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Relevant bibliographies by topics / Capitol theatre

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Academic literature on the topic 'Capitol theatre'

Author: Grafiati

Published: 4 June 2021

Last updated: 17 February 2022

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Journal articles on the topic "Capitol theatre"

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Condello, Annette. "Garish Luxury and the “Constructed Landscape”: Transcending the Colour of Opals in the Griffins’ Capitol Theatre." Arts 7, no. 4 (October 3, 2018): 58. http://dx.doi.org/10.3390/arts7040058.

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Walter Burley Griffin and Marion Mahony Griffin synthesized a modern crystallized interior within their Capitol Theatre design (1920–24) in Melbourne. The Capitol’s auditorium, a mine-like cavity, houses a constructed landscape, elucidating the link between architecture and geological references. Ornamented with prefabricated stepped plasterwork, the auditorium is inserted with opal-coloured light technologies. Through the concept of the “constructed landscape”, this article traces the garish luxury elements found within the Griffins’ Capitol auditorium to understand the design associations between Paul Scheerbart’s Expressionist writings on crystal-glass iconography and William Le Baron Jenney’s symbolic crystal cave. The Griffins’ architectural contribution to the Australian entertainment industry conveys both Jugendstil garden effects and Mesoamerican echoes through its elaborative prismatic ridges. Owing to its transcendental opal allusions, the Capitol’s auditorium shows a constructed landscape model and constitutes a form of garish luxury, exemplifying early Australian glamour.

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Pont, Graham. "The Cinema as Secular Temple: Ethos, Form and Symbolism of the Capitol Theatre." Nexus Network Journal 5, no. 2 (October 2003): 73–99. http://dx.doi.org/10.1007/s00004-003-0018-8.

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Baker, Paula Eisenstein. "Leo Zeitlin's Musical Works on Jewish Themes for New York's Capitol Theatre, 1927-1930." Shofar: An Interdisciplinary Journal of Jewish Studies 20, no. 1 (2001): 74–93. http://dx.doi.org/10.1353/sho.2001.0049.

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Barker, Barbara, and Serge Leslie. "A Dancer's Scrapbook: From the Capitol Theatre, New York City, to Carnegie Hall with Doris Niles." Dance Research Journal 22, no. 2 (1990): 37. http://dx.doi.org/10.2307/1477786.

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Cornford, Tom. "Reconstructing Theatre: the Globe under Dominic Dromgoole." New Theatre Quarterly 26, no. 4 (November 2010): 319–28. http://dx.doi.org/10.1017/s0266464x1000062x.

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In this article Tom Cornford examines the policy of extending and adapting the permanent stage of Shakespeare's Globe for each new production, as pursued by Dominic Dromgoole since the beginning of his tenure as Artistic Director in 2006. The article responds initially to John Russell Brown's equation in NTQ 102 of a particular kind of ‘intimate’ acting with ‘small theatres’. Cornford resists this conflation of acting and building, seeing in it a tendency to obscure both the role of reconstructed theatres to challenge contemporary notions of the ‘rightness’ of theatre spaces and the role of directors and actors to convert their apparent problems into opportunities. He explores the transformation of the Globe since 2006, using interviews given by Dromgoole and the directors working with the Globe's research team to critique the theory underpinning the ‘permanently temporary’ alterations to the theatre, and takes the evidence of performances to examine their use of the space in practice. Cornford offers a selection of staging solutions to the apparent ‘problems’ identified by Dromgoole and his team, and proposes an alternative model of reconstruction: not the rebuilding of the theatre, but the constant reviewing of theatre practice, including training. Tom Cornford is a freelance director and teacher of acting for the Guthrie Theater/University of Minnesota BFA Program, the Actors' Centre in London, and Globe Education at Shakespeare's Globe. He was, until recently, Artist in Residence at the CAPITAL Centre in the University of Warwick, where he is undertaking PhD research.

