Relevant bibliographies by topics / Applied theatre/performance

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Applied theatre/performance'

Author: Grafiati
Published: 10 December 2022
Last updated: 29 January 2023

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Journal articles on the topic "Applied theatre/performance"

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Freeman, Barry. "Applied Theatre and Performance Research in Canada?" Theatre Research in Canada 35, no. 2 (May 16, 2014): 252–55. http://dx.doi.org/10.3138/tric.35.2.252.

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Thompson, James. "To Applied Theatre, with Love." TDR: The Drama Review 65, no. 1 (March 2021): 167–79. http://dx.doi.org/10.1017/s1054204320000143.

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A violent event in the Democratic Republic of the Congo and the loss of a friend created a path for re-engaging with applied theatre and love for the field of applied theatre. In a singularly loveless world, theatre practitioners, performance scholars, and activists need to renew a sense of passion, joy, and commitment to their work.
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McAvinchey, Caoimhe. "Performance Affects: Applied Theatre and the End of Effect." Contemporary Theatre Review 21, no. 2 (May 2011): 233–34. http://dx.doi.org/10.1080/10486801.2011.562058.

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Kovačević, Marina, and Ana Batrićević. "Their story: From creative writing of female prisoners to restorative theatre performance." Kultura, no. 170-171 (2021): 245–61. http://dx.doi.org/10.5937/kultura2171245k.

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Traditional reaction to crime is inefficient and experts are searching for innovative methods of social rehabilitation and reintegration of offenders. Restorative justice - an approach that respects interests of all the subjects affected by criminal offence, including victims, offenders and community - is becoming increasingly widespread as an addition to classical, formal judicial processes and punishments. Restorative process is efficient due to its powerful transformative mechanisms based upon dialogue, mediation, negotiation, reconciliation, forgiveness, symbolic rituals, reintegrative shaming, community support and control. Restorative elements emerge in various forms, including innovative programmes of work with prisoners, focused on social rehabilitation and reintegration, in order to prevent re-offending. Some of them implement therapeutic effects of art, as a means to help prisoners to: overcome deprivations, express emotions, heal past trauma, (re)establish healthy relationships, enhance empathy, strengthen self-confidence, rebuild positive identity and reintegrate in the community. On the grounds of Boal's "theatre of the oppressed", various forms of socially engaged theatrical genres evolved, including applied theatre, surpassing the borders of classical theatre and getting closer to performance. Theatre within the prison walls being one of them, we took the example of the theatre performance "Her Story", written and performed by prisoners from Correctional Institution for Women in Požarevac, Serbia. Completed through creative writing workshops and played in this penal institution, it is an example of applied theatre based upon art therapy with strong restorative effects. The points of intersection between restorative process and this theatre performance, make it stand out among other forms of applied theatre, providing it with particularly strong transformative effects. Following the case study of "Her Story", the authors of this paper have suggested further application of similar programmes and their promotion within the community, as an effective method of crime suppression through healing powers of art in synergy with restorative elements.
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Harris, Anne, and Stacy Holman Jones. "Beautiful radiant things: performance and its affects in applied theatre." Research in Drama Education: The Journal of Applied Theatre and Performance 25, no. 3 (July 2, 2020): 320–34. http://dx.doi.org/10.1080/13569783.2020.1779585.

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Austin Chibueze, Okeke, and Ofoedu Uche Okey. "Applied Theatre as an interventionist model for theatre for development projects: the Itchi-Agu experience." IKENGA International Journal of Institute of African Studies 23, no. 1 (July 9, 2022): 1–15. http://dx.doi.org/10.53836/ijia/2022/23/1/009.

