcilement or synthesis between their Native heritage and the white domineering society. In this way, Native Americans can ensure their Native cultural existence and survival whilst simultaneously adapting to the changes and customs required by white American society.
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Brask, Per, William Morgan e Robert Appleford. "Aboriginal Voices: Amerindian, Inuit, and Sami Theater". Canadian Theatre Review 78 (março de 1994): 66. http://dx.doi.org/10.3138/ctr.78.016.

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Apart from a few scattered articles, the area of contemporary Native theatre appears virtually untouched by substantial scholarly investigation. This is why Aboriginal Voices, the only (to my knowledge) full-length anthology devoted entirely to First Nations drama and performance, is so exciting. It indicates not only the great range of Native theatre (focusing on the far north but with additional material relating to other Native groups), but also of the problems encountered by those wishing to understand it and help foster it.
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Jones, Daystar/Rosalie M. "José Limón: Mentor to Native Youth". Congress on Research in Dance Conference Proceedings 39, S1 (2007): 113–20. http://dx.doi.org/10.1017/s2049125500000200.

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This paper presents a description of the work of José Limón with American Indian students at Flandreau Indian School in 1970. This historic event grew out of the collaboration of Juilliard's Martha Hill with Mrs. Stewart (Lee) Udall and her organization the Center for Arts of Indian America, which was dedicated to enabling native youth to enter the fields of dance and theater.
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Karelina, Yekaterina. "Tuvan Composer Ayana Oyun (Creative Portrait)". International peer-reviewed journal 11, n.º 4 (1 de dezembro de 2023): 68–77. http://dx.doi.org/10.59850/saryn.4.11.2023.30.

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Among the modern composers of Tuva, the personality and work of Ayana Oyun are covered little of musicology. The main stages of the composer’s creative biography are noted related to studying at Republican School of Arts and Kyzyl College of Arts, receiving a specialized education at Krasnoyarsk State Academy of Music and Theater, Mikhail Glinka Novosibirsk State Conservatory, as well as additional education at St. Petersburg Theatre Arts Academy. The composer’s creative portfolio is surveyed, providing an analysis of one of the illustrative works — the Piano Quintet. The periodization of creativity works correlates with her education in different universities in Russia and with a change in genre preferences. Thus, during the years of study at Krasnoyarsk Academy of Music and Theater (2001–2007), works of chamber genres were predominated, including the being analyzed Piano Quintet. The return to her native Tyva is marked by the formation of an original author’s style. During these years, interest in theatrical music was shown, and a number of performances with music by Ayana Oyun were staged. During the years of study in St. Petersburg (2013–2018), several musical fairy tales were created and staged: Don’t Fly Away!, Mary Poppins and Her Friends, Khorloo (Wheel). Music appeared for a number of performances at the National Theatre as well. The composer’s contribution to the development of musical theater in Tuva and the revival of the first national opera, Chechen and Belekmaa, by Rostislav Kendenbil are noted. Ayana Oyun is a rare case of a successful combination of a composer and a theater director in one person; her personality is distinguished by deep reverence and adherence to the traditions and practices of Buddhist teaching, striving for constant self-improvement, expansion of professional and spiritual horizons.
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Damrhung, Pornrat. "Cultivating the Garden of Theater Culture: A New Perspective on Traditional Theater in Thailand". MANUSYA 2, n.º 2 (1999): 29–60. http://dx.doi.org/10.1163/26659077-00202003.

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After questioning the conventional distinction between traditional and modem theater in Asia, this essay suggests that it may be more fruitful to view today’s live theater traditions as part of a garden of theater culture that includes both native and imported elements and both deep-rooted and recently transplanted traditions. The remainder of the essay amplifies this perspective using examples from Thailand’s theater traditions during the last century and a half. This prepares the way to consider the strengths and weaknesses of traditional theater staged in Thailand during the last decade or so, whether centered on juxtaposing various artistic forms onstage or performing artistic reinterpretations of traditional stories. In seeking to strengthen these approaches for future performances, the author suggests the need for pooling the discipline and creativity performers have in order to fashion patterns of artistic expression that convey significance both among artists and to their audiences.
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Teses / dissertações sobre o assunto "Native theater"

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Cooperkline, Kristen J. "Misconceptions Crumble: The Potential of Native-Controlled Theatre to Deconstruct Non-Native Americans' Perceptions of Native Peoples in the United States". Bowling Green State University / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1240582844.