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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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Walden, Joshua S. "Palestina: An Overture for the Capitol Theatre, New York. By Leo Zeitlin . Edited by Paula Eisenstein Baker and Robert S. Nelson . Middleton, WI: A-R Editions, 2014." Journal of the Society for American Music 10, no. 3 (August 2016): 374–76. http://dx.doi.org/10.1017/s1752196316000274.

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ZUR NIEDEN, GESA. "The internationalization of musical life at the end of the nineteenth century in modernized Paris and Rome." Urban History 40, no. 4 (April 10, 2013): 663–80. http://dx.doi.org/10.1017/s0963926813000357.

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ABSTRACT:This article examines the relationship between the processes of urban renovation in European capitals and the internationalization of musical theatre productions, using the example of theatres constructed in Paris and Rome at the end of the nineteenth century. Due to the limited availability of governmental and municipal funding, the more popular theatres in both capitals came to provide an important space for musical productions on an avant-garde level, with international repertoires and casts.

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Fiskvik, Anne Margrete. "Tracing the Achievements of Augusta Johannesén, 1880–1895." Nordic Journal of Dance 5, no. 2 (December 1, 2014): 4–21. http://dx.doi.org/10.2478/njd-2014-0007.

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Abstract Dancer, choreographer and teacher Augusta Johannesén was an important figure in several capacities for Nordic theatrical dance. She danced, taught and choreographed in Sweden, Finland as well as in Russia. Between 1860-1878 she was a member of the so-called Johannensénske Balletselskab, which toured extensively in the Nordic countries. The Johannesénske family settled in the Norwegian capital Kristiania in 1880, and Augusta Johannesén slowly established herself as a professional dance artist at the most important theatres in Kristiania. Over the years she became a dancer, choreographer and teacher of great significance, and her contribution to the development of Norwegian theatre dance cannot be overestimated. She was active as dancer well into the 1910’s and “arranger of dance” up until she died in 1926. As a ballet teacher, she trained hundreds of dancers, including several of those who later went on to play a role in the Norwegian dance- and theatre scene. In many ways, Augusta Johannesén is representative of a versatile dancer that can be found on many European stages, the versatile ballet dancer that was also typical of the Nordic dance scene around the “fin de siècle”. She typically also struggled with stereotypical notion of the “ballerina”. This article focuses on only a part of her career, her first fifteen years in Norway. Between 1880 and 1895 she established herself in Kristiania, dancing at the Christiania Theater and later at the Eldorado. The article also forefront an especially important event in Norwegian Nordic dance history instigated by Johannesén: The establishment of a “Ny Norsk Ballet” (“New Norwegian Ballet”) at the Eldorado theatre in Kristiania in 1892. This is probably the very first attempt at creating a professional ballet company in Norway, and Augusta Johannesén’s contribution is only one of many ways she made a difference to professional theatre dance in Norway.

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Antochi, Carmen. "Sorana Țopa - A destiny under the wing of time." Theatrical Colloquia 8, no. 2 (December 1, 2018): 301–19. http://dx.doi.org/10.2478/tco-2018-0023.

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Abstract During the first world war, the city of Iasi played the role of the ‘wartime capital’ of Romania. Besides the political-economic structures, The National Theatres of Bucharest and Craiova moved temporarily to Iasi, leading to Iasi being a cultural capital as well, a reputation which it has kept even to this day. In the interwar period, Romania blossomed culturally unlike ever before, a true intellectual, cultural and artistic revival under the influence of the currents travelling through European stages. In spite of the laurels earned, the name of Sorana Topa is too little known. Formed by the Iasi theatre school, noticed and hired by the national theather of iasi by Marin Sadoveanu, promoted by the previous directors of Iasi theatre, she is offered the chance to study in Paris along with her stage colleagues Aurel and Maria Ghițescu.

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Dissertations / Theses on the topic "Capitol theatre"

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Neumann, Aubrey Helene. "Co-Creating Capital: Rural Youth, Stigma, and Applied Theatre Practice." The Ohio State University, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=osu1618766734832468.

