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Zeitschriftenartikel zum Thema „Performing arts“

Autor: Grafiati

Veröffentlicht am 4. Juni 2021

Zuletzt aktualisiert am 25. Juli 2025

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1

Schreiber, Falk. "performing arts." tanz 14, no. 2 (2023): 55. http://dx.doi.org/10.5771/1869-7720-2023-2-055-2.

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2

Aytbaev, Azizjan. "PERFORMING ARTS." MODERN SCIENCE AND RESEARCH 2, no. 10 (2023): 236–41. https://doi.org/10.5281/zenodo.10245306.

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3

Manchester, Ralph A. "Toward a Performing Arts Medicine Definition of Performing Arts." Medical Problems of Performing Artists 24, no. 3 (2009): 101–2. http://dx.doi.org/10.21091/mppa.2009.3022.

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As the Performing Arts Medicine Association (PAMA) celebrates its 20th anniversary this year, it seems to be a good time to discuss a definition of what the field includes—and, by extension, what it doesn't include. Some may think that this might not be the best use of our time, since we have done pretty well so far without a written definition of the performing arts. However, a presentation at the 27th Annual Symposium on the Medical Problems of Musicians & Dancers on health issues of circus performers and some recent articles in Medical Problems of Performing Artists on artistic and rhyt

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4

Brandfonbrener, Alice G. "Performing Arts Medicine." Music Educators Journal 77, no. 5 (1991): 37–41. http://dx.doi.org/10.2307/3397861.

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5

Khoury, Stéphanie. "Cambodian performing arts." Ethnomusicology Forum 25, no. 1 (2016): 141–42. http://dx.doi.org/10.1080/17411912.2016.1139463.

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6

Maran, A. G. "Performing arts medicine." British Journal of Sports Medicine 32, no. 1 (1998): 5. http://dx.doi.org/10.1136/bjsm.32.1.5.

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7

Russell, Jeffrey A., Laura Santos, David A. Wilkenfeld, and James R. Scifers. "Performing Arts Medicine." Athletic Training & Sports Health Care 11, no. 4 (2019): 157–60. http://dx.doi.org/10.3928/19425864-20190605-02.

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8

Barratt, H. "Performing arts medicine." BMJ 326, no. 7381 (2003): 21S—21. http://dx.doi.org/10.1136/bmj.326.7381.s21.

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9

Hamilton, J. R. "The Performing Arts." British Journal of Aesthetics 52, no. 2 (2012): 216–19. http://dx.doi.org/10.1093/aesthj/ayr053.

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10

KEMBER, JANE. "Performing Arts Medicine." Physiotherapy 77, no. 11 (1991): 750. http://dx.doi.org/10.1016/s0031-9406(10)62056-1.

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11

Currey, Jovauna, Dana Sheng, Alyssa Neph Speciale, Camilla Cinquini, Jorge Cuza, and Brandee L. Waite. "Performing Arts Medicine." Physical Medicine and Rehabilitation Clinics of North America 31, no. 4 (2020): 609–32. http://dx.doi.org/10.1016/j.pmr.2020.08.001.

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12

Lederman, Richard J. "Performing Arts Medicine." New England Journal of Medicine 320, no. 4 (1989): 246–48. http://dx.doi.org/10.1056/nejm198901263200410.

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13

Dunlop, Rachel, Dominic Moody, Adrienne Muir, and Catherine Shaw. "The performing arts." Cultural Trends 7, no. 26 (1995): 1–25. http://dx.doi.org/10.1080/09548969509365003.

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14

JAMES, I. M., and C. B. WYNN PARRY. "PERFORMING ARTS MEDICINE." Rheumatology 31, no. 12 (1992): 795–96. http://dx.doi.org/10.1093/rheumatology/31.12.795.

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15

Arjmand, Susan. "Performing Arts Medicine." JAMA 306, no. 23 (2011): 2621. http://dx.doi.org/10.1001/jama.2011.1848.

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16

Stone, Scott. "Performing Arts Libraries." Notes 80, no. 2 (2023): 280–88. http://dx.doi.org/10.1353/not.2023.a912341.

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17

N, Deepa Saravanan. "Paavaikkuutthu in Performing arts." International Research Journal of Tamil 1, no. 4 (2019): 23–28. http://dx.doi.org/10.34256/irjt1943.