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Stanlake, Christy Lee. "Mapping the web of Native American Dramaturgy /". The Ohio State University, 2002. http://rave.ohiolink.edu/etdc/view?acc_num=osu1486459267521699.

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Hahn, Miriam. "Playing Hippies and Indians: Acts of Cultural Colonization in the Theatre of the American Counterculture". Bowling Green State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1400171772.

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Cooperkline, Kristen J. "Misconceptions crumble the potential of Native-controlled theatre to deconstruct non-Native Americans' perception of Native peoples in the United States /". Bowling Green, Ohio : Bowling Green State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1240582844.

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Graham, Catherine (Catherine Elizabeth). "Dramaturgy and community-building in Canadian popular theatre : English Canadian, Québécois, and native approaches". Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=42044.

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The Canadian popular theatre movement's refusal to accept one of the key binary oppositions that organizes Euroamerican theatre practice, the split between community-based and professional theatre, makes it a particularly interesting subject of inquiry for theatre scholars. This dissertation develops a methodology for analyzing this movement by approaching theatre, not as a unified institution or a series of texts, but as a mode of cognition that can overcome another of the basic binary oppositions of modern Euroamerican thought, the opposition between mind and body. Following an introductory chapter that situates the Canadian popular theatre movement in the context of recent Canadian theatre history and of other popular theatre movements around the world, a theoretical chapter lays the foundation for this methodology by exploring such key terms as "community," "professional," and "theatrical." It suggests that theatre is a particularly appropriate cognitive tool for building participatory community in heterogeneous social milieus. Chapters 3, 4, and 5 analyze three stages in the popular theatre process in these terms. Chapter 3 looks at how methods of organizing community workshops put in place particular forms of community. Chapter 4 explores the ways in which the dramaturgic structures of plays created by Headlines Theatre, the Theatre Parminou, and Red Roots Community Theatre are formed both by their creation processes and by their analyses of the problems in the dominant public spheres of the larger society. Chapter 5 looks at the specific contribution professional theatre workers make in focusing audience attention on key elements in community participants' stories. The dissertation concludes by suggesting that popular theatre events can be most fairly evaluated by looking at their contribution to the creation of new categories of thought through which we might publicly discuss and enact truly participatory communities.
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Däwes, Birgit. "Native North American theater in a global age sites of identity construction and transdifference". Heidelberg Winter, 2006. http://deposit.d-nb.de/cgi-bin/dokserv?id=2945427&prov=M&dok_var=1&dok_ext=htm.

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Rivera, Klaudia Maria. "Popular theater as a discourse for liberation in an adult, native language, literacy class /". Access Digital Full Text version, 1990. http://pocketknowledge.tc.columbia.edu/home.php/bybib/10910335.

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Thesis (Ed.D)--Teachers College, Columbia University, 1990.
Typescript; issued also on microfilm. Includes appendices. Sponsor: Ray McDermott. Dissertation Committee: William Sayres. Bibliography: leaves 159-165.
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Däwes, Birgit. "Native North American theater in a global age : sites of identity construction and transdifference /". Heidelberg : Winter, 2007. http://catalogue.bnf.fr/ark:/12148/cb41119420w.

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Young, Dale J. "BRIDGING THE GAP: DREW HAYDEN TAYLOR, NATIVE CANADIAN PLAYWRIGHT IN HIS TIMES". Connect to this title online, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1131125416.

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Nees, Heidi L. ""Indian" Summers: Querying Representations of Native American Cultures in Outdoor Historical Drama". Bowling Green State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1352840321.

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Livros sobre o assunto "Native theater"

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Elizabeth, Armstrong Ann, Johnson Kelli Lyon 1969- e Wortman William A. 1940-, eds. Performing worlds into being: Native American women's theater. Oxford, Ohio: Miami University Press, 2009.

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T, Darby Jaye, Fitzgerald Stephanie e University of California, Los Angeles. American Indian Studies Center., eds. Keepers of the morning star: An anthology of native women's theatre. Los Angeles: UCLA American Indian Studies Center, 2003.