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Coma, Diaz Marina. "La Perpetuacion de los Discursos Sexuales en el Teatro Hispano a Traves de la Figura de Don Juan." University of Cincinnati / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1461593107.

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Gottlieb, Gabriele. "Theater of death capital punishment in early America, 1750-1800 /." Connect to this title online, 2005. http://etd.library.pitt.edu/ETD/available/etd-12082005-165901/.

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Fox, Ariel. "Southern Capital: Staging Commerce in Seventeenth-Century Suzhou." Thesis, Harvard University, 2015. http://nrs.harvard.edu/urn-3:HUL.InstRepos:17467214.

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This dissertation explores the intersection of literary and economic imaginaries through an examination of the market as both theme and structure in late imperial drama. Theater played a crucial role in helping late imperial subjects make sense of the sweeping transformations that defined China’s so-called silver century (1550–1650), a period of tremendous social volatility in which the intensification of the commercial economy that began in the Song was increasingly and acutely felt throughout the lower Yangzi region. The rapid expansion of mercantile capital, the integration of local economies into global trade networks, and the frequent fluctuations in the availability of currency had far-reaching implications for all aspects of late imperial society. While historians have exhaustively documented the flows of silver and coin, the fiscal mismanagement of the court, and the tax riots that convulsed the lower Yangzi region, less attention has been paid to the multifarious ways in which the commercialization of everyday life was experienced and understood. At the core of my study are a group of playwrights active in mid-seventeenth century Suzhou whose plays map the moral and affective terrains of an increasingly commercialized society. Although these plays were widely read and performed throughout the Qing, they have been largely neglected in modern scholarship, due in part to their unconventional subject matter. In examining the work of the Suzhou playwrights, I am particularly concerned with how the imaginary world of the play self-consciously engages with the material conditions of its own performance. Looking at these plays not just as texts but also as performances that happened within private halls, in temples, and on pleasure boats reveals the ways in which the stage was a site for the performance of commerce itself—both in the dramatization of buying and selling and in the buying and selling of this dramatization of buying and selling. It was precisely through these nested performances in which virtually every strata of society was implicated as producers and consumers that the abstractions of commerce were made legible and the imagination of new loci of power outside the state was made possible. This dissertation asks not only how money, merchants, and commerce were represented on stage, but also how drama itself—its material history, its performance contexts, its conventions and language—informed understandings of money, merchants, and commerce.
East Asian Languages and Civilizations

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Baker, William C. "Capital Ships, Commerce, and Coalition: British Strategy in the Mediterranean Theater, 1793." Thesis, University of North Texas, 2014. https://digital.library.unt.edu/ark:/67531/metadc699881/.

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In 1793, Great Britain embarked on a war against Revolutionary France to reestablish a balance of power in Europe. Traditional assessments among historians consider British war planning at the ministerial level during the First Coalition to be incompetent and haphazard. This work reassesses decision making of the leading strategists in the British Cabinet in the development of a theater in the Mediterranean by examining political, diplomatic, and military influences. William Pitt the Younger and his controlling ministers pursued a conservative strategy in the Mediterranean, reliant on Allies in the region to contain French armies and ideas inside the Alps and the Pyrenees. Dependent on British naval power, the Cabinet sought to weaken the French war effort by targeting trade in the region. Throughout the first half of 1793, the British government remained fixed on this conservative, traditional approach to France. However, with the fall of Toulon in August of 1793, decisions made by Admiral Samuel Hood in command of forces in the Mediterranean radicalized British policy towards the Revolution while undermining the construct of the Coalition. The inconsistencies in strategic thought political decisions created stagnation, wasting the opportunities gained by the Counter-revolutionary movements in southern France. As a result, reinvigorated French forces defeated Allied forces in detail in the fall of 1793.

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Corbett, Robert. "Human capital in the operating department : the significance of academic qualifications to the operating theatre workforce." Thesis, Staffordshire University, 2017. http://eprints.staffs.ac.uk/3040/.