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Over the years, theatre art has distinguished itself as a very effective medium of communication in diverse spheres of life. Traditionally, the theatre situation requires the audience to come to the theatre, sit and see a performance. However, as time progressed, theatre practitioners saw the need to take the theatre to the people and use it as a tool for development, especially in rural African communities. This dimension of theatre practice is known as “Applied Theatre”, as it refers to the use of theatrical forms in unconventional theatre spaces to address issues of concern to communities. In such settings, theatre is often used as an interventionist tool to address the perceived needs of such communities. Theatre for Development projects have been undertaken on a number of subjects around Nsukka communities, but none has been devoted to addressing the issue of water hygiene in any of such communities. It is, therefore, the aim of this paper to examine the steps employed in the Theatre for Development (TfD) workshop by the Department of Theatre and Film Studies, University of Nigeria, Nsukka, towards addressing the precarious water situation of Itchi-Agu community of Enugu State, as well as to recommend it as essential and ideal for TfD projects. The theoretical framework shall be based on the “Bottom-Up” Theory.
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Kodrić Gagro, Ana. "Applied theatre in a foreign language environment: The methodology of performance." Slavica Wratislaviensia 170 (October 1, 2019): 171–82. http://dx.doi.org/10.19195/0137-1150.170.14.

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Applied theatre in a foreign language environment: The methodology of performanceThis paper describes how to use the genre of the telenovela in teaching and learning Croatian as a foreign language, based on the example of a theatre workshop organized in 2006 at Croaticum — Center of Croatian as a Foreign Language in Zagreb. This method can also be applied to teaching and learning other foreign languages. It has proved effective in teaching so it can be recommended as a tried and tested method. It promotes the improvement of language skills and — more importantly — it reduces the fear of speaking and communicating in a foreign language. Teatr stosowany w środowisku językowo obcym. Metodologia wykonaniaW artykule opisano, jak korzystać z gatunku telenoweli w nauczaniu i uczeniu się języka chorwackiego jako języka obcego, na przykładzie warsztatu teatralnego, który został zrealizowany w Centrum Języka Chorwackiego Jako Obcego Croaticum w Zagrzebiu w 2006 roku. Metoda ta może być również stosowana do nauczania i uczenia się innych języków obcych. Okazała się ona bowiem skuteczna w nauczaniu, więc można ją polecić jako metodę już w dużym stopniu sprawdzoną. Sprzyja doskonaleniu kompetencji językowych oraz — co ważne — zmniejsza lęk przed mówieniem i komunikowaniem się w języku obcym.
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Frank, Marion. "Theatre in the Service of Health Education: Case Studies from Uganda." New Theatre Quarterly 12, no. 46 (May 1996): 108–15. http://dx.doi.org/10.1017/s0266464x00009933.

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International organizations are increasingly turning to theatre as a means of raising development issues, exploring options, and influencing behaviour. This paper examines some structures and techniques inherent in this type of applied theatre, analyzing two plays used to supplement AIDS education programmes in Uganda. One is a video production by a typical urban popular theatre group, while the second production analyzed exemplifies the Theatre for Development approach through its sub-genre, Campaign Theatre, used to raise awareness on health issues, hygiene, sanitation, child care, and the environment. The study analyzes the performance of the two plays and addresses some contradictions arising from the involvement and influence of external organizations. Marion Frank is a graduate of Bayreuth University in Germany, whose extensive field research has resulted in the publication of AIDS Education through Theater (Bayreuth African Studies Series, Bayreuth, 1995). Dr. Frank is currently living in the US, where as a Visiting Scholar at Duke University she is now working on a research project aiming to establish a closer link between literary/cultural studies and medicine/medical anthropology.
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Kosiewicz, Jerzy. "Aleatorism and Sporting Performance." Physical Culture and Sport. Studies and Research 73, no. 1 (March 1, 2017): 54–61. http://dx.doi.org/10.1515/pcssr-2017-0006.

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Abstract A sporting spectacle is an important cultural event, essentially influencing social and individual lives. In spite of this, there does not yet exist a monograph that analyzes, describes, and explains sporting performance from the point of view of aleatorism as part of the theory of sport and physical culture. Unfortunately, no monograph has developed this issue in a multi-aspectual, holistic, culturological, and philosophical way, dealing with its axiological values (aesthetic and praxeological). This applies to the relations between this phenomenon and the mechanisms that bring about the development and growth of interest in the social dimension.Generally, the theory of aleatorism has been applied in analyzing the phenomena of physics, music, and theatrical spectacle.The one relatively well-developed theory of performance is that of theatre spectacle. The above does not mean that the author aims to appreciate a sporting performance due to its links with theatre. He points to one of many possible aspects of a sporting spectacle, which are the assumptions of an aleatory nature included in its structure, plan, and the tactics of the game.
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Moyo, Cletus, and Nkululeko Sibanda. "Deploying performance poetry in dispelling HIV and AIDS stigma: An applied theatre approach." Applied Theatre Research 7, no. 2 (December 1, 2019): 197–210. http://dx.doi.org/10.1386/atr_00016_1.