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Kuftinec, Sonja. Theatre, facilitation, and nation formation in the Balkans and Middle East. Houndmills, Basingstoke, Hampshire [England]: Palgrave Macmillan, 2009.

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Klee, Paul. Paul Klee: Überall Theater. Bern: Zentrum Paul Klee, 2007.

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Bredekamp, Horst. Die Fenster der Monade: Gottfried Wilhelm Leibniz' Theater der Natur und Kunst. Berlin: Akademie, 2004.

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Bredekamp, Horst. Die Fenster der Monade: Gottfried Wilhelm Leibniz' Theater der Natur und Kunst. Berlin: Akademie, 2004.

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Christine, Hopfengart, e Zentrum Paul Klee, eds. Paul Klee: Theater everywhere. Ostfildern: Hatje Cantz, 2008.

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Lippert, Leopold, e Ralph J. Poole, eds. The Politics of Gender in Early American Theater. Bielefeld, Germany: transcript Verlag, 2022. http://dx.doi.org/10.14361/9783839452530.

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In the late 18th and early 19th centuries, the American theater emerged as a crucial cultural space for debates around gender stereotypes, gendered conduct, sexual desire, the politics of intimacy and domesticity, female authorship, as well as the complex intersections of gender and other markers of cultural difference, such as race, ethnicity, socioeconomic class, age, or nation. This collection explores the role of gender in the formation of American theatrical culture in this period. It features essays on well-known early American dramatists such as Susanna Rowson or Judith Sargent Murray, but also sheds light on anonymous authors and more obscure theatrical practices.
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Klee, Paul. Paul Klee: Botanisches Theater 1924/1934. München: Städtische Galerie im Lenbachhaus, 2005.

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Francesco, Galli, Lorenzoni Franco 1953- e Ferri Francesca, eds. Un teatro nel paesaggio: Fotografare O Thiasos TeatroNatura. Corrazzano (Pisa): Titivillus, 2007.

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Capítulos de livros sobre o assunto "Native theater"

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Mohler (Santa Barbara Chumash), Courtney Elkin. "Decolonial practices for contemporary Native Theater". In Casting a Movement, 159–69. Abingdon, Oxon; New York, NY : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9780429488221-15.

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Soto-Morettini, Donna. "Theatre and the Digital Native". In Why the Theatre, 158–65. New York : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9781003017615-26.

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McIvor, Charlotte, e Ian R. Walsh. "Nation". In Contemporary Irish Theatre, 165–202. Cham: Springer International Publishing, 2024. http://dx.doi.org/10.1007/978-3-031-55012-6_7.

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AbstractArguably the nation and its many anti-colonial, postcolonial, Troubles-era, post-conflict and early twenty-first-century permutations remain the defining thematic obsession of contemporary Irish theatre. This chapter contributes elucidating frameworks for navigating how contemporary Irish theatre continues to dramatise and negotiate these complex and contested dimensions of the nation from the perspective of past, present and future. The three frameworks and accompanying case studies that model the application of these critical lenses to key theatre productions are: Theatre and the political work of nation-building (Michael West/Corn Exchange’s Dublin By Lamplight), Woman and/as nation (Anne Devlin’s Ourselves Alone), Interrogating national histories through the Irish history play (Frank McGuinness’s Observe the Sons of Ulster Marching Towards the Somme).
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Sen, Abhijit. "Theatre and Nation". In Rabindranath Tagore's Theatre, 39–62. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003110279-3.

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Anderson-Rabern, Rachel. "The Nature Theater of Oklahoma". In Collective Creation in Contemporary Performance, 151–63. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137331274_10.

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Imre, Zoltán. "Nation, identity, and theatre – Reimagining national theatre". In The Routledge Companion to Contemporary European Theatre and Performance, 468–74. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003082538-75.

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Cox, Emma. "The migrant nation". In Theatre & Migration, 32–54. London: Macmillan Education UK, 2014. http://dx.doi.org/10.1007/978-1-137-00402-4_2.

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Read, Alan. "Nature Table". In Theatre, Intimacy & Engagement, 102–19. London: Palgrave Macmillan UK, 2009. http://dx.doi.org/10.1057/9780230273863_4.