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'Paavaikkuutthu in Performing arts’ Kuutthu one among the various folk arts. ‘Thol paavaikkuutthu’ is one, which is at the verge of extinction in the modern era of development. People who did not have any other outlet for entertainment, along with nurturing the ancient Tamil tradition gave life to many new art forms. ‘Thol paavaikkuutthu’, which was popular in Tamilnadu and other States as well is highlighted in this article.

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18

Globerman, Steven, and Edwin G. West. "Subsidizing the Performing Arts." Canadian Public Policy / Analyse de Politiques 13, no. 1 (1987): 109. http://dx.doi.org/10.2307/3550553.

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19

Klakegg, Ole Jonny. "Kilden Performing Arts Centre." International Journal of Project Management and Productivity Assessment 10, no. 1 (2022): 1–27. http://dx.doi.org/10.4018/ijpmpa.2022010103.

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Most texts on project governance and project management portrays the organization as populated by anonymous people in abstract roles like ‘project manager’, ‘sponsor’, ‘team member’. This paper takes the contrasting position that the project organization is developed by individuals with a specter of competences, strong and weak sides and relations to other people and organizations. The storyline presents a case study from a real-life project developing a new culture institution in Norway over a period of 10 years. Data was gathered ex-post by two researchers through interviews and document stu

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20

Shaomian, Armen. "Performing Arts Center Management." Journal of Arts Management, Law, and Society 48, no. 3 (2017): 221–22. http://dx.doi.org/10.1080/10632921.2017.1391728.

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21

Mackerras, Colin. "Traditional Uygur Performing Arts." Asian Music 16, no. 1 (1985): 29. http://dx.doi.org/10.2307/834012.

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22

Kirkegaard, R. Lawrence. "Portland Performing Arts Center." Journal of the Acoustical Society of America 115, no. 5 (2004): 2478. http://dx.doi.org/10.1121/1.4782568.

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23

Brown, Ralph. "Performing Arts Creative Enterprise." International Journal of Entrepreneurship and Innovation 6, no. 3 (2005): 159–67. http://dx.doi.org/10.5367/0000000054662836.

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The UK government has recently established the National Council for Graduate Entrepreneurship (NCGE) to promote entrepreneurship in higher education, across all subject disciplines. This article considers the UK government's policy initiative from the perspective of a new project supporting tutors in the performing arts sector, who are working to ‘bridge the gap’ between arts education and professional artistic practice. The article explores, in particular, fundamental issues such as: what is distinctive about cultural entrepreneurship and how can it be taught? It also discusses the role of hi

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24

Hwang, Seong-Un. "Study on Invigorating Performing Arts Tourism through Analyzing Price of Performing Arts Products." Journal of Korean Dance 33, no. 3 (2015): 417–39. http://dx.doi.org/10.15726/jkd.2015.33.3.016.

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25

Ruastiti, Ni Made. "Tourist Performing Arts: Balinese Arts-Based Creative Industry." Mudra Jurnal Seni Budaya 25, no. 3 (2010): 293–301. http://dx.doi.org/10.31091/mudra.v25i3.1567.

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   Creative industry is part of creative economy, which is the implementation of the attempts made to create sustainable development through creativity. Sustainable development refers to a competitive economic climate with renewable resources. Creative economy refers to the fourth stage evolution after agricultural economy, industrial economy and informational economy. As far as the performing arts performed for tourism are concerned, arts seem to develop sustainably. The performing arts such as Cak, Barong and Legong performed for tourism by the Balinese community is the imp

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Manchester, Ralph A. "Certification in Performing Arts Medicine." Medical Problems of Performing Artists 28, no. 3 (2013): 117–18. http://dx.doi.org/10.21091/mppa.2013.3024.

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The idea of specialty certification in performing arts medicine (or performing arts healthcare) has been discussed for a long time among professionals in the field. An article by Pascarelli and Bishop published nearly 20 years ago mentioned the perceived need for certification and some of the obstacles to creating it. The Performing Arts Medicine Association (PAMA) took a step in this direction at the 31st Annual Symposium on the Medical Problems of Performing Artists by offering a preconference workshop, “The Essentials of Performing Arts Medicine Course: From Classroom to Stage.” This full-d

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27

Brandfonbrener, Alice G. "Globalization in Performing Arts Medicine." Medical Problems of Performing Artists 16, no. 1 (2001): 1–2. http://dx.doi.org/10.21091/mppa.2001.1001.

