Bibliografias temáticas / Performing Arts Studies

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Literatura científica selecionada sobre o tema "Performing Arts Studies"

Autor: Grafiati

Publicado: 4 de junho de 2021

Última modificação: 7 de fevereiro de 2022

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Artigos de revistas sobre o assunto "Performing Arts Studies"

Lubet, Alex. "Disability Studies and Performing Arts Medicine". Medical Problems of Performing Artists 17, n.º 2 (1 de junho de 2002): 59–62. http://dx.doi.org/10.21091/mppa.2002.2009.

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My introduction to the emerging field of disability studies (DS) was not by accident, but by injury. A professor of music composition and theory who uses piano and computer keyboards extensively, performs on acoustic guitar, electric bass, and mandolin, and handwrites a great deal, I have coped with pain and functional limitations from spinal and upper limb injuries for years. In 1999, on disability leave, recovering from neurosurgery for cervical disk herniation, I read a call for papers on disability and the performing arts. Intrigued, I immersed myself in DS literature, and began to participate in the Society for Disability Studies and to engage in research, teaching, and creative projects on disability topics.

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Dunlop, Rachel, Dominic Moody, Adrienne Muir e Catherine Shaw. "The performing arts". Cultural Trends 7, n.º 26 (janeiro de 1995): 1–25. http://dx.doi.org/10.1080/09548969509365003.

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Colley, Binta M. "Teaching Social Studies Through the Performing Arts". Educational Forum 76, n.º 1 (janeiro de 2012): 4–12. http://dx.doi.org/10.1080/00131725.2011.627986.

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Conant, David A., e Thomas J. McGraw. "Case studies of two performing arts halls". Journal of the Acoustical Society of America 108, n.º 5 (novembro de 2000): 2648. http://dx.doi.org/10.1121/1.4743872.

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Draper, Jack A. "Performing Brazil: Essays on Culture, Identity, and the Performing Arts". Hispanic American Historical Review 96, n.º 1 (28 de janeiro de 2016): 190–92. http://dx.doi.org/10.1215/00182168-3424240.

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Dhani, Kurnia Rahmad. "EMPTY BENCH IN INDONESIAN PERFORMING ARTS STUDIES: AUDIENCE". TONIL: Jurnal Kajian Sastra, Teater dan Sinema 18, n.º 2 (13 de setembro de 2021): 83–91. http://dx.doi.org/10.24821/tnl.v18i2.5886.

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Many Indonesian performing art experts have stated that audience studies were conducted in minimal numbers. However, the exact number of research on performing art audiences in Indonesia remains unclear. The factors that influence it are still not known in detail. This paper used a literature review on seven nationally accredited performing arts journals from art institutes in Indonesia over the past ten years. The results showed that only 3 out of 1034 journal titles focusing on performing art audiences in the last ten years. From these findings, we can conclude that the study on the audiences is so scarce. This research theme is not interesting for performing art experts in Indonesia. Indonesian performing art experts and academicians have left the importance of audience studies. This paper also discusses the factors that influence the negligible of performing arts audience studies in Indonesia.

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Waterhouse, David, e Masato Matsui. "Japanese Performing Arts: An Annotated Bibliography". Ethnomusicology 29, n.º 3 (1985): 512. http://dx.doi.org/10.2307/851806.

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Norman, Moss Edward, e John Bryans. "Performing the Norm: Men in the Performing Arts and the Materialization of White, Heteronormative Masculinity". Journal of Men’s Studies 28, n.º 3 (28 de fevereiro de 2020): 281–300. http://dx.doi.org/10.1177/1060826520907923.

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There is a relatively robust body of scholarship examining popular cultural representations of masculinity, yet there is comparatively little research on the men who take up and perform these representations. Based on interviews with 12 men in the performing arts, including dance, theater, film, and television, we examine the everyday lived experiences of men in the arts, with a specific focus on the complex and dynamic processes by which normative masculine performances are materialized. Using Judith Butler’s theory of performativity, we argue that performances of normative masculinity in the arts are not nearly as stable and certain as we might imagine. Rather, normative masculinity is continuously formed and re-formed within an assemblage of discursive and nondiscursive relations that performatively materialize the seemingly stable white, heteronormative masculine subject.