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Holdsworth, Nadine. "Nation, national identity and nationalism". In Theatre & Nation, 9–26. London: Macmillan Education UK, 2010. http://dx.doi.org/10.1007/978-1-137-01377-4_1.

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Holdsworth, Nadine. "National theatres and state-of-the-nation plays". In Theatre & Nation, 26–42. London: Macmillan Education UK, 2010. http://dx.doi.org/10.1007/978-1-137-01377-4_2.

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Trabalhos de conferências sobre o assunto "Native theater"

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López Pérez, Sidoní. "THE UNSTABLE DEVELOPMENT OF CONTEMPORARY NATIVE AMERICAN THEATER: SITES OF CONFLICT AND DISCUSSION". In International Conference on Social science, Humanities and Education. Acavent, 2018. http://dx.doi.org/10.33422/icshe.2018.12.65.

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Lichtman, Jay. "Bjork "Nature is Ancient"". In ACM SIGGRAPH 2003 video review on Electronic theater program. New York, New York, USA: ACM Press, 2003. http://dx.doi.org/10.1145/1006032.1006044.

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Rismayanti, Rismayanti, Munirah Hasjim e Muhammad Fadhly Kurniawan. "The Existence of Virtual Theater Performances of Pandemic Era". In 9th Asbam International Conference (Archeology, History, & Culture In The Nature of Malay) (ASBAM 2021). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220408.059.

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Yan, Iryna. "THE ROLE OF M. KROPYVNYTSKY'S THEATRE TROUPE IN PRESERVATION OF TRADITIONS OF THE UKRAINIAN NATION". In DÉBATS SCIENTIFIQUES ET ORIENTATIONS PROSPECTIVES DU DÉVELOPPEMENT SCIENTIFIQUE. European Scientific Platform, 2022. http://dx.doi.org/10.36074/logos-08.07.2022.124.

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Snyman, Bailey. "L.I.F.E.: Articulating an Embedded Choreographic Process". In Arts Research Africa 2022 Conference Proceedings. Arts Research Africa, 2022. http://dx.doi.org/10.54223/10539/35882.

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This paper explores the evolving landscape of choreographic research in South Africa, focusing on the interdisciplinary nature of contemporary choreography and its reliance on embodied knowledge. The paper examines the theory of tacit knowledge proposed by Michael Polanyi and its intersections with embodiment theories. It further investigates the four interpretations of tacit knowledge presented by Harald Grimen. The study documents the intuitive and implicit choreographic processes behind the creation of “L.I.F.E.: A History of Distance,” a dance-based physical theatre performance. The presentation highlights the importance of understanding choreography as an embodied arts practice and emphasizes the interplay between explicit and tacit knowledge in the choreographer’s creative process.
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Lisowski, Daniel. "Motion Capture Body Tracking and Functional Safety in Dynamically Controlled Theatre Automation Systems". In 10th International Conference on Human Interaction and Emerging Technologies (IHIET 2023). AHFE International, 2023. http://dx.doi.org/10.54941/ahfe1004077.

