Relevant bibliographies by topics / Community theater in fiction

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

Academic literature on the topic 'Community theater in fiction'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Community theater in fiction"

1

King, Barnaby. "Landscapes of Fact and Fiction: Asian Theatre Arts in Britain." New Theatre Quarterly 16, no. 1 (February 2000): 26–33. http://dx.doi.org/10.1017/s0266464x00013439.

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In the first of two essays which use academic discourses of cultural exchange to examine the intra-cultural situation in contemporary British society, Barnaby King analyzes the relationship between Black arts and mainstream arts on both a professional and community level, focusing on particular examples of practice in the Leeds and Kirklees region in which he lives and works. This first essay looks specifically at the Asian situation, reviewing the history of Arts Council policy on ethnic minority arts, and analyzing how this has shaped – and is reflected in – current practice. In the context of professional theatre, he uses the examples of the Tara and Tamasha companies, then explores the work of CHOL Theatre in Huddersfield as exemplifying multi-cultural work in the community. He also looks at the provision made by Yorkshire and Humberside Arts for the cultural needs of their Asian populations. In the second essay, to appear in NTQ62, he will be taking a similar approach towards African-Caribbean theatre in Britain. Barnaby King is a theatre practitioner based in Leeds, who completed his postgraduate studies at the University of Leeds Workshop Theatre in 1998. He is now working with theatre companies and small-scale venues – currently the Blah Blah Blah company and the Studio Theatre at Leeds Metropolitan University – to develop community participation in theatre and drama-based activities.
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Ustinova, Oksana V., and Yulia V. Putilina. "Early 20th Century Historical Sources on the Siberian Student Community." Herald of an archivist, no. 1 (2018): 38–47. http://dx.doi.org/10.28995/2073-0101-2018-1-38-47.

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The article examines the early 20th century historical source base on the Siberian student community of the pre-revolutionary period. It argues that the sources complex of the period is heterogeneous in structure, nature, and content. It determines that the life of Siberian students, as depicted in the early 20th century sources from state archives, was recorded principally in the following aspects: approved and regulated university activities (admission, scholarships, training, participation in registered student organizations, fraternities, academic clubs, etc.) and oppositional, political, ideological activities of students prohibited by both central and local authorities and, in some cases, by university administration that followed the instructions. More details on pressing issues of student life (poverty, employment issues, etc.) unfold in the periodicals. There was a series of analytical and op-ed articles in the Sibirskii student (‘Siberian student’) and Sibirskie voprosy (‘Siberian issues’) magazines, in the Sibirskaya zhizn' (‘Siberian life’) and Utro Sibiri (‘The morning of Siberia’), and some others. The article shows that, apart from poverty and domestic issues, the informal student life, as lived outside educational institutions and politics (that is, love, friendship, attitude toward family, marriage, taste and theater preferences, fashion, and so on), went unreported. Some aspects of this life were pictured in fiction, published, for instance, in the Tomsk student press. But although they give some idea of the Siberian students’ view and ways of life, these sources don’t record facts of life.
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Meyer, Matthew J. "Using a Theatre as Representation Scenario as a Teaching Vehicle in B.Ed and M.Ed Preparation Programs." LEARNing Landscapes 1, no. 2 (January 2, 2008): 217–29. http://dx.doi.org/10.36510/learnland.v1i2.268.

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The following article demonstrates the use of the dramatic scenario, The Insurrection (a TAR/ethno-drama fiction work) to teach fundamental educational administration concepts to graduate and preservice teacher candidates. The scenario was written specifically to address the conflicts related to communication within a secondary school community and is used as a provocation tool in classroom discussions.
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Matzke, Christine. "‘Travellers of the Street’: Flãnerie in Beyene Haile's Heart-to-Heart Talk." New Theatre Quarterly 27, no. 2 (May 2011): 176–88. http://dx.doi.org/10.1017/s0266464x11000303.

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In January 2008 the Eritrean capital of Asmara witnessed a theatre production that did not sit easily with the cultural imaginary of the country. Performed by a group of university graduates rather than the well-versed artists in government employ, Beyene Haile's Weg'i Libi, or Heart-to-Heart Talk, caused a stir among the local art-loving community in that it defied common strands of Eritrean theatre arts. Difficult to understand, with no clear plot or clear-cut message, it nonetheless drew crowds during the two weeks of its performance, largely because, as Christine Matzke suggests in this article, it allowed audiences to participate in the intellectual flânerie presented on stage. Basing her article on material collected in autumn 2008 and spring 2010, the author here provides an interpretation of the play and an outline and contextualization of its production process. Christine Matzke has spent well over a decade researching Eritrean theatre arts and cultural production. Her publications include the co-edited African Theatre 8: Diasporas (2009) and Postcolonial Postmortems (2006) on transcultural crime fiction. She teaches at the University of Bayreuth.
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Abed, Husam, and Réka Deák. "Breaking out of time: Dafa Puppet Theatre." Applied Theatre Research 8, no. 1 (July 1, 2020): 135–42. http://dx.doi.org/10.1386/atr_00031_1.