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Manchester, Ralph A. "Epistemology and the Performing Arts". Medical Problems of Performing Artists 22, n.º 2 (1 de junho de 2007): 41–42. http://dx.doi.org/10.21091/mppa.2007.2010.

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Epistemology is the branch of philosophy that studies the nature of knowledge, its presuppositions and foundations, and its extent and validity. It is as relevant to performing arts medicine as it is to any other area of human inquiry, and the article by Wu in this issue is a new brick in the foundation of what we know about risk factors for musculoskeletal injuries in musicians. In this editorial I will attempt to put Dr. Wu's systematic review of the literature on this subject in context. Readers should be aware that I was a coauthor of one of the articles reviewed by Wu and the author of others that apparently did not “make the cut.”

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Levi S. Gibbs. "Faces of Tradition in Chinese Performing Arts". Journal of Folklore Research 55, n.º 1 (2018): 1. http://dx.doi.org/10.2979/jfolkrese.55.1.01.

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Teses / dissertações sobre o assunto "Performing Arts Studies"

Strain-Bell, Sheila L. "Organizational conflict : in a performing arts organization". Thesis, Massachusetts Institute of Technology, 1985. http://hdl.handle.net/1721.1/77674.

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Thesis (M.C.P.)--Massachusetts Institute of Technology, Dept. of Urban Studies and Planning, 1985.
MICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH.
Bibliography: leaves 161-165.
by Sheila L. Strain-Bell.
M.C.P.

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Le, Thi Kieu Huong. "Performing Arts Management in a Climate of Adjustment: Case Studies from Vietnam and Australia". School of Policy and Practice, Faculty of Education and Social Work, University of Sydney, 2005. http://hdl.handle.net/2123/1115.

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Doctor of Philosophy(PhD)
This thesis investigates performing arts administration and management in the current economic and social environment in Vietnam and Australia within a context of globalisation. A comparative study of two major arts organisations in both Vietnam and Australia was carried out to investigate the following: why and how performing arts organisations are adapting to the changing environment; how arts leaders are adapting to changes; and whether arts managers need specific arts management training. The suitability of pertinent training packages and tertiary arts management courses from an Australian perspective are examined to determine whether these could be adapted for arts administration training in Vietnam. A qualitative case study approach was employed, using judgemental sampling. Two case studies were in Vietnam (the Vietnam National Symphony Orchestra and the Hanoi Youth Theatre), and two in Australia (the Sydney Symphony Orchestra and the Melbourne Theatre Company). Some arts administrators involved with managing these performing arts organisations were interviewed in-depth, and relevant documents, regulations and policies in the arts field were also analysed to lay a foundation for comprehending the operation and management of performing arts organisations in both countries, at a time of change. Findings indicate that globalisation and particularly economic changes are major pressures that are pushing arts organisations to adapt. Furthermore, in the context of the knowledge economy, credentials have become increasingly important for arts leaders to obtain their positions, while in order to be successful in their positions, practical experience, innovation and an entrepreneurial mindset proved to be even more essential. It is suggested that some pertinent arts management training courses in Australia could, if adapted, contribute to enhancing arts management and the entertainment industry in Vietnam, as well as providing mutual benefit to both Vietnam and Australia.

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Paley, Sky Matthew Riel. "Theatrical Spaces as Platforms for Resistance and Revolt| The History of St. Croix and Its Present-Day Predicament through the Lens of the Play Antiman". Thesis, California State University, Long Beach, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10784929.

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This thesis explores the ways in which Caucasian theatre makers can become more effective educators and directors in diverse student populations. By drawing attention to their “whiteness” and overcoming the fear of being implicated in the subjugation of these student populations, Caucasian theatre makers can instead embrace this implication and thereby transform classrooms and theatrical spaces from static appreciations of sovereignty and beauty, into platforms for resistance and revolt. In this thesis, I interrogate my own process in the direction of my multi-actor, undergraduate student production that was borne of the journey of the creation of my solo play entitled ANTIMAN. In this play, I implicate my family and our own racism and naiveté and the many challenges I faced in telling a story that explores such controversial subject matters as racism, antiblackness, colonialism, colonization, and settler-indigenous relations from my own white, male, heterosexual orientation. It is my hope that through this examination of both my failures and successes in this process of creating and directing ANTIMAN, in concert with the history of St. Croix, that I will articulate the present-day predicament of St. Croix in a manner that creates a space for discourse, resistance, and change.