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Abstract The article is based on an applied theatre project facilitated by Cletus Moyo at the University of the Witwatersrand, Johannesburg, South Africa from 2009 to 2010. We argue that performance poetry deployed within an applied theatre paradigm has the potential to unlock the silence around HIV and AIDS issues in a way that opens up these issues for discussion and makes them accessible for exploration, even in contexts where speaking about these issues is taboo. The project targeted young people belonging to the age group that is most heavily hit by the HIV and AIDS pandemic. Notably, the young generation is also more open to performance poetry as an artform, making it more appropriate in dealing with issues affecting them. Performance poetry is a language of emotions and an artform that emphasizes speaking out. These two qualities render performance poetry a powerful medium for addressing HIV and AIDS stigma, a phenomenon that is embedded in the culture of silence.
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Dissertations / Theses on the topic "Applied theatre/performance"

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McKay, Matthew. "The Uses of Applied Theatre." VCU Scholars Compass, 2010. http://scholarscompass.vcu.edu/etd/89.

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Applied theatre is an umbrella term describing the practice of borrowing concepts from the conventional theatre and applying them to different disciplines. This thesis focuses on the use of applied theatre in teaching effective communication skills. Using the work of the Ariel Group and personal experiences working with the VCU da Vinci Center as examples, this paper demonstrates ways that underlying theatre concepts are used to teach communication skills. Additionally, this paper argues that there are many advantages for using theatre professors to teach communication skills to non-theatre students in other disciplines through the use of applied theatre methods. To support this argument examples are taken from the Critical Communications Group and my experiences teaching Public Speaking.
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Obermueller, Joseph A. "Applied Theatre: History, Practice, and Place in American Higher Education." VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/3151.

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The goal of this paper is to examine the practice of Applied Theatre in order to better define the genre and make a case for its legitimization and inclusion in higher theatre education. By looking at the theatre practitioners of the 20th century who paved the way for its existence as well as modern practitioners, a definition will be distilled down to five core characteristics of the practice with several case studies illustrating those characteristics. Once a clear distinction has been made between Applied Theatre and other similar genres, the case will be made for why the field should be considered mainstream. Additionally, it will be revealed how underserved the genre is in higher education and why its inclusion is important in college theatre programs.
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Guse, Anna. ""I Am More Than an Inmate...": Re/Developing Expressions of Positive Identity in Community-Engaged Jail Performance." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1587636691932172.

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Streek, Katy. "Collaborating in No man's land : an enquiry towards creating an environment for 'equal' collaboration between international partners in an applied theatre project." Master's thesis, University of Cape Town, 2009. http://hdl.handle.net/11427/8257.

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This dissertation is an enquiry towards creating an environment for 'equal' collaboration between international partners in an applied theatre project. As a direct case study, I used my master's fieldwork project, No-man's land, a theatre project involving performers from South Africa and The Netherlands. The problematics of international exchanges in which people, resources and art works are brought together over long distances, generates issues around power, culture and the performing arts which demand attention from project partners. The term 'No Man's Land' isthe metaphor developed throughout this dissertation in order to conceptualise the space of collaboration, as well as the mentality such a collaboration necessitates. The focus here is on international collaboration projects within the field of applied theatre that have the potential to unite artists from different backgrounds to explore issues of mutual interest through theatre processes and performances.
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Sulcas, Gabrielle Reeve. "An exploration of the relationship between applied theatre and community building practice, with specific reference to a teenage pregnancy project in Delft." Master's thesis, University of Cape Town, 2006. http://hdl.handle.net/11427/8154.