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Dafa Puppet Theatre works with refugee communities to enable expression and change people’s lives through puppetry. Dafa’s work is on the boundaries of visual arts, puppetry, music, family gathering, food and a range of different elements. The idea of the puppet is something that you can touch and sense, yet it is on the borders between reality and fiction. There is always the possibility that the gates of imagination can be opened by this object, which can have many symbolic meanings. In this article, a reflection transcribed from an interview with Laura Purcell-Gates, Husam and Réka discuss their work with puppetry in communities. They reflect on layers of meaning within the puppet, working with specific materials and found objects, the importance of cultural specificity in their approach to the work, decolonizing practices of puppetry and building community through integrating puppetry, gatherings and shared food. This artistic discussion is an insight into a very active company working with often vulnerable and displaced communities.
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Rheingold, Hugh M. "Possibilities Lost: Transcendental Declarations of Independence in Hawthorne's The Blithedale Romance." Prospects 26 (October 2001): 61–89. http://dx.doi.org/10.1017/s0361233300000879.

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The Blithedale Romance occupies a unique position in the Haw-thorneian corpus for at least two reasons: Hawthorne's use of a first-person narrator and his decision to base, albeit loosely, the fictional Blithedale on his experiences as a resident at Brook Farm, an actual Utopian community founded by the transcendentalist minister George Ripley in 1841. If The Blithedale Romance constitutes a new point of departure for Hawthorne's fictional project, it is nevertheless a point of departure that Hawthorne, in particular in his prefaces, had contemplated all along. Hawthorne's fidelity to a new kind of fiction that more closely approximates lived experience would seem to be a betrayal of his notion of romance, which does not, like the novel, aim to be faithful to “the probable and ordinary course of man's experience,” but it is part and parcel of Hawthorne's anxieties about the transgressions of representation, transgressions peculiar to the kind of fictional project Hawthorne attempts to prosecute (Seven Gables, 1). While Hawthorne's preface to The Blithedale Romance celebrates his romances as “a theatre, a little removed from the highway of ordinary travel, where the creatures of his brain may play their phan-tasmagorical antics (38), his preface to The House of the Seven Gables warns that romance runs the risk of sinning unpardonably; that it commits, in other words, a “literary crime” (1). Our concern with Hawthorne as a writer seems all the more urgent, indeed necessary, given the connections Hawthorne seeks to establish between himself and his self-confessed minor poet and alter ego Miles Coverdale.
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Syahrul, Ninawati. "REKAYASA SASTRA SEBAGAI UPAYA MENINGKATKAN GERAKAN LITERASI DI KALANGAN GENERASI MUDA." Multilingual 18, no. 1 (June 29, 2019): 48–66. http://dx.doi.org/10.26499/multilingual.v18i1.110.

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Characteristics of quality literary works must carry and convey moral messages. As a civilized citizen, the young generation — of course other citizens — must seize moral values in treading diverse lives. In this regard, literary engineering is an idea that should be taken into account as a form of literary approach in accordance with the mental development of the younger generation. How far is literary engineering capable as a new idea to introduce literature to the younger generation, that is the problem in this paper? This paper aims to describe and "sell" the role of literary literacy engineering to improve the literacy culture of the younger generation. The targets include the literary community and / or the community of young people, such as the youth organization, the literature literary forum, and the Student Council (intra-school student organization). This study used descriptive qualitative method. Based on the study of the theory of the younger generation (Stratus Howe) and the results of the analysis, this study shows that literary engineering can be used as a vehicle to improve literacy in the younger generation. Its activities can be in the form of literary rewriting in the form of student editions sourced from classical literary works such as Mahabharata, Ramayana, Siti Nurbaya novels, Salah Asuhan, or even folklore (folklore, folktale). These literary works can also be translated into literary / theater performances, soap operas, short stories, poems, or other forms. Conversely, the genre of poetry can also be "transformed" into other creative works in the form of poetry, fiction or literary / artistic performances. In addition, the work of teen literature is a way to familiarize literature with the younger generation. The success of the literacy movement is of course necessary and must be supported and collaborated with stakeholders, both government agencies, private institutions, art workers, parents, and / or literary practitioners. This literary or artistic activity is expected to be able to improve the literacy movement that is being promoted by the government as of now.
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Cox, Jordana. "The Phantom Public, the Living Newspaper: Reanimating the Public in the Federal Theatre Project's1935(New York, 1936)." Theatre Survey 58, no. 3 (August 10, 2017): 300–325. http://dx.doi.org/10.1017/s0040557417000266.