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Reynoso, Humberto. "Performing Binaries". CSUSB ScholarWorks, 2015. https://scholarworks.lib.csusb.edu/etd/252.

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I take a critical view of sociopolitical and cultural issues dealing with homoeroticism andgay politics. I explore gender theories in order to further understand what it means to bemasculine or feminine and how it affects my placement in society. I use art as a tool forexpressing sexual freedom while questioning traditional sexual identity. I'm interested in exploring ideas of the oppressor and the oppressed, and how power becomes an inevitable force (in every society) that creates a hierarchy, consequently establishing control. But what is power? According to various definitions, power is an entity that possesses and or exercises authority or influence. I want to focus on this idea of exercising authority, which one can argue we need, but why? To prevent chaos or is it to control a society? What about exercising influence? Do we need an influence exercised upon us? Or does that make us subjected to another person's subjective point of views? These are questions that I directly or indirectly ask with my work in relationship to gender, gender roles, and sexual orientation. I am interested in Judith Butler's theory in performing gender, and how in performing gender, one assumes social hierarchy of power depending on what gender we are performing. If I am a man performing as a man then I am treated differently by society than if I am a woman performing as a woman. But what happens if I am a man performing as a man who prefers men as lovers, or a woman who prefers other woman as lovers? In what context is this situation accepted by our society? And is it different for men and women? And why? What does it mean to be a man? What does it mean to be a woman, within the context of performance? Then taking it a step further and argue that we are all performing subjective ideas constructed by social norms.

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Xiao, Yan. "Exploring the Intricacies of International Performing Arts Exchange: Case Studies of Arts Programs between U.S. and China". The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1575479293045226.

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Merrill, Jean Collins. "Eureka: A gold rush play integrating the performing arts into elementary social studies curriculum". CSUSB ScholarWorks, 2004. https://scholarworks.lib.csusb.edu/etd-project/2566.

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The purpose of this project is two-fold. The first purpose is to explore the benefits of incorporating the arts in the education of all students. Incorporating the arts into other curricular areas enhances learning and makes it more meaningful to the student. The second purpose is to develop a performance program that brings the California Gold Rush era and the cultural diversity of that period of history alive.

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Widmer, T. K. "Performing Transition: Depictions of the Transgender Experience". VCU Scholars Compass, 2012. http://scholarscompass.vcu.edu/etd/362.

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Minority groups have long faced a lack of representation in the entertainment industry. Too often when representation does exist it relied on stereotype and convention. This too is often the fate of transgender individuals when they are depicted on the screen and stage. The majority of film and television depictions of transgender individuals are inadequate. When they are depicted at all the portrayals rarely rise above trope, archetypes, and conventions. Most often the identity of the transgender individual is invalidated. Very rarely are transgender people’s identities supported. This thesis explores my own personal connection with the topic, builds a vocabulary with which to discuss the subject, examines existing film and television performances of transgender characters, and finally examines how new portrayals might challenge the existing stereotypes. I hope that this thesis, which explores a topic not often discussed, will open the door for a new theatre that supports and affirms the identities of the transgender population while managing not to sensationalize or exploit their stories for the simple entertainment of a cisgender dominated society.

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Kim, Hyemin. "Introduction to Chung Gil Kim's "Go Poong" with emphasis on pedagogical studies". Thesis, The Florida State University, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3705850.