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In a developing country such as South Africa, the challenge to locate new, effective methods of social development is key. This study argues that applied theatre has the potential to become a powerful medium for the fulfilment of this aim. The development and performance of this kind of theatre, which occurs outside of conventional theatre settings and deals with social issues in a participatory way with its audience, brings people of different genders, ages, races and classes together. In doing so, a community is formed, dynamic and multidimensional in nature. This is a divergence from conventional understandings of community as a single static, objective entity. Community building practice centres around this reconceptualisation of community, providing an orientation to the ways in which people who identify as members of a shared community engage together in the process of community change.
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Walcon, Erin Colleen. "Vital spaces/vital signs : young people, performance, identity and dialogue." Thesis, University of Exeter, 2012. http://hdl.handle.net/10871/9785.

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This thesis advocates that young people’s participatory theatre in Britain is an important site for dialogue - both internally between young people and externally with those in positions of power and authority who have decision-making responsibilities in young people’s lives. Contextualising the work within the field of critical pedagogy, the thesis asks questions about how devised theatre with young participants can be an effective method to start conversations about young people’s identity and role in society. The research was conducted within a Participatory Action Research methodology, and involved about 600 young people from across Devon in a variety of pilot projects which became increasingly dialogic in form over the three years of study. Looking first at the complex issue of ‘youth’ identity within sociology, cultural studies, ethnography and geography, the thesis posits that the fields of theatre and performance studies have important contributions to make to an understanding of how identity is a performed and constructed concept. Building upon this premise, the second chapter overviews the existing field of young people’s participatory theatre in the UK, stipulating that a pedagogical framework built on an historicized understanding of educational theatre is essential to mapping the existing state of practice. This pedagogical framing allows for navigation through the increasingly impact-driven criteria which can profoundly shape the aesthetics and authorship of such work when conducted in the field. These (often silent) shaping forces are analysed through a set of case study examples. Chapter III defines and defends the framing of this work as a form of critical pedagogy, specifically exploring the definitions of dialogue and literac(ies) through case study examples of dialogic practice with young participants. Chapters IV and V examine the PAR research conducted over three years under the heading Vital Spaces/Vital Signs, which moved from small-scale pilot projects in youth centres to larger-scale ‘devised dialogues’ within more traditional theatre spaces. The praxis and findings encountered within the action research are detailed, and recommendations for future extended dialogic work are made.
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Woynarski, Lisa Christine. "Towards an ecological performance aesthetic for the bio-urban : a non-anthropocentric theory." Thesis, Royal Central School of Speech & Drama, 2015. http://crco.cssd.ac.uk/551/.

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As current precarious ecological conditions require urgent and multi-scalar responses, performance has an opportunity to creatively respond to the ecological situation, opening up new ways of thinking and engaging the public’s imagination. Problematising differentiating practices that divide humans from ‘nature’, I suggest performance may highlight the interconnectedness of humans and the more-than-human world by theorising, revealing and critiquing ecological relationships. My research into an ecological performance aesthetic takes up this opportunity and conceives of new ways of critically thinking about performance. I engage a range of ecological philosophy, combined with ecodramaturgical analysis of performance, to theorise the intersection of performance and ecology. Ecodramaturgy (May 2010) combines ecocritical and applied approaches to performance with ecological ways of performance-making, and represents a critical extension to the discipline of performance studies. Drawing on the ecomaterialism of Bennett (2010), Latour (2004), Alaimo (2013) and Barad (2012), I theorise ‘nature’ as a set of interconnected relationships, which disrupts the binaries between urban/nature, nature/culture, human/nonhuman. I coin the neologism the bio-urban to reflect the vibrancy and material agency of ecological relationships in urban settings. The focus on urban-based practice resists the rural bias present in much ecological writing (Harvey 1993b) and addresses a gap in scholarship around urban ecology in relation to performance. This research centres on a wide variety of illustrative, broadly site-based performance events, including urban gardening performances (and my own practice), walking and cycling performances, installation, live art, theatre pieces and work in places such as streets, mountains, (urban) meadows, cemeteries and rivers. I consider the way in which performance engages with the world, through the interrelated and overlapping discourses of postcolonial ecology, human geography and urban ecology. An ecological performance aesthetic informs modes of practice, presentation and reception, within current ecological conditions. From the provocation of the bio-urban, I theorise immersion and ‘environmental participation’, drawing on the corporeality of our relationship to the space around us, following ecological phenomenology. I then examine oikos as (earthy or planetary) home and consider it in relation to dwelling, suggesting that ecological performance opens up a space for critiquing these ideas. The complex relationship between the local and global is characterised in performance through eco-cosmopolitanism (Heise 2008). Finally, I suggest a non-anthropocentric paradigm for performance, one that employs an ‘ecological anthropomorphism’ that accounts for the material agency of the more-than- human, as well as the human as a geophysical force (Chakrabarty 2012). The aim of the research is to articulate an ecological performance aesthetic, extending and developing the field of performance and ecology.
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Baim, Clark Michael. "Theatre, therapy and personal narrative." Thesis, University of Exeter, 2018. http://hdl.handle.net/10871/33997.