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Stories of American democracy, whether critical or congratulatory, canonical or popular, feature “the public” as their recurring protagonist. “The public” is a rhetorical fixture of political campaigns and democratic theories, opinion polls and calls to action. Its influence is formidable: the very idea scores political speech, and calls citizens into being. Yet as many scholars have argued, “the public” is a moving target, and possibly even a total fiction. Perhaps the best-known challenge in recent decades has come from literary critic and social theorist Michael Warner. “Publics” he writes in hisPublics and Counterpublics,“have become an essential part of the social landscape, and yet it would tax our understanding to say exactly what they are.” If a public is difficult to describe, it is in part, Warner explains, because the idea hovers in modern imaginaries between the concrete and the abstract. “A public” can conjure at once: a bounded audience—“a crowd witnessing itself in visible space”; a more abstract “social totality” like the constituents of a nation; and a community conjured through shared texts or identities.
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Siebein, Gary, Hyun Paek, Stephen Skorski, and Michael Ermann. "Gulfport Community Theater." Journal of the Acoustical Society of America 115, no. 5 (May 2004): 2442. http://dx.doi.org/10.1121/1.4782093.

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Wolf, Stacy. "All about Eve: Apple Island and the Fictions of Lesbian Community." New Theatre Quarterly 10, no. 37 (February 1994): 28–32. http://dx.doi.org/10.1017/s0266464x00000063.

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We continue our occasional series on the actuality and the ideology of lesbian performance with a study of Apple Island, a performance space in Madison, Wisconsin. Many of the productions of this ‘women's cultural and art space’ could, suggests Stacy Wolf, be categorized as performance art: she looks at these in the context of other modes and definitions of cultural production, and at the ‘complex interplay of identity and knowledge’ which constructs Apple Island's potential spectators. Looking at both positive negative critiques of its work, she concludes that the activity through which its refusal of political and performative divisions is best exemplified is the weekly class-cumperformance of country western line dancing, and suggests through folkloric analogy how this helps to define or redefine the meaning of cultural feminism. Stacy Wolf is a doctoral candidate in Theatre and Drama and a lecturer in Women's Studies at the University of Wisconsin, Madison. She has also published articles in Theatre Studies, Women and Performance, and the Journal of Dramatic Theory and Criticism.
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Dissertations / Theses on the topic "Community theater in fiction"

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Banting, Sarah Lynn. "Common ground and the city : assumed community in Vancouver fiction and theatre." Thesis, University of British Columbia, 2010. http://hdl.handle.net/2429/29155.

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This dissertation offers a new approach to an enduring question in literary studies: how do certain genres mediate an experience of “imagined community”? In studies of Canadian literature, texts are frequently analyzed for how they represent place—and how they evoke national, regional, local, or transnational communities by depicting characters’ lives in place. This project shares that interest in place, but rather than asking how place is represented, it asks what audiences are addressed when fiction and theatre performances refer to specific places. Shifting focus onto these works’ address to particular imagined audiences allows me to consider how they mediate their actual audiences’ relationships to specific places and to other local and non-local populations. Taking novels, short stories, and plays set in metropolitan Vancouver as a case study, I analyze narrative address using the tools of linguistic pragmatics, in particular theories of audience design, relevance, and common ground. I then adapt these ideas to the analysis of live performance in conventional theatres. I find a variety of different modes of address implicit in how these works style their references to the city and its landmarks. All of the plays and some of the narratives address audiences who share their knowledge of certain parts of the city. They offer insight into what parts of a city residents imagine sharing with their anonymous fellow city-dwellers, on what social basis they share these extended neighbourhoods, and what are the limits of this “common ground.” Other narrators address audiences for whom the city is unfamiliar territory. Their narratives illuminate the social contexts that connect people across spatial divides and the various interests that, in the narrators’ opinion, distant audiences might have in being introduced to Vancouver. While the written narratives address audiences who have a specific amount of knowledge of Vancouver but might themselves be anywhere, the plays potentially produce a “strong” form of common ground by bringing their audience together at a particular site. I argue that this experience constructs what Arjun Appadurai calls “locality,” thus offering insight into what locality might feel like in a modern Canadian city.
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Popovich, George Lee. "Structural analyses of selected modern science-fiction films /." The Ohio State University, 1987. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487329662145685.