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This treatise will address the late twentieth-century and well-known Korean composer Chung Gil Kim's piano work Go Poong (Memories of Childhood; 1981) as a case study on how to make pedagogical use of works intended for performance. Go Poong is purely a programmatic composition intended to create a musical picture of four items in Korean cultural history including: a temple incense jar, a wooden shoe, a jade hairpin, and a paper window patch. The piece is also capable of functioning as an ideal pedagogical tool for intermediate and early-advanced players to experience technical exercises and compositional features that are a necessary part in the training of successful pianists. Repertoire useful either as preparation or as follow-up will be suggested.

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Johnson, Sarah Elizabeth. "The influence of Japanese traditional performing arts on Tennessee Williams's late plays". Thesis, University of Iowa, 2014. https://ir.uiowa.edu/etd/4656.

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Correro, Augustine III. "Performing Tennessee Williams". VCU Scholars Compass, 2012. http://scholarscompass.vcu.edu/etd/2713.

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This thesis is dedicated to illustrating the unique challenges of staging works by the playwright Tennessee Williams, and to making suggestions on how to avoid common pitfalls in production, performance, and direction of his plays. It uses evidence from the playwright’s various biographical works as well as insight and conjecture from the author’s experience to illuminate these challenges and help the reader to avoid hackneyed or ineffective staging practices. It touches on the effect of film adaptations on stage performances; the typical portrayal of American Southern characters onstage; the aural ramifications of Williams’s poetry to a now-visually-centered audience; stylistic elements similar to Williams’s contemporaries, including Rice, Brecht, O’Neill, and others; the delicacy of Williams’s signature meter and rhythm in his plays; dramaturgical groundwork in the playwright’s intentions; and a systemization of archetypical Williams characters. This thesis does not prescribe a cut-and-dried set of rules and regulations for performing Williams’s works, for the simple reason that the Williams canon is so diverse that no singular set of “tricks” will be effective in every play. Furthermore, the author understands that a producer, director, or actor will not find use in all facets of a rigid “system”. The thesis does outline a number of practices whose aims are to make productions more effective from an integral perspective. There are exercises to attempt, questions to pose, and matters to consider in the staging of Williams’s plays during any part of production—from in-class reading to designing the scenery, and from deciding why to put a Williams play in a season to the living moments of an actor’s performance. The thesis aims to be helpful, informative, and accessible, rather than doctrinaire: much like the playwright’s works, its purpose is to illuminate dark corners of something that viewers think they already fully understand.

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Livros sobre o assunto "Performing Arts Studies"

Associates, Lorna Bartley. Working in performing arts. Sheffield: Connexions, 2001.

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Bhayani, Harivallabh Chunilal. Indological studies: Literary and performing arts, Prakrit and Apabhraṃśa studies. Ahmedabad: Parshva Publication, 1998.

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Bhayani, Harivallabh Chunilal. Indological studies: Literary and performing arts, Prakrit, and Apabhraṁśa studies. Ahmedabad: Parshva Prakashan, 1993.

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Forsyth, Michael. Auditoria: Designing for the performing arts. New York: Van Nostrand Reinhold, 1987.

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Forsyth, Michael. Auditoria: Designing for the performing arts. London: Mitchell, 1987.

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Auditoria: Designing for the performing arts. London: Mitchell, 1987.

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Theory for performance studies: A student's guide. Abingdon : New York: Routledge, 2007.

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Fitzpatrick, Kathleen Ann, e Betty Edwards. Program evaluation: Social studies. Schaumburg, IL: National Study of School Evaluation, 1998.

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Performance studies in motion: International perspectives and practices in the twenty-first century. London: Bloomsbury, 2014.

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Mark, Woolgar, ed. Theatre studies. Houndmills: Palgrave Macmillan, 2009.

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Capítulos de livros sobre o assunto "Performing Arts Studies"

Larsen, Håkon. "A Cultural Approach to Studies of Arts and Media Organizations". In Performing Legitimacy, 1–31. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-31047-3_1.

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Morris, Gareth, Mark Browne, Kirsti Murahidy e Mike Jacka. "Christchurch Town Hall Complex: Post-Earthquake Ground Improvement, Structural Repair, and Seismic Retrofit". In Case Studies on Conservation and Seismic Strengthening/Retrofitting of Existing Structures, 145–72. Zurich, Switzerland: International Association for Bridge and Structural Engineering (IABSE), 2020. http://dx.doi.org/10.2749/cs002.145.