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Two years ago I reported on the 6th European Congress on Performing Arts Medicine and the Physiology of Music Making, which took place in Berlin in October 1998. At that time I commented on the high quality of papers at the meetings, but even more important, I celebrated the stimulation that comes from meeting a wide spectrum of people who share interests and commitment. Recently I have twice again traveled to Europe where I participated in two meetings; the first in Finland where the Savonlinna Arts Medicine Symposium was held in late July, and the second in Mainz, Germany, this year’s site o

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28

Winspur, Ian. "Performing Arts Medicine in Britain." Medical Problems of Performing Artists 17, no. 4 (2002): 183–85. http://dx.doi.org/10.21091/mppa.2002.4029.

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Britain provides universal health coverage free at the point of delivery for its citizens (and most visitors) provided by the National Health Service (NHS). The NHS was established in 1947 in the flush of post-World War II idealism and was planned and structured along contemporary socialist economic and management principles--a large centrally funded and run government monopoly. It is huge, for it employs currently 1.5 million people and it remains one of the last and certainly the largest bastion of such economic thinking and planning in Britain and in Europe. In its 50 years of existence, it

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29

Manchester, Ralph A. "Globalization of Performing Arts Medicine." Medical Problems of Performing Artists 22, no. 4 (2007): 133–34. http://dx.doi.org/10.21091/mppa.2007.4029.

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Performing arts medicine has had a global reach since the early days of the field, but there are ample indicators that we are increasing our impact around the world. In this editorial, I take a brief look at the formative years of our specialty and then jump ahead 25 years to assess the progress to date.

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Manchester, Ralph A. "Progress in Performing Arts Medicine." Medical Problems of Performing Artists 25, no. 3 (2010): 93–94. http://dx.doi.org/10.21091/mppa.2010.3020.

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The announcement last month that Medical Problems of Performing Artists will now be indexed in Medline/PubMed is truly an important development for the field of performing arts medicine. While many of us wish that this had happened sooner, we should all be proud of our combined efforts that made it possible. In addition to the publisher Mike Bokulich, who has labored tirelessly to reach this goal, I also want to publicly thank (again) Alice Brandfonbrener, the founding editor of MPPA. Without her 20 year labor of love, we would not have been in a position to be included in Medline now.

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Manchester, Ralph A. "Research in Performing Arts Medicine." Medical Problems of Performing Artists 30, no. 1 (2015): 66–67. http://dx.doi.org/10.21091/mppa.2015.1011.

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The field of performing arts medicine has grown significantly over the last few decades. While we still have a long way to go before we can confidently state that we know how to prevent and treat the maladies that interfere with artistic performance, we are making progress on several fronts. In preparation for giving one of the keynote addresses at the 2015 University of South Florida--Performing Arts Medicine Association Conference titled Caring for Artists and Arts that Heal, I reviewed the types of articles that have been published in Medical Problems of Performing Artists over the last 10

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32

Bergamini, Michela Laura, Ward Van de Velde, Bart Van Looy, and Klaasjan Visscher. "Entrepreneurship in the performing arts." Academy of Management Proceedings 2016, no. 1 (2016): 11733. http://dx.doi.org/10.5465/ambpp.2016.11733abstract.

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33

Todi, Cristina. "The Metamorphosis of Performing Arts." Theatrical Colloquia 9, no. 1 (2019): 173–86. http://dx.doi.org/10.2478/tco-2019-0004.

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Abstract This article examines the relationship between performing arts, the multidisciplinary aspect of them, thereafter seeking to address a few similarities and differences in approaching a live performance. The confluence between ballet, theatre and opera is obvious and a brief overview of the main interlaced stages in the development of performing arts will also prove that they have always been related and dependant on one another. Every performing art crosses its boundaries and not only does it explore issues or topics specific to the other arts, but it also uses their tools. Thus, this

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34

Manchester, Ralph A. "Diversity in Performing Arts Medicine." Medical Problems of Performing Artists 21, no. 2 (2006): 45–46. http://dx.doi.org/10.21091/mppa.2006.2010.