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Live theatrical performance is an ever-evolving art form in which visionary theater makers are incorporating evolving technologies into performances to connect and engage modern audiences. Recent developments in theatrical motion control systems are enabling vibrant and adaptive control through dynamic automation. Traditional theatrical motion control systems use a set path motion profile to produce predictable movements of scenery and people through space and time. New dynamic control systems utilize an external generated set point parameter to specify the desired motion. This flexibility enables a DJ to control the movement of flown digital chandeliers above a dance floor with their regular beat control or for Alice to control her flown decent as she tumbles down the rabbit hole by changing the position of her arms. Putting the control of the equipment into the hands of the performers is a significant leap in evolution stage automation control.To accomplish the motion tracking of performers on stage, the research team developed a unique set-up of Microsoft Kinect sensors to monitor the stage environment. The skeletal models of up to four performers were captured and transmitted via an ethernet network to the video game engine. The main benefit of this tracking method is that it allowed for both traditionally costumed performers and regularly dressed audience members to be captured by the system. Most motion capture systems in entertainment require the use of custom body suits which can disenchant and distract audiences. Our system maintains the traditional relationship between costume and character while collecting the necessary interactivity data.The natively 3D nature of the video game environment is optimally suited to handle the interaction between performer and the digital environment. Using the skeletal tracking models from the sensor system, the video game engine allowed the performers to dynamically interactive with the stage environment. They could open doors, swat away birds, and flap their wings to fly away. The added benefit of the system was that it allowed members of youth young audiences to be called onto stage to further the narrative with their actions. The resulting system enables a new performance methodology with exciting new options for theatrical storytelling, educational training, and interactive entertainment. This evolution of control adds risks beyond those present in deterministic systems.Dynamic control of entertainment automation systems requires strong conformance to functional safety principles to mitigate the risks to affected personal and environments. Functional Safety is the mitigation of unacceptable injury risks through the implementation of one or more automatic protection functions (often called safety functions). In traditional theatre environments, safety functions have historically been limited to “Emergency Stop” functions which halt all motion when an operator presses “the big red button”. As systems become more complex and utilize dynamic control, theatrical automation control systems need to utilize a functional safety evaluation process to better protect persons and the environment for systematic and random failures in the systems. Industry experts develop best practice procedures to address safety concerns which are written into documents called standards.The presenter conducts research at the intersection of entertainment and engineering, has actively participated in the development of numerous American national standards with the Technical Standards Program of ESTA (Entertainment Services and Technology Association), and is a dual certified functional safety engineer (TÜV Rheinland and Underwriters Laboratories). This presentation will go through the functional safety considerations required to implement dynamic control per national and international standards using examples from realized performance projects led by the presenter.
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Drossinou-Korea, Maria. "Targeted, individually structured special education and training intervention programs and pedagogical applications in museum". In 7th International e-Conference on Studies in Humanities and Social Sciences. Center for Open Access in Science, Belgrade, 2021. http://dx.doi.org/10.32591/coas.e-conf.07.11107d.

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Anthropocentric museums are “an important place in public debate, creation and questioning ideas” because they can have a positive impact on the lives of underprivileged or marginalized people. They can also strengthen specific communities and contribute to the creation of fairer societies. The science of Museology together with the science of Special Education and Training (SET) support with the Targeted Individual Structured and Integrated Program for Students with Special Educational needs (TISIPfSEN), in children and young people with special educational needs and disabilities (SENDs). The purpose of this work was to study museology applications in accordance with the pedagogical tool TISIPfSEN. The main working hypothesis explored access to theatre and entertainment events, museums and archaeological sites of people with SENDs, which is not always an easy process given that they are a heterogeneous group due to their inherent or acquired specificity. The applications also drew pedagogical materials through the charm of the art of theatre and puppetry. In this context, performances were given free of charge through the Kalamata Experimental Stage to children and young people with SENDs, in the city of Kalamata and Sparta. This project led to voluntary application from students of department of history of University of Peloponnese. The results showed that people’s disability does not always mean impotence. Accessibility to museum programs and theatrical events in modern organized societies is possible. The learning process becomes accessible with the pedagogical tool TISIPfSEN to people with special needs. Necessary conditions, knowledge in the SET and the necessary training of all according to universal design. In conclusion, TISIPfSEN museum pedagogical programs facilitate different social groups in approaching, understanding the differential material culture, with alternative forms of communication and learning, given that heterogeneity in nature is a universal phenomenon.
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Congress, IJHER. "Full Text Book of IJHER Congress 8". In VIII. International Congress of Humanities and Educational Research. Rimar Academy, 2023. http://dx.doi.org/10.47832/ijhercongress8-7.

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The relationship between the self and the 'other' in Arab theatre encompasses multifaceted manifestations, ranging from confrontation and role exchange to marginalization and mutual accusations. The 'other' is significant in Arab cultural memory and history, influencing the formation of identity and occasionally sparking creativity, as conflict remains central to existence and dialectics shape this presence. This research paper aims to deeply explore a series of relationships that have depicted the presence of the 'other' in Arab theatrical performances, intending to uncover and understand the nature of this presence, which has taken on diverse forms and features. It seeks to delve into the layers of theatrical art in contemporary Arab culture, with a desire to embrace the uniqueness of Arab thought and intellect in its interaction with the other especially the foreign. It also examines the ability of theatrical art to express this fusion between art, culture, and thought
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Zhou, Zhenyun, e Yu Sun. "A Machine Learning Model to Predict the Success of Broadway Shows using Neural Networks and Natural Language Processing". In 5th International Conference on Networks, Blockchain and Internet of Things. Academy & Industry Research Collaboration Center, 2024. http://dx.doi.org/10.5121/csit.2024.1405117.

