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1
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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Brodzinski, Emma. "Book Review: Interactive and Improvisational Drama: Varieties of Applied Theatre and Performance." Dramatherapy 30, no. 1 (March 2008): 14–15. http://dx.doi.org/10.1080/02630672.2008.9689740.
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Abraitienė, Lina, and Laura Antanavičiūtė. "Text Compression in Surtitles: A Case Study of the Opera La Traviata." Sustainable Multilingualism 16, no. 1 (May 1, 2020): 145–74. http://dx.doi.org/10.2478/sm-2020-0008.
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SummarySurtitling as a mode of audiovisual translation is commonly used for intercultural communication both intralingually and interlingually in theatres. The largest Lithuanian theatres often provide surtitles as a means to present translated text of the original language, although in the scientific field surtitling is still a little studied mode. In order to provide qualitative surtitles that convey the essentials of the original language, translators and surtitlers applied a number of compression strategies. The duration and length of the surtitles are limited; therefore, the surtitle specialists must take into account the time and space constraints and provide the shortest text without losing the essence so that the viewer would be able to spend less time reading and mostly focusing on the performance. The article investigates cases of compression of translated text at both the syntactic and lexical levels. Using the descriptive, analytical and comparative methods, Lithuanian surtitles of the opera Traviata for two theatres, namely Kaunas State Musical Theatre and Lithuanian National Opera and Ballet Theatre, are prepared, and a study of the cases of text compression is performed.
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Kuhns, David F. "Palimpsestus: Frank Wedekind's Theatre of Self-Performance." New Theatre Quarterly 12, no. 45 (February 1996): 50–64. http://dx.doi.org/10.1017/s0266464x00009623.
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Frank Wedekind's theatre art is usually approached through his dramatic writing: but the argument of this article is that the clearest understanding of the dramatist's career is to be gained through an encounter with his work as a performer. The stage was for Wedekind always a deeply personal and reflexive arena: as he once wrote, ‘the critics have often reproached me that my dramas are about myself. I would like to show that it's worth the trouble to bring myself onto the stage.’ In the following article, David Kuhns seeks to demonstrate the complicated nature of ‘performance’ as the term is applied to Wedekind – for his controversial plays and essays, scandalous satirical poems, cabaret appearances, and acting for the legitimate stage were all eclipsed by the notorious public persona which they constituted. This persona, Kuhns argues, became, even for Wedekind himself, inseparable from his self-perceived identity: it was both the real subject of his dramatic art and the essential character he performed. In short, Wedekind's career from beginning to end pursued a performative autobiographical dialectic of self-inscription and self-revision. The author, David Kuhns, teaches theatre history, dramatic literature, and performance theory at Washington University in St. Louis.
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Johansson, Ola. "Prefigurative Performance in the Age of Political Deception." TDR/The Drama Review 61, no. 1 (March 2017): 81–98. http://dx.doi.org/10.1162/dram_a_00624.
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Prefigurative interventions and occupations comprise a form of activism comparable to theatrical performance—embodying, situating, and performing hypothetical scenarios. These open-ended, horizontal performance practices employ site-sensitive interventions, tactical media, applied theatre, and cognate modes of interactivity.
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Kregždaitė, Rusnė. "Aggregate Demand Model for Theatre in Lithuania." Coactivity: Philosophy, Communication 22, no. 2 (February 20, 2014): 159–66. http://dx.doi.org/10.3846/cpc.2014.15.
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The aim of this article is to analyse aggregate demand for theatre which is the demand for the whole theatre sector described by the box office performance. In reference to foreign authors’ models a demand model for theatre in Lithuania was created which allows to analyse the relations between theatre demand and social or economical structure. The econometric models with time series model expression were used. Proposed methods could be applied to the analysis of the other sectors of cultural and creative industries.
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Vera, Dusya, and Mary Crossan. "Theatrical Improvisation: Lessons for Organizations." Organization Studies 25, no. 5 (June 2004): 727–49. http://dx.doi.org/10.1177/0170840604042412.
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This article uses the improvisational theatre metaphor to examine the performance implications of improvisational processes in firms. We recognize similarities and differences between the concepts of performance and success in both theatre and organizations, and extract three main lessons from improvisational theatre that can be applied to organizational improvisation. In the first lesson, we start by recognizing the equivocal and unpredictable nature of improvisation. The second lesson emphasizes that good improvisational theatre arises because its main focus, in contrast to the focus of firms, is more on the process of improvising and less on the outcomes of improvisation. Lastly, in the third lesson, we look at the theatre techniques of ‘agreement’, ‘awareness’, ‘use of ready-mades’, and ‘collaboration’, and translate them into concepts that are relevant for organizations in developing an improvisational capability.
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Ayoosu, Moses Iorakaa, Yaik-Wah Lim, Pau Chung Leng, and Olusegun Moses Idowu. "Daylighting Evaluation and Optimisation of Window to Wall Ratio for Lecture Theatre in the Tropical Climate." Journal of Daylighting 8, no. 1 (January 16, 2021): 20–35. http://dx.doi.org/10.15627/jd.2021.2.
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A base case model is a more potent dose for applied research; the passive architectural design for sustainability requires optimised experiments. However, experimenting with physical developments require construction and deconstruction until they achieved the optimal scenario. These wastes resources and time; hence, base models' development as useful instruments in the optimisation design process is desirable. Lecture theatres in universities have no specific design model whereby optimising one may not apply to the other. Therefore, this research evaluated a base model for lecture theatre regarding spatial configuration, daylighting potentials, and optimised window-to-wall ratio (WWR) for tropical daylighting. A study of ten existing lecture theatres in eight universities within eight states in Nigeria's hot-humid climate was analysed descriptively for the base model. The study employed Simulations with IES-VE software. The daylighting performance analysis adopted the daylighting rule of thumb, daylight factor, work plane illuminance (WPI), and WPI ratio. The results show that a typical lecture theatre in the study area has a dimensional configuration of 12×20 m floor plan, 6 m ceiling height, and a window wall ratio (WWR) of 13%. In the deduced base model, 4H was required for adequate daylighting against the thumb's 2.5 H daylighting rule. The research concludes a low window-wall ratio with poor daylighting quality and quantities in the base model; therefore, it implies that the daylighting was not a criterion in the designs. However, the experiment revealed a progression in daylighting performance with an increase in WWR from the base case until 30% WWR. Beyond that, there was a decline in the daylighting performance. Therefore, 30% WWR was optimal for daylighting performance in lecture theatre retrofitting within the tropical climate.