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Contemporary theatre has crossed boldly into therapeutic terrain and is now the site of radical self-exposure. The recent and expanding use of people’s personal stories in the theatre has prompted the need for a robust framework for safe, ethical, flexible and intentional practice by theatre makers. Such a framework is needed due to the risks inherent in putting people’s private lives on the stage, particularly when their stories focus on unresolved difficulties and cross into therapeutic terrain. With this ethical and practical imperative in mind, and in order to create a broader spectrum of ethical risk-taking where practitioners can negotiate blurred boundaries in safe and creative ways, this study draws on relevant therapeutic theory and practice to re-connect therapy and theatre and promote best practice in the theatre of personal stories. In order to promote best practice in the theatre of personal stories (a term I will use to cover the myriad forms of theatre that make use of people’s personal stories), I describe a new framework that synthesises theory and practice from the fields of psychodrama, attachment narrative therapy, and theatre and performance studies. The benefits of this integrative framework for the theatre practitioner are that it promotes safer, more ethical and purposeful practice with personal stories, and encourages more confident and creative artistic expression. The framework provides these benefits because it offers a structured model for decision-making by theatre practitioners who work with personal stories, and suggests ways that the practitioner can explore fresh artistic possibilities with clear intentions and confidence about the boundaries and ethics of the work. The integrated framework has been developed through the grounded theory process of reflective inquiry, using in particular the models of action research, the Kolb experiential learning cycle and applied phronesis. The framework has four elements, which are explored respectively in chapters one to four: 1) History: understanding the roots of the theatre of personal stories in traditions of art, oral history, social activism, theatre and therapy; 2) Ethics: incorporating wide-ranging ethical issues inherent in staging personal stories; 3) Praxis: structuring participatory theatre processes to regulate the level of personal disclosure among participants (a model for structuring practice and regulating personal disclosure is offered — called the Drama Spiral); and 4) Intentions: working with a clear focus on specific intentions — especially bio-psycho-social integration — when working with personal stories. The study concludes, in chapter five, with a critical analysis of two exemplars of practice, examined through the lens of the Drama Spiral.
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Awi, Jane Pumai. "Creating new folk opera forms of applied theatre for HIV and AIDS education in Papua New Guinea." Thesis, Queensland University of Technology, 2014. https://eprints.qut.edu.au/81643/1/Jane%20Awi%20Thesis.pdf.