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<p>The Christchurch Town Hall (CTH) complex contains six reinforced concrete buildings constructed circa 1970 in Christchurch, New Zealand (NZ). The complex is used for performing arts and entertainment, with an Auditorium that is internationally recognized for its acoustics. It is listed as a Grade-1 heritage building due to its cultural and historical significance. Unfortunately, the CTH foundation system was not originally designed to accommodate liquefaction-induced differential settlement and lateral spreading effects, as highlighted by the 2010–2011 Canterbury earthquake sequence. Although the most extreme ground motions exceeded the NZS 1170.5 code-defined 1/2500 year earthquake loads, the CTH structures performed remarkably well for a design that pre-dated modern seismic codes. Most of the observed structural damage was a result of the differential ground deformations, rather than in response to inertial forces. The post-earthquake observations and signs of distress are presented herein. The primary focus of this paper is to describe two major features of the seismic retrofit project (initiated in 2013) which were required to upgrade the CTH complex to meet 100% of current NZS 1170.5 seismic loadings. Firstly, the upgrade required extensive ground improvement and a new reinforce concrete mat slab to mitigate the impacts future ground deformations. Soil stabilization was provided by a cellular arrangement of jet-grout columns, a relatively new technique to NZ at the time. The new mat slab (typically 600-900 mm) was constructed over the stabilized soils. Secondly, upgrading the superstructure had many constraints that were overcome via a performance-based design approach, using non-linear time-history analysis. Recognizing the heritage significance, the superstructure “resurrection” as a modern building was hidden within the original skin minimized disruption of heritage fabric. Retrofit solutions were targeted, which also minimized the overall works. The 2015–2019 construction phase is briefly discussed within, including jet-grout procedures and sequencing considerations.</p>

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"Performing the arts". In The Routledge Introduction to Theatre and Performance Studies, 153–74. Routledge, 2014. http://dx.doi.org/10.4324/9780203068731-20.

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"Case Studies". In Acoustics of Multi-Use Performing Arts Centers, 205–6. CRC Press, 2015. http://dx.doi.org/10.1201/b18997-23.

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Seaman, Bruce A. "Chapter 14 Empirical Studies of Demand for the Performing Arts". In Handbook of the Economics of Art and Culture, 415–72. Elsevier, 2006. http://dx.doi.org/10.1016/s1574-0676(06)01014-3.

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Gorman, Tom, Mikko Kanninen e Tiina Syrjä. "Immersive telepresence in theatre: performing arts education in digital spaces". In Designing and implementing virtual exchange – a collection of case studies, 23–35. Research-publishing.net, 2020. http://dx.doi.org/10.14705/rpnet.2020.45.1112.

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This case study examines a joint project in performer training and rehearsal conducted between Coventry University (UK) and Tampere University (Finland) using a variety of telepresence and app-based technologies. In this project, two identical spaces, equipped with rear projection screens and linked by videoconferencing technology, were created in both institutions. This study reports on the adaptation of the pedagogical practices to a digital setting.

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"The Beauty of Art". In Advances in Religious and Cultural Studies, 233–70. IGI Global, 2020. http://dx.doi.org/10.4018/978-1-7998-1702-4.ch008.

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This chapter explains the hierarchy, structure and manifestation of artistic beauty. In this chapter, the author points out that the beauty of art lies in the conceptual integration, harmony, and unity of rationality and natural beauty. It is the reflection of the hierarchical beauty of emergence in people's consciousness. It studies various types of arts, including plastic arts (paintings, sculptures, and architectures), audio arts, linguistic arts (words and literature and poetry), and performing arts (drama, dance, and movie). The chapter also concludes that the beauty and ugliness of art are relative. They are both conditional and have their own self-organization evolution process. From beautiful and comparatively beautiful to more beautiful and most beautiful, from ugly and comparatively ugly to uglier and most ugly, beauty and ugliness both go through a process of emergence, evolution, and development. They are both formed in a linear structure.