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Crawley, James J. "The history of the Wichita Community Theater." Thesis, Wichita State University, 2009. http://hdl.handle.net/10057/2516.

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When the members of the First Unitarian Church in Wichita Kansas met in the autumn evening of 1946 to set up a performance group, they had no idea that they were starting an organization that would change the landscape of performance arts in Wichita Kansas. The Unitarian Experimental Theater expanded out of its small confines of the basement of the church to the University of Wichita's 1,200 seat theater, helping to develop the University's theater program and bring even more attention to live theater in Wichita. With the establishment of the Century II civic center to celebrate the centennial of Wichita's founding, the Wichita Community Theater moved into the Little Theater, promoting its live shows with guest stars featuring the likes of Helen Hayes, Maurice Evans and many others from television and movies. These shows along with the purchase of a new property, the old Temple Emanu-El Synagogue in the College Hill area, increased the reach of the Wichita Community Theater to include classes, meetings and smaller more intimate productions. The history of the Wichita Community Theater is full of successes, including the year in review show, Commedia, donations to the Wichita Public library and scholarships for high school student. The theater has also had its controversies, including the ousting of Mary Jane Teall, the picketing of the College Hill property by religious groups and being on the brink of extinction with bankruptcy. With all of these events, the theater kept producing quality shows. While the actors, directors and designers all strived to create perfection on each individual show, these dedicated volunteers kept much more than the production alive. These men, women and children kept the core spirit of this organization alive keeping the theater running. Although highlighting the history of the Wichita Community Theater, this history focuses more on the volunteers and the sacrifices that were made to keep the organization alive and well. The Wichita Community Theater is still alive and well and producing shows in the city of Wichita to this day. The theater is full of stories, individual tales of comedy and tragedy and events that made each specific story unique. These stories are forever ingrained in the individuals involved and even though only a few of them are highlighted in this paper, while others are not documented. Their efforts reflected in these stories, and many future ones that will keep the spirit of the organization alive for years to come.
Thesis (M.A.) -- Wichita State University, College of Liberal Arts and Sciences, Dept. of History
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Sutton, Malcolm. "Ontologies of Community in Postmodernist American Fiction." Thèse, Université d'Ottawa / University of Ottawa, 2012. http://hdl.handle.net/10393/20695.

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Using a number of structurally innovative novels from the 1970s, 1980s and 1990s as a basis for study, this dissertation examines the representation of communities in postmodernist American fiction. While novels have often been critically studied from the standpoint of the individual and society, here the often neglected category of community is put under scrutiny. Yet rather than considering it from a sociological point of view, which can potentially favour historical, economic or political grounds for community, this study focuses on the ontological binds formed between individual and community. On one level this study connects formal qualities of postmodernist novels to a representation of community – especially literary conventions from the past that are foregrounded in the present texts. On another level it interrogates the limits of the individual in relation to others – how we emerge from others, how we are discrete from others, how much we can actually share with others, at what cost we stay or break with the others who have most influenced us. The primary novels studied here, each of which is deeply invested in the community as a locus for ontological interrogation, are Robert Coover’s "Gerald’s Party" (1985) and "John’s Wife" (1996), Gilbert Sorrentino’s "Crystal Vision" (1981) and "Odd Number" (1985), Harry Mathews’s "Cigarettes" (1987), Joseph McElroy’s "Women and Men" (1987), and Toni Morrison’s "Paradise" (1997). Despite their varied representations of and attitudes toward the individual in community, these texts share a common spectre of American Romanticism that inflects how we read the possibility of community in the postmodernist period.
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Oliver, Sarah Miranda Londré Felicia Hardison. "Kansas City's Community Children's Theatre a history /." Diss., UMK access, 2008.

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Thesis (M.A.)--Dept. of Theatre. University of Missouri--Kansas City, 2008.
"A thesis in theatre." Typescript. Advisor: Felicia Hardison Londreʹ Vita. Title from "catalog record" of the print edition Description based on contents viewed Sept. 12, 2008. Includes bibliographical references (leaves 118-120). Online version of the print edition.
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Rodríguez, Ernesto F. "Theater and community : an architectural language for social integration." Thesis, Massachusetts Institute of Technology, 1996. http://hdl.handle.net/1721.1/69738.