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Gary J. Mazzu. "Interactive and Improvisational Drama: Varieties of Applied Theatre and Performance (review)." Theatre Topics 18, no. 1 (2008): 90. http://dx.doi.org/10.1353/tt.0.0013.
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Gjærum, Rikke Gürgens, and Gro Ramsdal. "Kreative processer i "Art-based Research"." Peripeti 8, no. 16 (December 13, 2011): 21–31. http://dx.doi.org/10.7146/peri.v8i16.8241.
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Creative Processes in "Art-Based Research"This article describes an ethno-theatre production called Involuntary outsiders. This theatre production was based on ten research interviews with Norwegian drop outs from high school. Through the article the researchers will explore creative processes generated by the theatre production. They demonstrate how research and theatre become involved in a dialogue with each other. However they also contribute critical reflection concerning the dilemma of the creative researcher standing between the universe of research and the universe of art. The project is analyzed through performance etnography, representation critic, social psychology, identity theory and applied theatre.
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Șușu, Petre, Carmen Mihaela Crețu, and Aurelian Bălăiță. "1. The Acting Student’s Choreographic Training. Several Cognitive Objectives." Review of Artistic Education 15, no. 1 (March 1, 2018): 110–26. http://dx.doi.org/10.2478/rae-2018-0012.
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Abstract Dance is an artistic genre that is more and more frequently used in theatre productions. The syncretism of theatre and dance can take many shapes, from inserting dance sequences in dramatic performances, to new artistic genres, such as dance theatre. Due to the fact that they offer manifold innovating possibilities for artistic expression in a greatly audience-oriented universal language, theatrical forms that include dance, and especially the artistic genre of dance theatre are increasingly often put on stage by directors who work in Romania. Thus, training actors in the area of dance at a high level of performance that allows them to approach these types of syncretic artistic genres becomes a priority for the Romanian theatre school. The director, one of the stakeholders in higher education theatre schools, is the one who decides both the form of a performance and an actor’s involvement (or lack thereof) in that certain performance. Limited or stimulated by the actor’s training level, the director is also a beneficiary of the education the acting student receives in drama school. This study aims at identifying the opinions of ten Romanian directors on the matter of the choreographic categories and skills the acting student acquires during his years of training at a higher education institution. We have used qualitative methodology research, based on semi-structured interviews, applied to a cross-section of ten directors from Bucharest, Cluj-Napoca, Constanţa, Craiova, Iaşi, and Tg. Mureş. This article tackles the issue of cognitive didactic objectives and students’ cognitive competencies that have been emphasized during the conversations with the aforementioned directors.
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Serdechnaia, Vera V. "Post-dramatically: Russian theatre and its borders." Practices & Interpretations: A Journal of Philology, Teaching and Cultural Studies 5, no. 1 (March 1, 2020): 50–59. http://dx.doi.org/10.18522/2415-8852-2020-1-50-59.
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The article is devoted to the interpretation of the concept of postdramatic theatre as applied to the stage practice of modern Russian theatre. Despite the controversial theoretical status of the concept of postdramatic theatre, it is a convenient generalizing term to mark the directions towards expansion of theatrical boundaries that has taken place in recent decades in Russian and world theatre. The article gives various examples from modern Russian theatre practice, and explores such trends as the theatre going beyond the stage and the theatre building, the mediation of theatricality by means of modern communications, the refusal of linear text reproduction, and the documentary theatre. The modern Russian theatre breaks down ‘the fourth wall’, enriches itself with performance and engages in social work; it revises its goals, moving from purely aesthetic to research tasks, turning it from a cathedra into a full-fledged means of communication.
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Sheehan, Jennifer A., Peter Tyler, Hirani Jayasinha, Kathleen T. Meleady, and Neill Jones. "Capital planning for operating theatres based on projecting future theatre requirements." Australian Health Review 35, no. 2 (2011): 216. http://dx.doi.org/10.1071/ah10884.
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During 2006, NSW and ACT Health Departments jointly engaged KPMG to develop an Operating Theatre Requirements’ Projection Model and an accompanying planning guideline. A research scan was carried out to identify drivers of surgical demand, theatre capacity and theatre performance, as well as locating existing approaches to modelling operating theatre requirements for planning purposes. The project delivered a Microsoft Excel-based model for projecting future operating theatre requirements, together with an accompanying guideline for use of the model and interpretation of its outputs. It provides a valuable addition to the suite of tools available to Health staff for service and capital planning. The model operates with several limitations, largely due to being data dependent, and the state and completeness of available theatre activity data. However, the operational flexibility built into the model allows users to compensate for these limitations, on a case by case basis, when the user has access to suitable, local data. The design flexibility of the model means that updating the model as improved data become available is not difficult; resulting in revisions being able to be made quickly, and disseminated to users rapidly. What is known about the topic? In New South Wales there has been no documented, consistent, robust planning methodology to guide the estimated future requirements for operating and procedural suites, nor recommendations available to determine the number of operating theatres that provide optimal efficiency. What does this paper add? Opportunities to design and build new operating suites rarely arise. There is a great deal of uncertainty about future surgical models of care and recent history shows that technology and development of new procedures and approaches have greatly changed the nature of the theatres and rooms required for many interventions. This paper describes the process of developing a planning methodology to estimate the future operating suite capacity required to meet forecast future surgical demand across New South Wales for both metropolitan and rural Area Health Services. What are the implications for practitioners? Although now used only in the New South Wales public sector, the methodology can easily be applied to planning requirements for operating theatres in the private sector.