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The pre-registration preparation of health care professionals for work in the operating department is in a transformative period. Now firmly entrenched in higher education, the professions are pursuing a policy of graduate entry based on a discourse underpinned by human capital theory. The impact of the introduction of graduate entry to nursing and Operating Department Practice (ODP) is explored in the context of the role of these professional groups in the operating department. A purposive sample of ODPs and theatre nurses participated in a survey, which was followed up with semi-structured interviews with a purposive sample of ODPs and theatre nurses, from each of the salary Bands 5 – 8. The findings from the study provide an original contribution to the field of education in three areas. First is a reconceptualisation of human capital theory which acknowledges both organisational and individual factors as determinants of participation in further education and training. Human capital theory is repositioned as a multidimensional model which maintains and builds on Becker’s (1993) original conceptualisation. Second is an insight into professionalisation at an individual practitioner level, which is linked to the red queen hypothesis to explain individual actions and reactions to the introduction of graduate entry. Third, a recommendation for review of the pre-registration training for ODPs and nurses is made, based on how the practitioners in this study developed their body of professional knowledge and contextualised clinical experience.

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Powell, Rebekah Louise. "Culture, capital and the state, select committee on licensing and regulating theatres and places of public entertainment." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp04/mq23462.pdf.

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Wiggin, Jason John. "Extending the skin(s) of the Capitol Theatre." Diss., 2009. http://hdl.handle.net/2263/30250.

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Extending the sSkin(s) is concerned with the adaptive re-use of the Capitol Theatre in the Pretoria into an existing building which has been abused and neglected, not only gives the building a new lease on life, but brings about the rejuvenation of the surrounding areas too. The design attempts to blur the boundaries between interior and exterior, and to extend the fantastic nature of the interior out onto the street. In this way, the original function of the building as a theatre becomes more accessible to the general public. The theatre as a whole becomes a mysterious fantasy realm drawing in passers-by, and thereby functioning as a platform for performance. When people enter the space, they become performers in their own right - their performance is mapped out by how they interact with the spaces and each other. The existing character has been reinterpreted allowing the Capitol to regain its former elegance and sense of mystery. The Capitol is brought into the here and now; the same but changed; a new energy for an existing building… Copyright
Dissertation (MInt(Prof))--University of Pretoria, 2010.
Architecture
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Hughes, Clare Margaret. "Reviving the Capitol, contemporary cultural production in left-over spaces." Diss., 2013. http://hdl.handle.net/2263/32817.

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The city of Pretoria can be likened to a blanket stretched thin, where previously urban programs shift to the expanding periphery leaving gaps in the city fabric. It is essential to investigate ways in which these urban “left overs” can be re-imagined within the contemporary context. This complex urban condition is investigated with the focus on conservation of abandoned buildings of heritage significance. In South Africa, state funding cannot be relied upon for conservation of individual buildings. Thus the conservation of leftover and abandoned heritage buildings should happen not through singular museum projects but through the everyday usefulness of the building. The role of art and the artist has long been linked to the reuse of buildings which have become difficult to inhabit in conventional ways. Thus the introduction of cultural programs to derelict heritage sites and “left over” spaces is pertinent to their reuse. One such site is the Capitol theatre in the Pretoria CBD. It is undoubtedly a place of cultural richness and expression, having been a place of daily gathering as well as formal entertainment throughout its history. It is a natural point in which to reintroduce culture into an extended public realm at the heart of the city. Originally a space of introverted and exclusive cultural expression, curated cultural artifacts (films and occasional shows) were displayed to a limited audience in a highly internalised experience. However, it is proposed that this condition be inverted through external display of the processes of cultural production on the exterior of the theatre. The intention is to broaden the sphere of cultural influence into the public realm of the city and simultaneously invite the existing communities to engage with the building. Thus the focus shifts from internal event space to external production space which becomes part of the public everyday experience. Reviving the Capitol The Capitol Theatre complex was never completed and no exterior facade was ever design for the auditorium. This creates the opportunity for a new inhabitable facade to be designed which fulfills the role of both a supportive and expressive element. The new element incorporates spaces where people and processes of cultural production are expressed externally while curated cultural artifacts and events remain housed in the auditorium. Ultimately the concept is one of support. The physical support of a failing structure being the starting point which necessitates an intervention; the functional support which allows the building to become useful again in a contemporary context with new cultural meaning; and the social support of the everyday rituals which make up the daily cultural experiences through the extension of the sphere of cultural influence of the Capitol Theatre.
Dissertation MArch(Prof)--University of Pretoria, 2014
Architecture
MArch(Prof)
Unrestricted