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This research investigated the potential of folk opera as a tool for HIV and AIDS education in Papua New Guinea. It began with an investigation on the indigenous performativities and theatricalities of Papua New Guineans, conducting an audit of eight selected performance traditions in Papua New Guinea. These traditions were analysed, and five cultural forms and twenty performance elements were drawn out for further exploration. These elements were fused and combined with theatre techniques from western theatre traditions, through a script development process involving Australians, Papua New Guineans and international collaborators. The resulting folk opera, entitled Kumul, demonstrates what Murphy (2010) has termed story force, picture force, and feeling force, in the service of a story designed to educate Papua New Guinean audiences about HIV and the need to adopt safer sexual practices. Kumul is the story of a young man faced with decisions on whether or not to engage in risky sexual behaviours. Kumul's narrative is carefully framed within selected Papua New Guinean beliefs drawn from the audit to deliver HIV and AIDS messages using symbolic and metaphoric communication techniques without offending people. The folk opera Kumul was trialled in two communities in Papua New Guinea: a village community and an urban settlement area. Kumul is recognisable to Papua New Guinean audiences because it reflects their lifestyle and a worldview, which connects them to their beliefs and spirituality, and the larger cosmological order. Feedback from audience members indicated that the performance facilitated HIV and AIDS communication, increased people's awareness of HIV and AIDS, and encouraged behaviour change. Tellingly, in one performance venue, forty people queued for Voluntary Testing and Counseling immediately after the performance. Twenty of these people were tested on that night and the other twenty were tested the following day. Many of the volunteers were young men – a demographic historically difficult to engage in HIV testing. This encouraging result indicates that the Kumul folk opera form of applied theatre could be useful for facilitating communication and education regarding sexual health and safer sexual behaviours in Papua New Guinea. Feedback from participants, audience members and other research stakeholders suggests that the form might also be adapted to address other social and development issues, particularly in the areas of health and social justice.
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Kirschner, Bennett A. "Do We Make a Sound? An American Morality Play." ScholarWorks@UNO, 2019. https://scholarworks.uno.edu/td/2615.

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Books on the topic "Applied theatre/performance"

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Goodall, Jane. Performance and evolution in the age of Darwin: Out of the natural order. London: Routledge, 2002.

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Nicholson, Helen. Theatre and Performance Practices: Applied Drama. Palgrave Macmillan, 2005.

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Thompson, James. Digging Up Stories: Applied Theatre, Performance and War. Manchester University Press, 2006.

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Thompson, James. Digging Up Stories: Applied Theatre, Performance and War. Manchester University Press, 2006.

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Performance Affects: Applied Theatre and the End of Effect. Palgrave Macmillan, 2009.

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J, Thompson. Performance Affects: Applied Theatre and the End of Effect. Palgrave Macmillan, 2009.

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J, Thompson. Performance Affects: Applied Theatre and the End of Effect. Palgrave Macmillan, 2009.

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Performance Affects: Applied Theatre and the End of Effect. Palgrave Macmillan, 2009.

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Thompson, James. Performance Affects: Applied Theatre and the End of Effect. Palgrave Macmillan, 2009.

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Interactive and Improvisational Drama: Varieties of Applied Theatre and Performance. iUniverse, Inc., 2007.

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Book chapters on the topic "Applied theatre/performance"

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Murray, Beth. "Growing applied theatre." In Teaching Critical Performance Theory, 195–209. Abingdon, Oxon; New York, NY: Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780367809966-20.

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Nicholson, Helen. "Applied Drama/Theatre/Performance." In Key Concepts in Theatre/Drama Education, 241–45. Rotterdam: SensePublishers, 2011. http://dx.doi.org/10.1007/978-94-6091-332-7_39.

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Gjærum, Rikke Gürgens. "Core of Nordic applied theatre." In The Routledge Companion to Applied Performance, 383–92. Abingdon, Oxon; New York: Routledge 2021. |: Routledge, 2020. http://dx.doi.org/10.4324/9781351120142-48.

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Sextou, Persephone. "Applied performance, puppetry and hospital tuition." In Applied Theatre in Paediatrics, 60–77. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003039341-4.

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Prentki, Tim, and Ananda Breed. "Street theatre in Afghanistan." In The Routledge Companion to Applied Performance, 208–14. Abingdon, Oxon ; New York : Routledge 2021. |: Routledge, 2020. http://dx.doi.org/10.4324/9781003088042-25.

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Saud, Nar Bahadur. "Storytelling through Playback Theatre." In The Routledge Companion to Applied Performance, 237–47. Abingdon, Oxon ; New York : Routledge 2021. |: Routledge, 2020. http://dx.doi.org/10.4324/9781003088042-28.

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Nicholson, Helen. "An Introduction to Applied Drama, Theatre and Performance." In Applied Drama, 1–20. London: Macmillan Education UK, 2014. http://dx.doi.org/10.1007/978-1-137-11129-6_1.

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Fox, Jonathan. "Unexpected resilience of the participant performance model for playback theatre." In The Applied Theatre Reader, 211–18. Second edition. | Abingdon, Oxon; New York, NY: Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780429355363-40.