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Harrop, John. "Adding Style to Substance: the American Actor Finds a Voice." New Theatre Quarterly 1, no. 3 (August 1985): 231–44. http://dx.doi.org/10.1017/s0266464x00001627.
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Slowly, the focus of creative and critical interest in American theatre has shifted from Broadway ‘product’ to the work presented by the non-profit theatres of the regional centres – work which has not only continued and developed the native naturalistic tradition, but embraced the best of the world repertoire, past and present. Method acting, adapted from Stanislavski to produce a distinctive but limited school of interiorized performance, proved inadequate to meet the increased demands of this range of work; and in this essay John Harrop examines the process by which university and conservatory training has come to accept that ‘style’ is not a sort of applied veneer, but a matter of finding the appropriate response to the linguistic and physical requirements of any play. Presently Head of the Professional Training Programme for the BFA in Drama at the University of California, Santa Barbara, John Harrop is himself a professional actor on the regional theatre circuit. An advisory editor of NTQ, and a frequent contributor to the old Theatre Quarterly, he is also the author (with Robert Cohen) of Creative Play Direction and (with Sabin Epstein) of Acting with Style.
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Purcell-Gates, Laura, and Matt Smith. "Applied puppetry: Communities, identities, transgressions." Applied Theatre Research 8, no. 1 (July 1, 2020): 3–11. http://dx.doi.org/10.1386/atr_00022_2.
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This editorial outlines the scope of this special issue on puppetry. The issue editors introduce articles that theorize the use of puppets for a purpose and present dialogues with practitioners working in the field. The authors emphasize the power of puppetry within contemporary cultural systems and the plethora of diverse practices comprising applied puppetry. The lively and developing field of applied puppetry is presented as involving new thinking and methods that have been adopted globally. The editorial argues that applied puppetry, as well as being a set of practices that can affect the lives of participants, is also a robust academic field. The authors hope for a reconsideration of objects in applied theatre practice generally, as a way to further understand networks in socially engaged performance practices.
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Stern, Tom. "Illusions at the Theatre." Anglia 136, no. 1 (March 8, 2018): 121–37. http://dx.doi.org/10.1515/ang-2018-0012.
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AbstractThe concept of illusion has long been associated with the theatre. Sometimes this has had positive connotations (of escape, dream or pleasant intoxication), but more often than not it is used as a prelude to some charge or complaint (notably of lies, deception, cheating). Some philosophers have argued that, in fact, there are no illusions at the theatre, that the term is completely inappropriate. This paper argues that the concept of illusion at work in these claims is not univocal. In fact, I argue, there are a number of very different phenomena which go by the name of ‘illusion’, when applied to theatre. By exploring these different phenomena, their relation to each other and their relation to the charge of deception, I claim we can get clearer about what we see at a theatrical performance – and about what we think we see.
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Gow, Sherrill. "Queering Brechtian feminism: Breaking down gender binaries in musical theatre pedagogical performance practices." Studies in Musical Theatre 12, no. 3 (December 1, 2018): 343–53. http://dx.doi.org/10.1386/smt.12.3.343_1.
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This article explores how musical theatre pedagogy might begin to dismantle modes of practice that perpetuate exclusion and a dualistic, gendered perspective. I draw on my experience of directing postgraduate musical theatre students at Mountview in a production of Pippin (1972). Casting a trans man as Pippin – in many respects an archetypal male hero role – set in motion a process of queering and subverting norms. However, casting is only one element of creating an inclusive practice: in this work, I developed a hybrid approach that honoured students’ identities and experiences and took a critical, political view of the material being presented. My approach brings together Elin Diamond’s feminist theoretical framing of Brecht with queer concepts including heteronormativity and chrononormativity, which are then applied to David Barnett’s practical explanation of a Brechtian process. I argue that feminist and queer approaches can work together to meaningfully critique hegemonic forces influencing musical theatre training and production processes.
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Végvári, Viktória. "Közlekedésbiztonság és légoltalom, avagy a bábszínház mint alkalmazott színház." Theatron 14, no. 3 (2020): 89–97. http://dx.doi.org/10.55502/the.2020.3.89.
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In my paper, I compare Béla Büky’s air raid safety puppet performance (Légvédelmi Jóska és Légoltalmi Kati /Joey Air-raid-defense and Katie Air-raid-safety/ 1939) with the Traffic Rules and Regulations performance created by the puppetry students of the National Puppet Theatre in 1974. I strive to examine the methods used by these applied puppet theatre productions, I enumerate the dramaturgical and narrative devices the authors rely on: by introducing and comparing the surviving fragments and versions of texts, I seek to circumscribe the tension that emerges between the educational intent of the text, and the qualities necessary to make it suitable for performance.
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Turner, Jane. "Acts of Creative Vandalism? Plane Performance Deconstruct the Canon." New Theatre Quarterly 23, no. 3 (August 2007): 208–18. http://dx.doi.org/10.1017/s0266464x07000115.
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In this article Jane Turner explores the trilogy of works titled Re-placing Texts, together with Epilogue, devised and performed by the innovative group Plane Performance, now in its tenth year. The trilogy – Three Degrees of Frost, SET and Round-about – are rewritings of Chekhov's The Cherry Orchard, David Lean's film Brief Encounter, and Rogers and Hammerstein's film musical, Carousel. The article examines the strategies adopted by the company as acts of ‘creative vandalism’, both in terms of current understandings of theatre practice and in terms of their treatment of the original texts. Jane Turner argues that the dramatic texts have become ossified by cultural usage and that the radical stance taken by the company allows for a counter-cultural position to re-emerge. The author is a Principal Lecturer in Contemporary Arts at Manchester Metropolitan University. She has recently published work on Eugenio Barba and applied theatre practice.