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Thesis (M. Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 1996.
Includes bibliographical references (leaves 57-58).
The experimentation with an alternative form of theater, which questioned the tradition dramatic heritage , emerged in Puerto Rico during the second half of the 1960's. This new form of theater, known as Experimental Theater, searched for a new aesthetic language rooted in the use of the human body as an instrument of expression. At the same time, the companies and groups - composed mostly of college students - working with this kind of theater had a well-defined social, cultural and political agenda, which was clearly reflected in the nature of their performances. The tradition of the Puerto Rican Experimental Theater has survived until today. It has experienced a change in its social and political approaches, which now are focused in the reinforcement of the Puerto Rican culture and the searching for the definition of a contemporary national identity . This idea of contemporary national identity presumes the breaking with the traditional system of dramatic representation used in the classical theater as well as in the early models of theatrical experimentation. New groups work with new codes of national representation detached from convention al cannon, creating a vibrant and contested imagery. In this line of work, the Puerto Rican group Teatreros de Cayey, directed by the theater professor Rosa Luisa Marquez and the Puerto Rican artist Antonio Martorell present a paradigm in and of themselves. Marquez and Martorell propose a work based on a theatrical dialogue between dramatic text and pictorial image. At the same time their work has focused on its interaction with low income communities as well as with school and elderly hospitals and institutions. Their work is based in the assumption that people don't have to be actors to make theater and that theater can be used as a community tool in order to produce social transformations.
by Ernesto F. Rodríguez.
M.Arch.
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Hand, Richard James. "Self-adaptation : the stage dramatisation of fiction by novelists." Thesis, University of Glasgow, 1996. http://theses.gla.ac.uk/1912/.

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The stage dramatisation of fiction is a common and increasingly popular practice. Normally, a dramatist will take a novelist's work and adapt it, but there are cases dating back to at least the sixteenth century where novelists themselves have attempted to dramatise their own fiction. In the context of British theatre, it was not until the 1911 Copyright Act that novelists had copyright over the dramatisation of their original work. For this reason, novelists were obliged to adapt their own fiction to protect it against unauthorised dramatisation. Several authors, however, adapted their novels for more than reasons of copyright. The glamour of the West End and the potential for financial reward lured the novelists into adaptation. In the numerous adaptations of Henry James the language of the fictional narrator invades his scripts, in the form of stage directions or forced into the mouths of the characters. James is fascinated by the technical aspect of drama and he did make a substantial effort to rewrite Daisy Miller to make it suitable for the dramatic genre, but this includes a disappointing use of stage clichés as part of the mechanics of stagecraft (such as melodramatic techniques and the "happy ending"). Thomas Hardy was enthusiastic about the stage in his youth and had some innovative ideas for the stage but never fully realised his concepts. The adaptation of Tess of the D'Urbervilles has some evocative imagery but is more like a medley of dramatic highlights separated by major ellipses than the panoramic and inexorable vision of the novel. In the adaptation of The Secret Agent, Conrad sustains a loyalty to the novel which mars the play with too many characters and an excess of exposition. Conrad's decision to be chronological in the adaptation strips the story of its sophistication and creates an uncompromising, even shocking, play. This could be seen as a merit as are Conrad's expressionistic touches and his treatment of heroism and insanity. Indeed, the play is a compulsive experience and claims that it is ahead of its time are perhaps justified.
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Graham, Catherine (Catherine Elizabeth). "Dramaturgy and community-building in Canadian popular theatre : English Canadian, Québécois, and native approaches." Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=42044.

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The Canadian popular theatre movement's refusal to accept one of the key binary oppositions that organizes Euroamerican theatre practice, the split between community-based and professional theatre, makes it a particularly interesting subject of inquiry for theatre scholars. This dissertation develops a methodology for analyzing this movement by approaching theatre, not as a unified institution or a series of texts, but as a mode of cognition that can overcome another of the basic binary oppositions of modern Euroamerican thought, the opposition between mind and body. Following an introductory chapter that situates the Canadian popular theatre movement in the context of recent Canadian theatre history and of other popular theatre movements around the world, a theoretical chapter lays the foundation for this methodology by exploring such key terms as "community," "professional," and "theatrical." It suggests that theatre is a particularly appropriate cognitive tool for building participatory community in heterogeneous social milieus. Chapters 3, 4, and 5 analyze three stages in the popular theatre process in these terms. Chapter 3 looks at how methods of organizing community workshops put in place particular forms of community. Chapter 4 explores the ways in which the dramaturgic structures of plays created by Headlines Theatre, the Theatre Parminou, and Red Roots Community Theatre are formed both by their creation processes and by their analyses of the problems in the dominant public spheres of the larger society. Chapter 5 looks at the specific contribution professional theatre workers make in focusing audience attention on key elements in community participants' stories. The dissertation concludes by suggesting that popular theatre events can be most fairly evaluated by looking at their contribution to the creation of new categories of thought through which we might publicly discuss and enact truly participatory communities.
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Parker, Alyssa Beth. "Performing in the landscape : a community theater for Marblehead, Massachusetts." Thesis, Massachusetts Institute of Technology, 1995. http://hdl.handle.net/1721.1/69340.