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Diestel, Ronja. "Developing an evaluation tool to measure the efficacy of business theatre: a project with the Galli Business Theatre in Germany." Master's thesis, 2016. http://hdl.handle.net/10071/13444.

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JEL classification Category: Labor and demographic economics JEL: J24 – Human capital, Skills, Occupational choice, Labor productivity Category: Industrial organisation JEL: L21 – Business Objectives of the Firm JEL: L84 – Personal, Professional, and Business Services Category: Business administration and business economics; marketing; accounting JEL: M53 – Training JEL: M54 – Labor Management
This master project aims to test a new developed evaluation tool to measure the efficacy of business theatre in a pilot project with an anonymous company X in Frankfurt in Germany. The goal of the artistic intervention is to improve communication skills among the twenty attendees. The designed tool consists of an interview scheme and two surveys, before and after the actual intervention and derived from the Kirkpatrick’s and Phillips ROI model. In order to understand the concept of artistic intervention the first chapter introduces excising literature on the main topics covered in this project. Based on the literature review, the second chapter provides specific research questions that lead through the project and are basis for the developed surveys and the interview scheme. In addition, this methodology chapter provides insight into the chosen research methods and justifies the new developed evaluation instrument with its limitations. The results are presented in the third chapter of this paper and lead to the conclusion that the tool provides interesting and valid information about a positive improvement of the employees’ perception and skills due to the business theatre intervention. However, the results indicate that for company X only a poor learning transfer is guaranteed. The last chapter suggests forms of implementation together with a timeline. In addition, a comparison of the results with descriptive statistics and paired sample t-tests are provided to statistically prove the significant changes caused by the business theatre intervention. A conclusion provides answers to the previously designed research questions.
Este projeto de mestrado pretende testar a nova ferramenta de avaliação de eficácia de teatro empresarial num projeto piloto com a companhia anónima X, em Frankfurt, Alemanha. O principal objetivo da intervenção artística é o melhoramento das capacidades de comunicação entre os vinte participantes. A ferramenta descrita consiste num esquema de entrevistas e dois inquéritos, antes e depois da atual intervenção e derivada do modelo ROI de Kirkpatrick's and Phillips. Tendo em vista o entendimento do conceito de intervenção artística, o primeiro capítulo introduz uma literatura concisa nos principais tópicos cobertos neste projeto. Baseado na crítica literária, o segundo capítulo providência pesquisa cientifica especifica, relevante em todo o projeto, e que são as bases para os inquéritos desenvolvidos e o esquema de entrevista. Este capítulo providência ainda comentários sobre os métodos de pesquisa escolhidos e justifica os novos instrumentos de avaliação desenvolvidos, com os seus limites. Os resultados são apresentados no terceiro capítulo deste trabalho, e estes concluem que a ferramenta apresenta informação válida e interessante sobre uma vasta melhoria em termos de habilidades profissionais devido à intervenção de teatro empresarial. No entanto, os resultados indicam que para a companhia X, apenas uma fraca transferência de aprendizagem é garantida. O ultimo capitulo sugere formas de implementação juntamente com um guia temporal. Tem também comparações dos resultados com estatísticas descritivas emparelhadas com t-tests amostrais, e são demonstradas para provar estatisticamente as mudanças significativas causadas pelo teatro empresarial. A conclusão providência respostas para as perguntas específicas a pesquisas de desenvolvimento previamente colocadas.