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GRAHAM-JONES, JEAN. "‘Common-Sense Catchword’: The Applications ofCensurato Argentinian Theatre and Performance." Theatre Research International 36, no. 2 (May 31, 2011): 102–16. http://dx.doi.org/10.1017/s0307883311000198.
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This article probes some of the ‘catches’ in the universal application of the common-sense word ‘censorship’. To do so, it scrutinizes the application of the Spanish-language termcensurato theatre produced in Buenos Aires and its working-class suburbs in the past thirty-five years, under dictatorship as well as democracy, through the examination of specific cases of productions and plays classified as censored, self-censored, and/or counter-censorial. The article concludes by examining two plays whose writing pre-dates the last dictatorship but which are still considered illustrative of a certain kind of Argentinian censorship. Through these various examples drawn from Argentinian theatrical practice, the article exposes censorship as a problematic category when applied equally at all times.
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Yuliatin, Riyana Rizki, Puspita Dewi, Hary Murcahyanto, Sandy Ramdhani, and Hilda Hastuti. "Pengenalan Playback Theater sebagai Metode Berteater untuk Melepaskan Ketegangan." ADMA : Jurnal Pengabdian dan Pemberdayaan Masyarakat 1, no. 2 (January 30, 2021): 71–78. http://dx.doi.org/10.30812/adma.v1i2.1018.
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Various ways used to express ideas, feelings, and opinions. Art is one of the most effective modes to convey emotions. Playback theatre by combining artistic relation and social relation becomes a method applied. Playback theatre concerns with the telling process. Pre-test and post-test were conducted to identify the previous knowledge of the participants before providing materials and to recognize the knowledge after the activity. The empowerment activity results show that playback theatre has a positive impact on the participants to reduce nervously and it establishes chemistry between actors and music players so that the performance could be satisfied and better. It is expected that other lecturers or researchers implement and develop the playback theatre method to decrease tension and nervousness in playing roles as actors.
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Yuliia, Shchukina. "Development of the dance-rock opera genre in the creative content of ‘Mykhailo Vodianoi’ Academic Theatre of Musical Comedy, Odesa." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 60, no. 60 (October 3, 2021): 111–25. http://dx.doi.org/10.34064/khnum1-60.06.
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Background. Staging of rock opera began in Ukraine simultaneously in theaters of drama, opera and musical comedy in the mid-80s. The first drama and ballet performances were based on the works of Russian authors. From 1986 to 1993 Kharkiv Theater of Musical Comedy made stage production of rock operas based on the works of Alexander Zhurbin, Andrew Lloyd Webber and Alexey Rybnikov leaders of its repertoire policy. Since the 2000s, Odessa Theater of Musical Comedy has staged a dance-rock opera as a new modification of stage play with rock opera. The relevance of the article. Stage performances of dance-rock operas have not yet been sufficiently studied in Ukraine. Such Ukrainian musicologists as Olga Verkhovenko, Iryna Palkina, Halyna Filkevych fragmentarily have studied genre features and performance forms of dance-rock operas. In addition, some periodicals have covered these productions in their critical reviews. Methods. The work is based on a typological method, which made it possible to classify performances as a rock opera genre. The biographical method has also been applied to determine the artistic influences on the choreographer Heorhii Kovtun. The comparative method made it possible to separate the dancerock opera from other productions related to the genre of rock opera, as well as from apologetic performances that exploit already invented forms. When analyzing the performances, some elements of the reconstruction method were used. Results of the study. Odessa Musical Comedy Theater presented four performances in the genre of dance-rock opera, three of which were staged by Heorhii Kovtun. The first (and most successful) production with a new performance approach was the play “Romeo and Juliet” based on Shakespeare’s tragedy with music and libretto by Yevhen Lapeiko (Odessa). A new type of leading performers (selected at casting) appeared in the play. The type of rock opera artist represented by Kyryl Turychenko is characterized by freedom from musical comedy clichés. A pop singer with appropriate acting, athletic and dance training, he could sing when falling, climbing a two-story stage tower, or during a dynamic dance. Scenography by Stanislav Zaitsev showed a tendency towards brevity, constructiveness and simultaneous development of action in three stage dimensions. Other productions of Heorhii Kovtun – “The Canterville Ghost” and “Silicon Silly Woman.net” based on the works of Russian authors D. Rubin, A. Ivanov, O. Pantykin and K. Rubinsky developed rock opera principles invented by the choreographer rather than deepened them. The director of “The Canterville Ghost” did not quite clearly indicate the vector of the main idea. This led to the breakup of stage action into spectacular theatrical attractions with pyrotechnics and impressive stage design transformations. In fact, it is still not clear what the director was trying to recreate – a melodrama, a comedy with elements of satire or Guignol. The play “Tristan and Isolde” based on the works of the Ukrainian composer Alexander Nezhigai and playwright Serhii Piskuriov was staged by the theater director Vladimir Savinov. His ignorance of musical theater specifics contributed to the vocally and musically weak performance. Most of the action in the stage production was organized by the choreography of Anatolii Bedichev. Contrary to expectations, V. Savinov’s performance was also significantly inferior to Н. Kovtun’s performances in relation to libretto adaptation, stage design and tempo-rhythm of the performance. All rock-dance opera performances were aimed at teenage and youth audiences. Conclusions. Unlike rock operas of the previous decades, the production proposed by choreographer H. Kovtun is characterized by a synthesis of modern choreography, spectacular show, performance universalism and dynamс crowd scenes. As a choreographer, he did not pay much attention to the actors’ work on the characters. Vocally the singers gravitated towards the pop style (using microphones). Unlike earlier productions of rock operas in Ukrainian theater (with phonograms or symphonic jazz instrumentation of the theater orchestra), the troupe of Odessa Musical Comedy Theater performed rock operas with combined accompaniment (studio phonogram, theater orchestra, rock band). Further study of the multiple issues identified in the article requires a deep analysis of the repertoire, types of rock opera in the theater of musical comedy in Ukraine and the distinctive vocal and acting performance features.