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Thesis (M. Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 1995.
Includes bibliographical references (p. 101-105).
This thesis is an investigation of our perception of place and what constitutes our experience of place. It is a journey through a multitude of scales: region, site and individual. Architecture, in this sense, is the phenomonological perspective of placemaking and relationship between human and environment which is oft boundary, but many times a threshold. Stemming from a criticism of modern architecture that is placeless, this thesis is less about poor examples and more about question of process. How does one begin to understand the lands and begin to define a place within the landscape? How does the individual relate to the built environment within the natural The thesis, then, defines the individual as the source from which understanding is manifested specifically through sensory perception and place making. The project is a performance space for Marblehead, a town whose sense of place is deeply embedded within the history of New England. The project is located on the waterfront, where the natural characteristics of the tides and the seasons perform continuously, subtly altering the nature of the site. This thesis is organized in three parts. The first is a description of the region. the particular site, and the program within that site. The second is a construct of ideas which are related to experience and the forming of our understanding place. The third part is a journey through the site and project, proposing a method through which we may begin to understand the phenomonology of perception and the understanding of place through the design process.
by Alyssa Beth Parker.
M.Arch.
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Hedden, Jason. ""Hidden Voices: A Creation through Collaboration with Fellow MFA Actors and Community Partner Turning Point."." The Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392069669.

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Books on the topic "Community theater in fiction"

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Linz, Cathie. Lover and deceiver. Unity, Me: Five Star, 2000.

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Hooper, Kay. Golden threads. New York: Bantam Books, 2006.

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Hooper, Kay. Golden threads. New York: Bantam Books, 2006.

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Death takes the stage. New York: St. Martin's Press, 1988.

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Donald, Ward. Death takes the stage. New York: St. Martin's Press, 1989.

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Fiedler, Lisa. Curtain up. Ann Arbor, MI: Sleeping Bear Press, 2015.

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Miller, Carlene. Death off stage. Burke, Va: Women's Work Press, 2001.

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Mattison, Alice. The wedding of the two-headed woman: A novel. New York, NY: William Morrow, 2004.

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Mattison, Alice. The wedding of the two-headed woman: A novel. New York: William Morrow, 2004.

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Mattison, Alice. The wedding of the two-headed woman. New York: William Morrow, 2004.

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Book chapters on the topic "Community theater in fiction"

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Holder, Heidi J. "Sensation Theater." In A Companion to Sensation Fiction, 67–80. Chichester, UK: John Wiley & Sons, Ltd, 2011. http://dx.doi.org/10.1002/9781444342239.ch5.

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Wood, Elaine. "Playing the (body) part in Beckett’s theater." In Female Sexuality in Modernist Fiction, 101–24. London; New York: Routledge, 2020. | Series: Interdisciplinary research in gender: Routledge, 2020. http://dx.doi.org/10.4324/9781003014591-5.

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Piechowski-Jozwiak, Bartlomiej, and Julien Bogousslavsky. "Psychopathic Characters in Fiction." In Literary Medicine: Brain Disease and Doctors in Novels, Theater, and Film, 60–68. Basel: S. KARGER AG, 2013. http://dx.doi.org/10.1159/000345058.

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Los, A. P. M., and C. Th Smit Sibinga. "Transfusion Medicine, Education and the Community: Donor Motivation and Community Oriented Aspects." In Transfusion Medicine: Fact and Fiction, 97–109. Boston, MA: Springer US, 1992. http://dx.doi.org/10.1007/978-1-4615-3504-1_14.

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Sandhu, Hikari, Naoki Hirose, Kazuya Yui, and Masamine Jimba. "Community Theater for Health Promotion in Japan." In Arts and Health Promotion, 103–19. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-56417-9_7.

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Carota, Antonio, and Pasquale Calabrese. "Alcoholism between Fiction and Reality." In Literary Medicine: Brain Disease and Doctors in Novels, Theater, and Film, 169–77. Basel: S. KARGER AG, 2013. http://dx.doi.org/10.1159/000343259.

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Heffernan, Julián Jiménez. "Introduction: Togetherness and its Discontents." In Community in Twentieth-Century Fiction, 1–47. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137282842_1.