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Conroy, Colette, and Sarah Dickenson. "Culturally producing and negotiating women’s rugby league histories through applied performance." In The Applied Theatre Reader, 63–68. Second edition. | Abingdon, Oxon; New York, NY: Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780429355363-12.

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Škuflić-Horvat, Ines, Maja Sviben, and Nina Horvat. "Theatre against violence, action in classrooms." In The Routledge Companion to Applied Performance, 101–7. Abingdon, Oxon; New York: Routledge 2021. |: Routledge, 2020. http://dx.doi.org/10.4324/9781351120142-13.

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Conference papers on the topic "Applied theatre/performance"

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Chen, Xilin, and Tao Xi. "Cross-Cultural Management of Chinese Traditional Theatre Industry Based on Broadway Operation Model." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1001860.

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Broadway, as one of the leading commercial show districts in the West, has a mature commercial experience and operation model. The theatre industry on Broadway is different from other places, and its production and marketing methods have also proven to be highly successful. This paper analyses the business model, artistic concept, communication strategy, and user research of Western theatre based on Broadway at the academic level. At the practical level, the paper investigates the cross-cultural management and communication model of the Chinese theatre industry. The Broadway theatre management that operates separately for theatres and productions, together with the art form that focuses on scenery, stage art, and sound effects, is applied to the management and communication of the traditional Chinese theatre industry. The paper aims at promoting traditional culture and making traditional theatre more suitable for modern aesthetic needs and market demands. The contribution of the paper is to improve traditional Chinese theatre into a creator-centered theatre performance consisting of music, song, dance, and dialogue in a cross-cultural context, based on the Broadway operation model. A modern marketing campaign is used to promote exposure and sustainability. As a result, a framework for Chinese traditional theatre products based on cross-culture is constructed.
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Mohamed, Mohamed Mokhtar. "My Personal HSE Commitment Program – A Valuable Web Portal to Improve the HSE Leadership at a Workplace." In Abu Dhabi International Petroleum Exhibition & Conference. SPE, 2021. http://dx.doi.org/10.2118/208013-ms.

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Abstract:
Abstract Safety at work is not just a priority, but a fundamental value, shared by employees, contractors and local stakeholders. People are both as the starting point and the final goal of all its actions. This is why we work hard to ensure the safety of each of us and those around us, in order to eliminate all accidents. we are all committed to spreading and strengthening a culture of safety among all our people, employees or contractors, as an essential part of our work. Companies develop campaigns and projects to promote a safe and healthy behavior in any workplace and, more in general, in everyday life. Virtuous tools and means of communication include workshops, theatre events and round table discussions, as well as video clips sharing what we learned from past safety hazards and the HSE Safety Golden Rules, our key safety rules. The continuous involvement of top management, contractors, representatives from local communities, or external guests, increases its commitment to safety. This paper presenting one of the effective program which is designed and launched by an Oil & Gas Company so to allow all HSE leaders to self-evaluate their level of commitment towards HSE-related aspects and plan a number of important activities that would ultimately increase one's level of HSE commitment and enhance the safety culture through a Web Portal program called " My Personal HSE Commitment". The portal provides the possibility to develop an action plan related to specific corrective and/or proactive actions/tasks that the user wishes to keep track of. The most important part is also, The Web tool is furthermore capable of generating a personal HSE Commitment Poster that the user "The Safety Leader" can share worldwide thanks to the portal integration with Microsoft Outlook. Moreover, users can search others Posters – allowing for the widest dissemination of one's HSE Commitment among other users. By applying this program, companies engaged all its Leaders and Management in the process of creating a strong HSE Culture and also, increasing the competition between leaders and program users by allowing each one to get access to others’ commitment posters. By taking part of this program, each user can see - online - his direct HSE Commitment and be aware of others’ results which is creating a strong and transparent ability of positive competition and real outcomes based on each one's performed activities. Once the companies applied this program, we can immediately see a considerable increase of HSE activities performed by all users and HSE leaders worldwide and this paper highlighted the results achieved & HSE performance improvement thanks to the way this program was created which helped a deep involvement of each leaders in the process of raising the HSE commitment of the company's management.
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