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Shevchenko, Arina R., Elena N. Shevchenko, and Aigul R. Salakhova. "Postdramatic Theatre of Director Christoph Marthaler." Journal of History Culture and Art Research 6, no. 5 (November 28, 2017): 173. http://dx.doi.org/10.7596/taksad.v6i5.1292.
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<p>The present paper deals with the main tendencies of modern European theatre represented in the creativity of a famous Swiss director Christoph Marthaler. Drama and theatre of the end of the 20<sup>th </sup>– the beginning of the 21<sup>st</sup> century were exposed to radical transformation. This change has been reflected in the theory of <em>postdramatic theatre</em>. A contemporary theatre is becoming more visual. Nowadays natural theatrical synthesis of various arts – visual, plastic, verbal, musical becomes an intersection of all kinds of artistic and medial practices as it has never been before. The new drama and theatre decline mimesis as the main principle of attitude to reality, they do not depict and do not reflect life, but strive to create a magic and/or ritual space of performative living and a special type of communication with audience. These peculiarities of modern theatre get a vivid evocation in the works of Christoph Marthaler. Having entered into theatre from music, the director creates his own unique language of art. The article proves that Marthaler’s works are an individual model of postdramatic theatre. The author concludes that its main distinctive feature is to blur the border between musical and dramatic performance. Marthaler does not stage the play – the images appear from musical phrases, fleeting impressions, observations and dramatic improvisations. The analysis enables to claim that the theatre in a real process of performance replaces the mimetic acting today. The applied principles of drama analysis can be used in studying of the other contemporary postdramatic theatre’s models. </p>
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KAYNAR, GAD. "Pragmatic Dramaturgy: Text as Context as Text." Theatre Research International 31, no. 3 (October 2006): 245–59. http://dx.doi.org/10.1017/s0307883306002215.
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This essay attempts to theorize the decades-long practice of German and other dramaturgs, a practice that is rarely acknowledged by theatre research. It maintains that the dramaturgical interpretation of the specific play in the process of preparing it for stage realization is subject to ‘applied dramaturgy’. Dramaturgy in this sense is predominantly ‘circumstantial’ rather than play-oriented, accounting mainly for the contextual performance conditions, either extra-textual, extra-theatrical or both. Through concrete and partly personal examples drawn largely from the field of production dramaturgy, the article suggests that extrinsic parameters such as the management of the theatre; the definition of the theatrical institution; its implied spectators; the reality conventions within which it operates; its human artistic, technical, spatial and financial resources; its marketing methods; and so on might be no less important to academic play and performance analysis than they are for practical theatre purposes.
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Wynne, Laura. "Empowerment and the individualisation of resistance: A Foucauldian perspective on Theatre of the Oppressed." Critical Social Policy 40, no. 3 (March 25, 2019): 331–49. http://dx.doi.org/10.1177/0261018319839309.
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Waterloo, in Sydney, Australia, is a neighbourhood currently dominated by a large public housing estate. The estate is to be redeveloped to be a ‘socially mixed’ community largely comprised of private residents. Many current residents of Waterloo have organised in opposition to the redevelopment. At the same time, government and community development agencies have implemented a number of capacity building and consultation programmes for residents, including a theatre performance. Programmes of empowerment are increasingly used by the state and the third sector to encourage disadvantaged or marginalised citizens to ‘take responsibility’ for their own lives. In this article, I examine a performance coordinated by a community theatre group that uses the ‘Theatre of the Oppressed’ format, intended to allow participants to identify ways to overthrow the forces that oppress them. I use a Foucauldian conception of power, subjectivity and resistance to critically examine the performance in its context. I explore ways in which the Theatre of the Oppressed format was applied (perhaps unintentionally) in such a way that it reinforced a vision of the situation as immutable and unchangeable, placing the onus on residents to transform their own actions to deliver change. Such framing makes any effort at resistance appear absurd, and is anything but empowering for residents.
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Senna, Pedro de. "Futures literacy theatre lab with unaccompanied asylum-seeking minors." Conceição/Conception 8, no. 2 (December 13, 2019): 75–93. http://dx.doi.org/10.20396/conce.v8i2.8657876.
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This article discusses a Practice as Research project, the design and implementation of a Futures Literacy Lab in which tools derived from the arsenal of the Theatre of the Oppressed were applied. The lab involved asylum-seeking unaccompanied minors, and took place in the island of Lesvos, Greece in July, 2019. Applied theatre practices often deal with communities and individuals in a transformational manner, which is, by definition, future-oriented. In this respect, the work undertaken served as a first case study for potential interdisciplinary collaboration between Performance Studies and Futures studies. This exercise is not without its ethical implications, though. This paper will discuss some of the challenges, pitfalls and successes of this process.
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Heo, bokyung, Min Lee, Juhyun Lee, and Youjin Hong. "A Study on the Exhibition of Public Space in Performance Hall Applying the Concept of Museum Theater." Korean Society of Culture and Convergence 44, no. 10 (October 31, 2022): 385–404. http://dx.doi.org/10.33645/cnc.2022.10.44.10.385.
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This study started with interest in inter-genre fusion through the application of the museum theater concept. To this end, the museum theater concept was applied to the documentary music play <1919 Philadelphia> which was performed three times in 2022, and the exhibition was planned and installed in the lobby of the concert hall. Out of the 20 performances, 9 exhibition and performance visitors were surveyed focusing on their reactions and the effects of inter-genre intersection. The study found that the synergy effect between the media, the need to utilize the content and commemorative and experiential elements, the need to communicate with the audience, and the environment of the exhibition space should be considered. It is expected that the museum theater project will lead to a follow-up study that can verify the degree of understanding and immersion of viewers and the synergy effect between genres.