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Heffernan, Julián Jiménez. "“A Political Anxiety:” Naipaul, or the Unlikely Beginning of Community." In Community in Twentieth-Century Fiction, 195–217. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137282842_10.

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Salván, Paula Martín. "“Longing on a Large Scale:” Models of Communitarian Reconstitution in Don DeLillo’s Fiction." In Community in Twentieth-Century Fiction, 218–37. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137282842_11.

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López, María J. "“I Am Not a Herald of Community:” Communities of Contagion and Touching in The Letters of J.M. Coetzee." In Community in Twentieth-Century Fiction, 238–54. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137282842_12.

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Conference papers on the topic "Community theater in fiction"

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Caroti, Simone, and Glen A. Robertson. "Theater of Memory against a Background of Stars: A Generation Starship Concept between Fiction and Reality." In SPACE, PROPULSION & ENERGY SCIENCES INTERNATIONAL FORUM: SPESIF-2009. AIP, 2009. http://dx.doi.org/10.1063/1.3115550.

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Hanna, Julian R., and Simone R. Ashby. "From Design Fiction to Future Models of Community Building and Civic Engagement." In NordiCHI '16: 9th Nordic Conference on Human-Computer Interaction. New York, NY, USA: ACM, 2016. http://dx.doi.org/10.1145/2971485.2993922.

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Rochon, Donna, Lidia Porto, Robert McLaughlin, Vicki Waters, Luis Rustveld, and Maria L. Jibaja-Weiss. "Abstract A27: Using community theater to educate the underserved about cancer screening and prevention." In Abstracts: AACR International Conference on the Science of Cancer Health Disparities‐‐ Sep 18-Sep 21, 2011; Washington, DC. American Association for Cancer Research, 2011. http://dx.doi.org/10.1158/1055-9965.disp-11-a27.

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Landa, Veronica, Jane Montealegre, and Maria Jibaja-Weiss. "Abstract C17: Community theater outreach to increase HPV vaccine intention among parents of Latino adolescents: A pilot test." In Abstracts: Tenth AACR Conference on The Science of Cancer Health Disparities in Racial/Ethnic Minorities and the Medically Underserved; September 25-28, 2017; Atlanta, GA. American Association for Cancer Research, 2018. http://dx.doi.org/10.1158/1538-7755.disp17-c17.

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Landa, Veronica, Jane Montealegre, Roshanda Chenier, Glori Chauca, Ivan Valverde, and Maria Jibaja-Weiss. "Abstract C16: Using community theater to improve knowledge and awareness of cancer preventive health behaviors in Harris County, TX." In Abstracts: Tenth AACR Conference on The Science of Cancer Health Disparities in Racial/Ethnic Minorities and the Medically Underserved; September 25-28, 2017; Atlanta, GA. American Association for Cancer Research, 2018. http://dx.doi.org/10.1158/1538-7755.disp17-c16.

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D'Orgeville, Céline, François Rigaut, Sarah Maddison, and Elena Masciadri. "Gender equity issues in astronomy: facts, fiction, and what the adaptive optics community can do to close the gap." In SPIE Astronomical Telescopes + Instrumentation, edited by Enrico Marchetti, Laird M. Close, and Jean-Pierre Véran. SPIE, 2014. http://dx.doi.org/10.1117/12.2059088.

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Mannarswamy, Sandya, and Shourya Roy. "Evolving AI from Research to Real Life – Some Challenges and Suggestions." In Twenty-Seventh International Joint Conference on Artificial Intelligence {IJCAI-18}. California: International Joint Conferences on Artificial Intelligence Organization, 2018. http://dx.doi.org/10.24963/ijcai.2018/717.

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Artificial Intelligence (AI) has come a long way from the stages of being just scientific fiction or academic research curiosity to a point, where it is poised to impact human life significantly. AI driven applications such as autonomous vehicles, medical diagnostics, conversational agents etc. are becoming a reality. In this position paper, we argue that there are certain challenges AI still needs to overcome in its evolution from Research to Real Life. We outline some of these challenges and our suggestions to address them. We provide pointers to similar issues and their resolutions in disciplines such as psychology and medicine from which AI community can leverage the learning. More importantly, this paper is intended to focus the attention of AI research community on translating AI research efforts into real world deployments.
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de Brito, Walderes Lima, Newton Camelo de Castro, and Carlos Roberto Bortolon. "Young Readers Transpetro Program: The Sustainable Development of Community Close to a Pipeline in Goia´s, Brazil." In 2008 7th International Pipeline Conference. ASMEDC, 2008. http://dx.doi.org/10.1115/ipc2008-64584.