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Books on the topic "Capitol theatre"

1

Murray, Lisa. The Capitol Theatre restoration. Sydney: Council of the City of Sydney, 2003.

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Leslie, Serge. A dancer's scrapbook: From the Capitol Theatre, New York City, to Carnegie Hall with Doris Niles: a chronicle 1919-1929. London: Dance Books, 1987.

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Doris, Niles, ed. A dancer's scrapbook: From the Capitol Theatre, New York City, to Carnegie Hall with Doris Niles : a chronicle, 1919-1929. London: Dance Books, 1987.

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Truman, Margaret. Murder at Ford's Theatre: A Capital crimes novel. Waterville, Me: Thorndike Press, 2003.

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Truman, Margaret. Murder at Ford's Theatre: A capital crimes novel. Waterville, Me: Large Print Press, 2003.

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Truman, Margaret. Murder at Ford's Theatre: A capital crimes novel. New York: Ballantine Books, 2002.

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To have or have not: Essays on commerce and capital in modernist theatre. Jefferson, N.C: McFarland, 2011.

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Picca, Francesco. Bari "capitale" a teatro: Il Politeama Petruzzelli, 1877-1914. Bari: Edipuglia, 1987.

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1926-, Malina Judith, Risso Erminio, Tavella Stefania, and Living Theatre (New York, N.Y.), eds. Quattro spettacoli del Living Theatre: Il metodo zero, Anarchia, Utopia, Il complesso capitale. Lecce: P. Manni, 2000.

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Lucien, Attoun, ed. Paris capitale mondiale du théâtre: Le théâtre des nations. Paris: CNRS Editions, 2009.

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Book chapters on the topic "Capitol theatre"

1

Freshwater, Helen. "Capital Constraint: The Right to Choose?" In Theatre Censorship in Britain, 120–38. London: Palgrave Macmillan UK, 2009. http://dx.doi.org/10.1057/9780230237018_8.

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Hindson, Catherine. "Heritage, Capital and Culture: The Ghost of’ sarah’ at the Bristol Old Vic." In Theatre and Ghosts, 82–95. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137345073_5.

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Xue, Charlie Qiuli. "To Be Cultural Capital: Grand Theaters in Shanghai." In Grand Theater Urbanism, 31–54. Singapore: Springer Singapore, 2019. http://dx.doi.org/10.1007/978-981-13-7868-3_2.

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Moody, Jane. "Theatre History and Capital on the Victorian Stage." In The Performing Century, 121–34. London: Palgrave Macmillan UK, 2007. http://dx.doi.org/10.1057/9780230589483_7.

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Jenkins, Jeffrey Eric. "Beneath the Horizon: Pipe Dreams, Identity, and Capital in Eugene O’Neill’s First Broadway Play." In Interrogating America through Theatre and Performance, 81–99. New York: Palgrave Macmillan US, 2007. http://dx.doi.org/10.1057/9780230100787_6.

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Jordan, Eamonn. "Enunciations and Avoidances of Capital and Class in Evolving Irish Theatre." In The Routledge Companion to Literature and Class, 233–46. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003008354-20.

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Engle, Stephen D. "I Don’t Believe There Is Any North." In Gathering to Save a Nation. University of North Carolina Press, 2016. http://dx.doi.org/10.5149/northcarolina/9781469629339.003.0004.

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Describes the anxious days in Washington when Lincoln waited for the northern troops to arrive to help defend the capital, and the role governors played in transporting soldiers to the Virginia Theatre as well as other western theatres of the war. It also examines the nation-state alliance that was forged by war

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Meisner, Nadine. "Prologue." In Marius Petipa, 13–36. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190659295.003.0002.