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Tofighian, Omid, Rachael Swain, Dalisa Pigram, Bhenji Ra, Chandler Connell, Emmanuel Brown, Feras Shaheen, et al. "Performance as Intersectional Resistance: Power, Polyphony and Processes of Abolition." Humanities 11, no. 1 (February 17, 2022): 28. http://dx.doi.org/10.3390/h11010028.
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Australia’s brutal carceral-border regime is a colonial system of intertwining systems of oppression that combine the prison-industrial complex and the border-industrial complex. It is a violent and multidimensional regime that includes an expanding prison industry and onshore and offshore immigration detention centres; locations of cruelty, and violent sites for staging contemporary politics and coloniality. This article shares insights into the making of a radical intersectional dance theatre work titled Jurrungu Ngan-ga by Marrugeku, Australia’s leading Indigenous and intercultural dance theatre company. The production, created between 2019–2021, brings together collaborations through and across Indigenous Australian, Kurdish, Iranian, Palestinian, Filipino, Filipinx, and Anglo settler performance, activism and knowledge production. The artistic, political and intellectual dimensions of the show reinforce each other to interrogate Australia’s brutal carceral regime and the concept of the border itself. The article is presented in a polyphonic structure of expanded interviews with the cast and descriptions of the resulting live performance. It identifies radical ways that intersectional and trans-disciplinary performances can, as an ‘act of liberation’, be applied to make visible, embody, address, and help dismantle systems of oppression, control and subjugation.
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Harvey, Lou. "Adapting intercultural research for performance: Enacting hospitality in interdisciplinary collaboration and public engagement." Arts and Humanities in Higher Education 17, no. 4 (July 25, 2017): 371–87. http://dx.doi.org/10.1177/1474022217722338.
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This article theorises the process of adapting my research on intercultural communication for public performance in collaboration with a theatre company. I frame the collaboration as taking place within a hospitable institutional space, and then consider what it means to enact hospitality interpersonally, given Derrida's understanding that the condition of its possibility is at the same time the condition of its impossibility. I suggest that the enactment of hospitality can be understood through the application of an intercultural theoretical framework based on Mikhail Bakhtin's concept of outsideness, and that this framework can be applied to both the collaboration with the theatre company and to the purposes of public engagement with research. I conclude with a consideration of the relationship between hospitality and hope, and a call to move towards a ‘condition of possibility’ for working as academics, for public engagement, and for living.
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Balfour, Michael. "Mapping Realities: Representing War through Affective Place Making." New Theatre Quarterly 28, no. 1 (January 31, 2012): 30–40. http://dx.doi.org/10.1017/s0266464x12000036.
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One of the most unusual statistics in the study of performance and war is that aesthetic activity often increases in times of conflict. In this article Michael Balfour extends the consideration of performance and war to aesthetic projects that were located far removed from the centres of conflict, but that deeply connected with the affective impact of war. As an illustration of performative practice, the examples demonstrate the ways in which place making can play with documenting and representing war experiences in different ways. The two examples – This is Camp X-Ray in Manchester (a temporary installation) and the Vietnam Veterans Memorial in Washington DC – were designed in separate contexts for very different purposes; but contribute to understanding the kinds of choices that artists make in representing the affective ‘truths’ of war experience. In both cases, the artists were interested in creating spaces that would make the wars more visible for an audience, and provide a tangible place in which experiences of war could be re-conceived and an affective connection made. Michael Balfour is Professor of Applied Theatre, Griffith University, Brisbane, Australia. His research expertise is in the social applications of theatre, in particular theatre and war, prison theatre, and arts and health. Major Australian Research Council-funded projects include The Difficult Return, on approaches to artsbased work with returning military personnel, and Captive Audiences, on the impact of performing arts programmes in prisons. His books include Theatre and War 1933–1945 and, most recently, Performance in Place of War, co-authored with James Thompson and Jenny Hughes (Seagull Press, 2010).
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Higdon, Rachel Delta, and Kate Chapman. "A dramatic existence: Undergraduate preparations for a creative life in the performance industries." Industry and Higher Education 34, no. 4 (April 27, 2020): 272–83. http://dx.doi.org/10.1177/0950422220912979.
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This article focuses specifically on drama and theatre higher education (HE) programmes and preparation for potential graduate work. The article investigates working in the creative industries and in the performing arts (particularly within acting) and how HE students in the United Kingdom prepare for this life. The growth of the creative industries and successful applied drama in the public and private sectors has also brought business interest in how drama and theatre processes can benefit other workplaces, outside of the creative arts. The article addresses current policy, initiatives and partnerships to broaden inclusion and access to creative work. The research explores drama undergraduate degrees and the university’s role in supporting a successful transition from HE to graduate work. Students perceive the university world as safe and the graduate world as precarious and unsafe. The research findings have resonance with other undergraduate degrees, outside of the arts and the role the university plays in student transitions from the university to the graduate environment.
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Galella, Donatella, Masi Asare, Jordan Ealey, SAJ, Hye Won Kim, Matthew D. Morrison, Fred Moten, Karen Shimakawa, and Celine Parreñas Shimizu. "MT/D, or change: An anti-racist musical theatre reading group." Studies in Musical Theatre 16, no. 1 (April 1, 2022): 53–76. http://dx.doi.org/10.1386/smt_00085_1.