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A person reading an average of sixteen books per year is considered high even in so-called First World countries. This achievement is even more remarkable if it is performed by children of low-income families. An example is the participants of PETI, Child Labor Eradication Program of Jardim Canedo, a neighborhood located over part of the Sa˜o Paulo - Brasi´lia Pipeline, situated in Senador Canedo, Goia´s, Brazil. In 2007 this community experienced the Striving Readers Transpetro Program, which aims to develop a taste for reading among children. Transpetro expects to be helping to overcome the low-quality Brazilian education, reflected in the 72% rate of functional illiteracy. The chief objective of the Program is the development of art education workshops and the creation of the “Readers Group - What story is that?”. The workshops are meant for the educators, with the purpose of offering tools form them to spur the children into reading through techniques such as story-telling, theater, singing, puppet shows, set constructions and other audio visual resources. The Readers Group is intended for children. Participation is voluntary and offers literary books according to the childs’ taste and literacy. In the first year of operation, Striving Readers Transpetro Program relied on the participation of 100% of the educators in the Art Education Workshops and a commitment of 93% of the Readers Group members. It also played a part in the improvement of the childrens performance in formal school. Furthermore, the Program contributed to the mapping of libraries available for PETI members, supported the assembly of a catalogue of institutes that sponsor striving readers programs and performed workshops with the technical staff at selected institutes to educate them on how to conduct fund raising. Such actions, as a whole, ensured sustainability to the program and promoted a company relationship with the community and with the Regulatory Authority. This is a socially responsible approach to ensuring childrens’ rights are met.
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Kizhakkethil, Priya. "Information experience in a diaspora small world." In ISIC: the Information Behaviour Conference. University of Borås, Borås, Sweden, 2020. http://dx.doi.org/10.47989/irisic2022.

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Introduction. Leisure is considered important in the settlement and acculturation experiences of refugee and immigrant communities. Perceiving a gap in the literature which has taken a diaspora perspective, this on-going study looks at an online community converging around a leisure activity from a gender and diaspora standpoint, while looking to understand what would be experienced as information in that context. Method. Employing a qualitative research approach, data was obtained through semi-structured interviews with fourteen participants and also through the collecting of comments posted on fan fiction blogs. Analysis. Qualitative thematic analysis is being carried out using Nvivo software. Results. Early observations by way of themes lend credence to the importance of social context and point towards the role of meaning making in the information and document experience of the participants. Conclusions. Going beyond information seeking and problematic situations, adopting an experience approach can contribute towards conceptual and theoretical development in the field. The study also hopes to contribute towards literature that has looked at diaspora communities from a gender and leisure perspective.
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Baetens, Jan, Roberta Pireddu, and Frederik Truyen. "UPGRADING MOOC STUDENTS' ENGAGEMENT AND PARTICIPATION IN HUMANITIES-ORIENTED ONLINE COURSES: THE EXAMPLE OF THE MOOC BASED ON THE PROJECT “DETECT”." In International Conference on Education and New Developments. inScience Press, 2021. http://dx.doi.org/10.36315/2021end089.

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Massive Online Open Courses (MOOCs) have become a grounded reality and a stable concept in the distance education panorama with worldwide universities continuously creating and offering every year broad selections of online courses. Nevertheless, despite the many developments in terms of individual and distance learning approaches, it is indetermined if MOOCs can deliver effective pedagogical methods and tools suitable for the implementation of online courses in the categories of art and humanities as well as in creating environments that give equal space to the two complementary layers of distance learning and distant teaching. Consequently, also the development of a valid, and captivating e-learning experience able to effectively reach out to students of different backgrounds, creating an impactful learning community represents a challenge. This issue acquires certain relevance particularly in relation to the much-debated question around the most effective pedagogical methodology to deliver humanities-oriented knowledge in a distant learning context. This paper provides an overview of the educational and pedagogical formulas adopted for the creation of a MOOC on European Crime Fiction, currently being developed in the framework of DETECt – Detecting Transcultural Identity in European Popular Crime Narratives (https://www.detect-project.eu/) a project funded by European’s Union Horizon 2020. The MOOC concept presented in the framework of this research concentrates on the development of mixed e-learning and e-teaching strategies, that leverages the application of pedagogical elements like social network and independent learning and combines them with users’ engagement methods. On the one hand, this research aims to challenge the debate related to the effectiveness of teaching and learning a humanities-oriented subject in a distance learning environment. On the other hand, intends to recreate a vibrant learning community capable of broadening the academic research carried out by the project enabling the collaboration between the MOOC public and the researchers and teachers.
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