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"7 Korean American Theater and Performing Arts: Networks of Practice and Bodies of Work". In A Companion to Korean American Studies, 150–71. BRILL, 2018. http://dx.doi.org/10.1163/9789004335332_008.

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Graziosi, Barbara. "Performing Epic and Reading Homer". In Epic Performances from the Middle Ages into the Twenty-First Century, 16–30. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198804215.003.0002.

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There are two long-recognized obstacles to dramatic performances of epic. The first is scale and the second is portrayal of the gods. This chapter argues that both these features have been important for the definition of what literature is—i.e. what is characteristic of literature as opposed to the performing arts. The first section of the chapter offers a close reading of Aristotle, because he identified scale and the gods as issues that differentiate epic from tragedy, and because his Poetics was foundational for the later development of both literary criticism and performance studies. The second section of this chapter discusses the place of Homer in relation to both literature and the performing arts—by focusing again on scale and the gods, and the history of their reception. The final section considers Simon Armitage’s versions of the Iliad and the Odyssey for the theatre and for BBC Radio.

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Bienati, Luisa, Adriana Boscaro e Bonaventura Ruperti. "Japanese Studies in Venice from 1964 to Present Day". In 150 Years of Oriental Studies at Ca’ Foscari. Venice: Edizioni Ca' Foscari, 2018. http://dx.doi.org/10.30687/978-88-6969-252-9/017.

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This paper traces the history of Japanese Studies in Ca’ Foscari University from the foundation of the Course in Oriental Studies in 1965. Furthermore, the paper outlines the state of the research in Japanese Studies describing profiles, the scientific production, methods and lines of research of the professors, researchers and scholars in Ca’ Foscari University. The range of Japanese studies is based on a long standing tradition and includes Japanese Language, Literature, Philology and Linguistic, History and Institutions, Economics, Society, Politic and International Relations, Religion, Philosophy and Cultural Anthropology, Figurative and Performing Arts, Fine Arts, Theatre, Film and Visual Culture, etc.

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Trabalhos de conferências sobre o assunto "Performing Arts Studies"

VLASCEANU, Remus Bogdan. "THE EXPRESSIVITY OF NON-VERBAL LANGUAGE. PRACTICAL STUDIES". In SGEM 2014 Scientific SubConference on ARTS, PERFORMING ARTS, ARCHITECTURE AND DESIGN. Stef92 Technology, 2014. http://dx.doi.org/10.5593/sgemsocial2014/b41/s14.055.

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Drapella-Hermansdorfer, Alina. "THE PATCHWORK BASED METHOD OF GREEN INFRASTRUCTURE DESIGN. TWO CASE STUDIES FROM WROCLAW, POLAND". In SGEM 2014 Scientific SubConference on ARTS, PERFORMING ARTS, ARCHITECTURE AND DESIGN. Stef92 Technology, 2014. http://dx.doi.org/10.5593/sgemsocial2014/b41/s15.132.

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Morozova, Anna Valentinovna. "THE STAGES IN THE DEVELOPMENT OF ART STUDIES IN RUSSIA AND THE HISTORY OF SPANISH ART". In SGEM 2014 Scientific SubConference on ARTS, PERFORMING ARTS, ARCHITECTURE AND DESIGN. Stef92 Technology, 2014. http://dx.doi.org/10.5593/sgemsocial2014/b41/s12.010.

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Szedmák, Borbála. "Business Model Innovation and the First Steps of Digitalization in the Case of Symphony Orchestras". In New Horizons in Business and Management Studies. Conference Proceedings. Corvinus University of Budapest, 2021. http://dx.doi.org/10.14267/978-963-503-867-1_15.