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In this roundtable held at the Association for Theatre in Higher Education conference in 2021, the participants discussed the racialized politics of citation in musical theatre studies. Some of the speakers lifted up anti-racist scholarly pieces that have significantly shaped their work: SAJ considered Douglas Jones Jr’s chapter ‘Slavery, performance, and the design of African American theatre’, Jordan Ealey shared lessons from Matthew D. Morrison’s article ‘The sound(s) of subjection: Constructing American popular music and racial identity through Blacksound’, Masi Asare expanded upon Fred Moten’s essay ‘Taste, dissonance, flavor, escape’ to think through sweeping away and stealing away, Donatella Galella applied Karen Shimakawa’s book National Abjection: The Asian American Body Onstage to contemporary yellowface, and Hye Won Kim talked about the influence of Celine Parreñas Shimizu’s book The Hypersexuality of Race: Performing Asian/American Women on Screen and Scene on her own work. Morrison, Moten, Shimakawa and Shimizu reflected on why they wrote those pieces of scholarship and how they understand their research years later. Finally, the co-authors spoke to reasons why scholars situated in musical theatre studies have so rarely cited research in fields like Black and Asian American performance studies and imagined radical possibilities beyond a racist citation framework.
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Frost, Lauren Kathleen. "Big Daddy Lives or Don’t Say the F Word: Intersectional Feminist Directing in Theory and in Practice." Arbutus Review 10, no. 1 (October 4, 2019): 4–20. http://dx.doi.org/10.18357/tar101201918930.
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As a theatre and gender studies double major at the University of Victoria, I have been ableto critically think about the ways each of my fields of study could benefit the other. In myexperience, many courses in the UVic Department of Theatre generally focus on dramatic texts andtheoretical literature written by white men. Consequently, contributions to the theatre by women,people of colour, and/or non-Western theatre practitioners are largely dismissed or ignored. Myfrustration with this pattern was what led me to create Big Daddy Lives or Don’t Say the F Word,a part scripted, part devised performance piece that staged scenes from classic and contemporaryplays using directing theory written by feminists, for feminists. I curated the excerpts, wrote thetransition-text, and directed the play using an intersectional feminist framework. The project wasan experiment in applying intersectional feminism to theatre directing in order to critique the waythe male-dominated canon of plays and theories shapes theatre education. Through this project, Ifound that intersectional feminist directing techniques foster collaboration; encourage discussionand mutual education about identity, oppression, and representation; and can be applied to theproduction of both classics and contemporary feminist plays and to the creation of new work by anensemble.
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Sextou, Persephone, Anatoli Karypidou, and Eleni Kourtidou-Sextou. "Applied theatre, puppetry and emotional skills in healthcare: A cross-disciplinary pedagogical framework." Applied Theatre Research 8, no. 1 (July 1, 2020): 89–105. http://dx.doi.org/10.1386/atr_00028_1.
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Artists such as actors and puppeteers in health care face emotional challenges in their work. This article investigates the interpersonal competencies and emotional skills of the artist who uses puppets in their practice in health-care contexts and settings. We present initial findings from phase B of a wider longitudinal study. Phase A focused on actors in hospitals and drama trainees; Phase B uses qualitative research methods with actors, puppeteers and therapists as participants. Content analysis of data reveals that the main competencies the artist needs to deal with emotional incidents in health care are empathy, self- and social awareness, self-care, self-reflection, emotional resilience and active listening. These skills are needed alongside acting and puppetry skills to develop competent and professional artists in healthcare. The study offers evidence to further develop strategies of receiving, processing and communicating emotions safely and effectively within the protection of the artform. This study therefore diverts our attention from traditional training courses that are mainly about learning artistic skills to a cross-disciplinary pedagogical framework that aims to enable artists to observe, reflect and process emotions before, during and after a performance with patients as theatre ‘audience’-participants.
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Harrop, Stephe. "Greek Tragedy, Agonistic Space, and Contemporary Performance." New Theatre Quarterly 34, no. 2 (April 19, 2018): 99–114. http://dx.doi.org/10.1017/s0266464x18000027.
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In this article Stephe Harrop combines theatre history and performance analysis with contemporary agonistic theory to re-conceptualize Greek tragedy's contested spaces as key to the political potentials of the form. She focuses on Athenian tragedy's competitive and conflictual negotiation of performance space, understood in relation to the cultural trope of the agon. Drawing on David Wiles's structuralist analysis of Greek drama, which envisages tragedy's spatial confrontations as a theatrical correlative of democratic politics, performed tragedy is here re-framed as a site of embodied contest and struggle – as agonistic spatial practice. This historical model is then applied to a recent case study, Aeschylus’ The Suppliant Women as co-produced by Actors Touring Company and the Lyceum, Edinburgh, in 2016–17, proposing that the frictious effects, encounters, and confrontations generated by this production (re-staged and re-articulated across multiple venues and contexts) exemplify some of the potentials of agonistic spatial practice in contemporary re-performance of Greek tragedy. It is contended that re-imagining tragic theatre, both ancient and modern, as (in Chantal Mouffe's terms) ‘agonistic public space’ represents an important new approach to interpreting and creatively re-imagining, interactions between Athenian tragedy and democratic politics. Stephe Harrop is a Lecturer in Drama at Liverpool Hope University, where her research focuses primarily on performances and texts adapted from, or responding to, ancient tragedy and epic. She is co-author of Greek Tragedy and the Contemporary Actor (Palgrave Macmillan, forthcoming).
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Syler, Claire. "A Campus Counter Tour: Performing institutional narratives." Applied Theatre Research 7, no. 2 (December 1, 2019): 167–83. http://dx.doi.org/10.1386/atr_00014_1.
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Abstract This article traces the work of a cross-listed Theatre and Black Studies performance course at a US university that had recently experienced campus protests concerning anti-black racism. The course culminated in an admissions-style walking tour that critically analysed the university environment by juxtaposing dominant institutional narratives with counter accounts performed by a multi-ethnic ensemble of students. The article begins by contextualizing the university's history of anti-black racism and then describes the curriculum created for the class and the broader Campus Counter Tour performance. To conclude, it discusses the assets embedded in the Counter Tour project (accessibility, coalition building, and participation in a movement), which could be valuable for applied theatre practitioners interested in using walking tours to address institutional narratives bound up in racism or colonialism more broadly.
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Barnett, David. "Resisting the Irish Other: the Berliner Ensemble's Production of The Playboy of the Western World." New Theatre Quarterly 33, no. 2 (April 12, 2017): 156–68. http://dx.doi.org/10.1017/s0266464x17000069.