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As the diverse populations of the planet interact on a more frequent and intense basis, it becomes increasingly important for every individual and organization to examine its own approach to this vital issue. The field of performing arts medicine should pay particular attention to diversity for a number of reasons, some of which will help to advance our specialty and improve the lives of performing artists, while others may help save the world.

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Manchester, Ralph A. "Epistemology and the Performing Arts." Medical Problems of Performing Artists 22, no. 2 (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 ot

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Dhakal, Bharat Raj. "Gandharva: Origin and Performing Arts." Journal of Development and Social Engineering 3, no. 1 (2017): 59–64. http://dx.doi.org/10.3126/jdse.v3i1.27960.

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The prime objective of this research article is to explore the different forms of arts performed by the ‘Gandharvas’ along with their historicity of social and sacred religious origin towards which the mainstream Nepali society is indifferent. In the social context of Nepal, they are regarded as the musician caste. They are also treated as the so-called lower caste people, the ‘dalits’ and are also denied the prestigious position in the society as well as in the pages of history. Although neglected in the society as well as in the history, they have got a pious origin as mentioned in the Hindu

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Cohen, Matthew Isaac, Alessandra Lopez Y. Royo, and Laura Noszlopy. "Indonesian Performing Arts across Borders." Indonesia and the Malay World 35, no. 101 (2007): 1–7. http://dx.doi.org/10.1080/13639810701233672.

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38

Rouse, W. B., and R. K. Rouse. "Teamwork in the Performing Arts." Proceedings of the IEEE 92, no. 4 (2004): 606–15. http://dx.doi.org/10.1109/jproc.2004.825880.

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39

Green, Martin. "Older people's performing arts awards." Working with Older People 6, no. 3 (2002): 16–17. http://dx.doi.org/10.1108/13663666200200029.

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40

Trayes, Jan, Niki Harré, and Nickola C. Overall. "A Youth Performing Arts Experience." Journal of Adolescent Research 27, no. 2 (2011): 155–82. http://dx.doi.org/10.1177/0743558411417867.

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41

Murnik, Maja. "Performing arts and virtual bodies." Maska 29, no. 165 (2014): 220–23. http://dx.doi.org/10.1386/maska.29.165-168.220_5.

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42

Colvin, Jenny. "GloPAD (Global Performing Arts Database)." Music Reference Services Quarterly 15, no. 4 (2012): 275–76. http://dx.doi.org/10.1080/10588167.2012.728086.

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43

Amałowicz, Paweł. "Multiple-use performing arts halls." Czasopismo Techniczne, no. 11 (2019): 5–22. http://dx.doi.org/10.4467/2353737xct.19.112.11328.

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44

Gotou, Shinpei. "Stage Equipment for Performing Arts." Journal of the Society of Mechanical Engineers 101, no. 955 (1998): 456–58. http://dx.doi.org/10.1299/jsmemag.101.955_456.

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45

Schutt, Ann H. "Textbook of Performing Arts Medicine." Mayo Clinic Proceedings 67, no. 8 (1992): 813. http://dx.doi.org/10.1016/s0025-6196(12)60811-8.

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46

Pausch, Oskar. "Apropos of Performing Arts Collections." Museum International 49, no. 2 (1997): 4–6. http://dx.doi.org/10.1111/1468-0033.00083.

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47

Brooks, Todd L. "Fox Cities Performing Arts Center." Journal of the Acoustical Society of America 115, no. 5 (2004): 2480. http://dx.doi.org/10.1121/1.4782644.

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48

Oguchi, Keiji, and Katsuji Naniwa. "Kitakyusyu Performing Arts Center, Theatre." Journal of the Acoustical Society of America 115, no. 5 (2004): 2480. http://dx.doi.org/10.1121/1.4782667.

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49

Pavis, Patrice. "Aging in the performing arts." Studies in Theatre & Performance 31, no. 1 (2011): 47–59. http://dx.doi.org/10.1386/stap.31.1.47_1.

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50

Moyle, Gene. "Special issue on performing arts." Performance Enhancement & Health 4, no. 1-2 (2016): 1–2. http://dx.doi.org/10.1016/j.peh.2016.03.001.

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