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The study highlights the importance of orchestras being able to respond to the changing needs of consumers and adapt to changes in the world. Such a change is, for example, the current coronavirus epidemic, which poses especially great difficulties for organizations of the cultural sector that deal with performing arts, as concerts and performances – providing the basis of their operation – have become impossible. In order to gain “immunity” to the virus, business model innovation and exploiting opportunities offered by digitalization are essential. Furthermore, similar cases can occur at any time for which orchestras have to be prepared. As a result, orchestras (and in a broader sense all kinds of organizations) need to fundamentally rethink their business models. After conducting secondary research and interviews with 10 symphony orchestra managers and 10 symphony orchestra musicians, I have identified some novel aspirations, attempts and projects selected from international and Hungarian symphonic orchestral life to provide excellent examples of how the business model can be redefined and how the expectations of the 21st-century audience can be met. These examples show that there are orchestras which have understood that responding to the changing demands of consumers and utilizing the opportunities given by technology is essential, although it is still a question of how many more “coronavirus waves” are needed to make it clear for all orchestras that fundamental changes are necessary to preserve a market-leading position or become a market leader.

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Kumkale Acikgoz, Ece. "CONFRONTING THE PRETENDED CREATIVITY: EXPERIENCING THE PROBLEM OF SUSTAINING SOCIAL VALUES IN ARCHITECTURAL DESIGN STUDIO". In SGEM 2014 Scientific SubConference on ARTS, PERFORMING ARTS, ARCHITECTURE AND DESIGN. Stef92 Technology, 2014. http://dx.doi.org/10.5593/sgemsocial2014/b41/s15.072.

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Pirjo, Suvilehto. "“Puppetry and Opera Are Striking.” Students’ Experiences of Collaboration and Curiosity in Puppetry Opera as a Case Study". In 2nd International Conference on Advanced Research in Education. Acavent, 2019. http://dx.doi.org/10.33422/2nd.educationconf.2019.11.794.

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This paper will focus on the possibilities of puppetry and opera in early childhood education studies (ECE), and among children in day care in a class of twenty 4−5-year-olds. The research centres around 200 university students in the middle of a project on opera and puppetry in their ECE programme. Opera is about strong emotions (see Trevarthen 2012, 263), and puppetry is a vehicle to make feelings visible (Lintunen, 2009, Majaron 2012, 11, Scheel, 2012). Puppetry and opera can be used in collaboration, and they are combined in this ECE programme as a part of the university studies in drama and literary arts. A method called Pritney has been created to realize the project. The theoretical background consists of puppetry and literary arts. The paper will present some findings from cases in which puppetry and opera have been used experimentally with ECE students, and subsequently with kindergarten children. There is a need for collaborative encounters during the processes of puppetry and opera. Based on the observations and remarks of university students doing their puppetry and opera project, this paper considers the value of conveying puppetry and opera to a child audience as a stimulation for curiosity and emotions. All this reflection is followed by the examples of practice in ECE studies. Performing opera with puppets is beneficial. In summary, the artistic experiments created by puppetry and opera are valuable in transferring cultural heritage and creating aesthetic and pedagogical moments. There is also a short consideration of a project called “Rinnalla−Hand in Hand” (2018−2020) funded by Finnish ministry of education, in which the Pritney method is further developed (see also Suvilehto 2019).

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Kumkale Acikgoz, Ece. "REVEALING AN OPPORTUNITY FOR ARCHITECTURAL CREATIVITY: COMPREHENDING THE SOCIAL ROLE OF ARCHITECTURE IN THE DESIGN STUDIO". In SGEM 2014 Scientific SubConference on ARTS, PERFORMING ARTS, ARCHITECTURE AND DESIGN. Stef92 Technology, 2014. http://dx.doi.org/10.5593/sgemsocial2014/b41/s15.115.

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Folomieieva, N. А. "Mastering vocal-performing techniques by students in a pop singing class". In CULTURAL STUDIES AND ART CRITICISM: THINGS IN COMMON AND DEVELOPMENT PROSPECTS. Baltija Publishing, 2020. http://dx.doi.org/10.30525/978-9934-26-004-9-95.

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Vasilieva, Ekaterina, Olga Kolpetskaya e Irina Shkredova. "Performing Interpretation as a Phenomenon of History and Culture". In Proceedings of the 3rd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icassee-19.2019.106.

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Tsuchida, Sadakatsu. "On the Creative Power of Music (Performing Secrets and the State of “Godly Sorrow” of Sergei Rachmaninoff)". In 4th International Conference on Art Studies: Science, Experience, Education (ICASSEE 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200907.053.

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