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In this article David Barnett explores the Berliner Ensemble's production in 1956 of Synge's classic The Playboy of the Western World. Although it was directed by Peter Palitzsch and Manfred Wekwerth, Bertolt Brecht, the company's co-founder, loomed large in planning and rehearsal. This staging serves as an example of how a politicized approach to theatre-making can bring out relationships, material conditions, and power structures that the play's production history has often ignored. In addition, Barnett aims to show how Brechtian methods can be applied more generally to plays not written in the Brechtian tradition and the effects they can achieve. David Barnett is Professor of Theatre at the University of York. He is the author of Heiner Müller's ‘The Hamletmachine’ (Routledge, 2016), A History of the Berliner Ensemble (Cambrige, 2015) and Brecht in Practice: Theatre, Theory, and Performance (Bloomsbury, 2014). His recent AHRC-funded ‘Brecht in Practice: Staging Drama Dialectically’, led to a Brechtian production of Patrick Marber's Closer, and he offers theatre-makers and teachers workshops on using Brecht's method on stage and in the classroom.
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Bellsham-Revell, Hannah R., Antigoni Deri, Silvia Caroli, Andrew Durward, Owen I. Miller, Sujeev Mathur, Jelena Saundankar, et al. "Application of the Boston Technical Performance Score to intraoperative echocardiography." Echo Research and Practice 6, no. 3 (September 2019): 63–70. http://dx.doi.org/10.1530/erp-19-0032.
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Background The Technical Performance Score (TPS) developed by Boston Children’s Hospital showed surgical outcomes correlate with adequacy of technical repair when implemented on pre-discharge echocardiograms. We applied this scoring system to intraoperative imaging in a tertiary UK congenital heart surgical centre. Methods After a period of training, intraoperative TPS (epicardial and/or transesophageal echocardiography) was instituted. TPS was used to inform intraoperative discussions and recorded on a custom-made database using the previously published scoring system. After a year, we reviewed the feasibility, results and relationship between the TPS and mortality, extubation time and length of stay. Results From 01 September 2015 to 04 July 2016, there were 272 TPS procedures in 251 operations with 208 TPS recorded. Seven patients had surgery with no documented TPS, three had operations with no current TPS score template available. Patients left the operating theatre with TPS optimal in 156 (75%), adequate 34 (16%) and inadequate 18 (9%). Of those with an optimal score on leaving theatre, ten had more than one period of cardiopulmonary bypass. All four deaths <30 days after surgery (1.9%) had optimal TPS. There was a statistically significant difference in extubation times in the RACHS category 4 patients (3 days vs 5 days, P < 0.05) and in PICU and total length of stay in the RACHS category three patients (2 and 8 days vs 12.5 and 21.5 days respectively) if leaving theatre with an inadequate result. Conclusions Application of intraoperative TPS is feasible and provides a way of objectively recording intraoperative imaging assessment of surgery. An ‘inadequate’ TPS did not predict mortality but correlated with a longer ventilation time and longer length of stay compared to those with optimal or adequate scores.
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Maslova, M. V. "Forming auditory skills through the audio theatre method in the course of project work." Russian language at school 83, no. 4 (July 24, 2022): 17–29. http://dx.doi.org/10.30515/0131-6141-2022-83-4-17-29.
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The research is devoted to the issue of teaching listening to school students. The paper aims to explore the potential of the audio theatre method for solving the problem of forming such schoolchildren’s auditory skills as the interpretation of speech utterances and the control of speech. The study utilises the methods of modelling audio theatre activity and theoretical literature analysis as well as the comparison between intonational and sound interpretation and audio theatre. The paper describes the procedural model of audio theatrical activity and the forms of organising school students’ work on an audio performance (lesson-reading, lesson-communication). Additionally, literary genres and literary texts that can be subject to oral interpretation are mentioned. The examples of converting genre-role scenes from A. S. Pushkin’s works (mainly from «The Captain’s Daughter») into sound form demonstrate the way the audio theatre method is applied. The paper consistently conveys the nuances of converting the verbal language and the paralanguage of individual dialogic fragments into sound. It is concluded that audio theatre is effective not only as a method of building the skills that are needed to interpret and control speech. Moreover, helping learners to master listening skills in practical activity, audio theatre is a method to stimulate readers’ interpretations, develop students’ meta-consciousness, and bring together two school subjects, namely the Russian Language and Literature.
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Gerzić, Marina. "Unfixable Forms: Disability, Performance, and the Early Modern English Theatre by Katherine Schapp Williams." Parergon 39, no. 1 (2022): 276–78. http://dx.doi.org/10.1353/pgn.2022.0045.
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Li, Ruru. "‘False but True, Empty but Full, Few but Many’—The Dialectic Concepts in Traditional Chinese Performance Art and Painting." Theatre Research International 24, no. 2 (1999): 179–87. http://dx.doi.org/10.1017/s0307883300020800.
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In 1986, an international symposium on Chinese theatre was held in Beijing, and for the first time the process of aesthetics in the theatrical form was debated among scholars, critics and practitioners on an international scale. Among the discussion, the three dialectic concepts of ‘false but true, empty but full and few but many’ were often referred to and applied. What are they and why are they so important that they are regarded as the guiding principles that make Chinese theatre different from its western counterparts? Mu Gong, a theatre historian from Jiangxi province, offers the following explanation:[On the Chinese stage] a horse whip, or an oar, is merely a piece of property if it is seen on its own. But when it is seen through the performers' acting combined with the story, it not only represents the form of ‘a horse’ or ‘a boat’ on the stage, but also transforms the flat stage into a three-dimensional mountain, battlefield or river. In addition, the character's action, feelings and desires are therefore underscored. … If a real horse or a boat is used on the stage, the object itself is true, but the character and its circumstances will become false.