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This chapter serves to set the scene, sketching out cultural Russia at the time of Petipa’s arrival in 1847. It gives a brief history of Russian ballet; it describes the different theatres and the imperial monopoly over them in Moscow and St Petersburg; it provides a glimpse of the process of Westernization and the reliance on foreign talent. Equally, it sets against this the manifestations of national consciousness, particularly during the Napoleonic War; and it covers the uniquely Russian phenomenon of serfdom and serf theatre. Finally, it summarizes the differences between the two capitals and the political and symbolic significance of the Imperial Ballet.

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"Venture capital." In Theatre, Finance and Society in Early Modern England, 110–39. Cambridge University Press, 1999. http://dx.doi.org/10.1017/cbo9780511483677.005.

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"Diaspora: Urban Theatre Outside the Capital." In Theatre of Nepal and the People Who Make It, 89–112. Cambridge University Press, 2019. http://dx.doi.org/10.1017/9781108596428.008.

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Conference papers on the topic "Capitol theatre"

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Ismail, Salah. "The Hidden Heritage of Ankara Citadel: an Ambigous Future between Conservation and Transformation." In INTERNATIONAL CONFERENCE ON ARCHITECTURAL AND CIVIL ENGINEERING 2020. Cihan University-Erbil, 2021. http://dx.doi.org/10.24086/aces2020/paper.223.

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Although Ankara gained international attention mainly after its declaration as Capital of the Turkish Republic in 1923, the city hosts many buildings and monuments from different historical eras. The remains of Roman, Byzantine, Seljuk and Ottoman Empires discovered in the center of the city, clearly bear witness to the rich and diverse heritage of the capital. However, this heritage appears as less documented, studied and even not properly conserved. The citadel of Ankara, which dominates the narrow streets of the old city has withstood its long history very well and today houses a small neighborhood made up of valuable Ottoman wooden buildings. The link to the Roman and Medieval periods is still tangible. The Roman theatre remains at the foot of the hill are still observable, while the stone columns and beams used in the construction of the walls in a later era. The aim of this paper is to document and present the different historical eras of the castle, focusing on the remains of the medieval era. Analyzing the key features of the castle and the previous intervention on it will support the identification of the potentials of the site. Finally, recommendations for future work of architectural preservation will be elaborated on the basis of national and international conservation guidelines.

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McCrone, Luke. "Transitional space: learning in the spaces in-between." In Learning Connections 2019: Spaces, People, Practice. University College Cork||National Forum for the Enhancement of Teaching and Learning in Higher Education, 2019. http://dx.doi.org/10.33178/lc2019.14.

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There is increasing evidence, particularly in STEMM education, that traditional didactic transmission lecturing is less effective than more active, student-centred learning (Freeman et al., 2014). This mounting evidence has resulted in institution-wide curriculum review, pedagogic transformation and ongoing space refurbishments at Imperial College London, a research-intensive institution that provides the context for this work. Although active learning is proven to improve cognitive outcomes by supporting ‘students to do meaningful learning activities and think about what they are doing’ (Prince, 2004, p.223), its examination remains largely linked to instructional contexts, with neglect for the self-directed, non-timetabled learning spaces that support a rich learning experience. This instructional emphasis is evident from the capital that Imperial College London, among other institutions, continue to invest into ongoing classroom refurbishments to support curriculum review and innovation. However, it could be argued that these changes to physical infrastructure do not accurately reflect and address the growing self-directed workload that students now contend with. Furthermore, as capital spending on maintaining and modernising university buildings in the UK approaches £3 billion annually (Temple, 2018), these refurbishments are increasingly time- and money-intensive, placing a financial strain on institutions. The assumption that students successfully transition between passive and active learning, between directed and self-directed learning and between formal, timetabled and informal, non-timetabled spaces has meant transitional space being overlooked. By seeking to better understand student engagement with these transitional spaces as physical, curricular and cognitive spatial phenomena, this study is generating evidence for the educational importance of transitional space and using this to better understand active learning. By redesigning underutilised ancillary spaces adjacent to formal lecture spaces at lower cost than lecture theatre refurbishments, students can better self-direct active learning at moments of transition into and out of formal, timetabled spaces.

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