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This paper addresses the challenge of predicting the success of Broadway shows, a complex problem given the multifaceted nature of theater productions and their reception. Traditional methods have struggled to accurately forecast outcomes due to the dynamic interplay of factors such as audience preferences, critical reviews, and social media trends. To tackle this issue, we propose a machine learning-based model that integrates a wide range of data sources, including historical performance data, online user engagement metrics, and expert critiques [4]. Our program employs advanced data pre-processing techniques, neural network algorithms for pattern recognition, and natural language processing to analyze textual reviews and feedback [5]. During the experimentation phase, we encountered challenges related to data sparsity and variability in success criteria across different types of shows. These were mitigated by employing ensemble learning methods and customizing success metrics to align with industry standards. The application of our model across various scenarios demonstrated its versatility and improved predictive accuracy compared to existing approaches. Our findings reveal significant correlations between online engagement patterns and show success, highlighting the potential of machine learning in transforming investment and marketing strategies within the entertainment industry. Ultimately, our solution offers stakeholders a data-driven tool for decision-making, enhancing the viability and sustainability of Broadway productions.
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Macken, Jared. "The Ordinary within the Extraordinary: The Ideology and Architectural Form of Boley, an “All-Black Town” in the Prairie". In 111th ACSA Annual Meeting Proceedings. ACSA Press, 2023. http://dx.doi.org/10.35483/acsa.am.111.63.

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In 1908, Booker T. Washington stepped off the Fort Smith and Western Railway train into the town of Boley, Oklahoma. Washington found a bustling main street home to over 2,500 African American citizens. He described this collective of individuals as unified around a common goal, “with the definite intention of getting a home and building up a community where they can, as they say, be ‘free.’” The main street was the physical manifestation of this idea, the center of the community. It was comprised of ordinary banks, store front shops, theaters, and social clubs, all of which connected to form a dynamic cosmopolitan street— an architectural collective form. Each building aligned with its neighbor creating a single linear street, a space where the culture of the town thrived. This public space became a symbol of the extraordinary lives and ideology of its citizens, who produced an intentional utopia in the middle of the prairie. Boley is one of more than fifty “All-Black Towns” that developed in “Indian Territory” before Oklahoma became a state. Despite their prominence, these towns’ potential and influence was suppressed when the territory became a state in 1907. State development was driven by lawmaker’s ambition to control the sovereign land of Native Americans and impose control over towns like Boley by enacting Jim Crow Laws legalizing segregation. This agenda manifests itself in the form and ideology of the state’s colonial towns. However, the story of the state’s history does not reflect the narrative of colonization. Instead, it is dominated by tales of sturdy “pioneers” realizing their role within the myth of manifest destiny. In contrast, Boley’s history is an alternative to this myth, a symbol of a radical ideology of freedom, and a form that reinforces this idea. Boley’s narrative begins to debunk the myth of manifest destiny and contrast with other colonial town forms. This paper explores the relationship between the architectural form of Boley’s main street and the town’s cultural significance, linking the founding community’s ideology to architectural spaces that transformed the ordinary street into a dynamic social space. The paper compares Boley’s unified linear main street, which emphasized its citizens and their freedom, with another town typology built around the same time: Perry’s centralized courthouse square that emphasized the seat of power that was colonizing Cherokee Nation land. Analysis of these slightly varied architectural forms and ideologies reorients the historical narrative of the state. As a result, these suppressed urban stories, in particular that of Boley’s, are able to make new contributions to architectural discourse on the city and also change the dominant narratives of American Expansion.
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Relatórios de organizações sobre o assunto "Native theater"

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Hapner, Arthur W. The Use of Host Nation Support as an Alternative to Deployment of Theater Medical Facilities (Southwest Asia). Fort Belvoir, VA: Defense Technical Information Center, abril de 1993. http://dx.doi.org/10.21236/ada276701.

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