Log in

Relevant bibliographies by topics / Devising Theater for Youth / Journal articles

To see the other types of publications on this topic, follow the link: Devising Theater for Youth.

Journal articles on the topic 'Devising Theater for Youth'

Author: Grafiati

Published: 4 June 2021

Last updated: 2 February 2022

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the top 50 journal articles for your research on the topic 'Devising Theater for Youth.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.

1

Hallewas, Anita. "Researching and devising youth theatre: Loss of voice and agency through parachute theatre." Youth Theatre Journal 33, no. 2 (July 3, 2019): 153–62. http://dx.doi.org/10.1080/08929092.2019.1688745.

Full text

APA, Harvard, Vancouver, ISO, and other styles

2

Turner-King, Rachel. "Questioning collaborative devising in a post-truth era: Crafting theatre with youth." Youth Theatre Journal 33, no. 2 (July 3, 2019): 94–106. http://dx.doi.org/10.1080/08929092.2019.1688212.

Full text

APA, Harvard, Vancouver, ISO, and other styles

3

Weltsek, Gustave. "Devising in the Pandemic: Trauma and a Dramatic Redesign of a Youth Theatre Tour." International Journal of Designs for Learning 12, no. 1 (April 12, 2021): 171–80. http://dx.doi.org/10.14434/ijdl.v12i1.31291.

Full text

Abstract:

Z402 Youth Theatre Tour was designed from a critical performative pedagogical positioning (Weltsek, 2019). Here learning emerges from how individuals and communities perform their emergent identities as they cross literal and metaphorical socio-cultural borders. Z402 resulted in a 100% student created new play, parallel workshop, and study guide. This new play was based solely upon the students’ perspectives, voices, and ways of being. The design used devised theatre, the use of improvisation and games, to create a new play versus a solely written approach. The new play dealt with healing in the face of suicidal thoughts. The course addressed four Indiana educational licensing requirements; student technical, artistic, educational, and class practicum experiences. In March 2020, due to the novel coronavirus (COVID-19) pandemic, the University instituted obligatory Online instruction. Students redesigned their stage play into a virtual experience using Zoom and integrated their emotional struggles due to pandemic isolation. The live play, slated for three schools, is now accessible to a large virtual audience

APA, Harvard, Vancouver, ISO, and other styles

4

Woodhouse, Fionn. "A Passion for the Arts." Scenario: A Journal of Performative Teaching, Learning, Research XI, no. 2 (July 1, 2017): 92–93. http://dx.doi.org/10.33178/scenario.11.2.6.

Full text

Abstract:

I first met Stefanie Preissner when she signed up as a volunteer leader with Lightbulb Youth Theatre in Mallow, Cork. Having recently begun a BA in Drama and Theatre Studies in University College Cork, Stefanie had the interest in the work that allowed her to quickly become integral to Lightbulb, facilitating workshops and directing performances. We established a good working relationship, devising, writing and directing within the youth theatre before forming our own theatre company, ‘With an F Productions’, allowing us to take on different projects. Stefanie’s move to Dublin, after graduating from Drama and Theatre Studies, allowed her to develop her playwriting skills leading to the writing of ‘Solpadine is My Boyfriend’. This play was subsequently produced by the company enjoying a sell-out run in Dublin before touring internationally to Bucharest, Edinburgh and Australia, and – as a radio play – becoming RTE’s most downloaded podcast. Stefanie has gone on to write for RTE, with the successful series ‘Can’t Cope, Won’t Cope’ now in its second season and is also writing for Channel 4 in the UK and First Look Media in the US. Last year, I hosted Stefanie in the renamed ‘Department of Theatre’ to talk with students ...

APA, Harvard, Vancouver, ISO, and other styles

5

Streeter, Joshua Rashon. "Devising Critically Engaged Theatre with Youth: The Performing Justice Project by Megan Alrutz and Lynn Hoare." Theatre Topics 31, no. 1 (2021): 66–67. http://dx.doi.org/10.1353/tt.2021.0013.

Full text

APA, Harvard, Vancouver, ISO, and other styles

6

Brown, Rich. "Moment Work: Tectonic Theater Project’s Process of Devising Theater by Moisés Kaufman and Barbara Pitts McAdams." Theatre Topics 29, no. 1 (2019): 80–81. http://dx.doi.org/10.1353/tt.2019.0008.

Full text

APA, Harvard, Vancouver, ISO, and other styles

7

Dangl, Benjamin. "Teatro Trono: Youth Theater in Bolivia." NACLA Report on the Americas 40, no. 3 (May 2007): 48. http://dx.doi.org/10.1080/10714839.2007.11725367.

Full text

APA, Harvard, Vancouver, ISO, and other styles

8

Tulyantsev, Andrey. "Dnipropetrovsk Ukrainian academic youth theater in the contemporary sociocultural context." Музикознавча думка Дніпропетровщини, no. 18 (November 12, 2020): 5–15. http://dx.doi.org/10.33287/222013.

Full text

Abstract:

The purpose of this article is concentrated by researcher into revealing of the particularity for modern theater on the example Dnipropetrovsk Ukrainian academic youth theater. The author studies performances for young people that the theater has in its repertoire. The dialogue between the theater and the audience has its own scientific interest for the author. The author uses the most effective methods of scientific research. The author has a need to understand the peculiarities of the style of acting and directing. It is also necessary to understand the general style of the theater. This position is significant, because there is a specificity in the interpretation of theatrical performance. Scientific novelty. This article has its own peculiarity. The author aims to determine for the first time the main provisions of the activities of the Ukrainian academic theater for youth from the Dnieper. To achieve this goal, the author of the article makes an analysis in which there is a specific meaning of the theater's activities, the subject of this research. Theater is analyzed as an artistic value. The author assesses the state of the collective as a theater historian. The activity of the theater is analyzed in the context of the functioning of modern theater culture. This is what makes it possible to understand the features of the historical phenomenon. It combines the present with the past. It aims to understand the perspective of contemporary theater time in the future. Methods. The performances of this theater have the characteristics of a synthetic genre. These performances have the ability to explain the nature of the interaction between theater and music. Therefore, research methods are based on the synthesis of various areas of scientific activity. In which there are various scientific disciplines. Specifically: the structural system of the history of the theater, the use of analytical methods in the analysis of drama, direction, skill of actors, singing, orchestra work, scenography. The author explores their analogies and connections, what unites them and what is opposition. Conclusions. The performances of the Ukrainian academic theater for young people from Dnipro are of different genres. The principles of the dialogue between the theater system and the audience, which exists in mutual exchange, are revealed in these performances. The author notes the real mutual cooperation between the theater and the audience. At the same time, there is an addition of one dramatic tradition to another. You can also observe how professional directors worked with the texts of the plays. The fact of how the structure and style of the performance is changing is significant. The academic professional artistic transformation of vocational performances in modern society is essential relevant.

APA, Harvard, Vancouver, ISO, and other styles

9

Sautter, Richard. "Moment Work: Tectonic Theater Project's Process of Devising Theater by Moisés Kaufman and Barbara Pitts McAdams et al." Theatre History Studies 38, no. 1 (2019): 244–46. http://dx.doi.org/10.1353/ths.2019.0026.

Full text

APA, Harvard, Vancouver, ISO, and other styles

10

Mirabito, Lucas A., and Nicholas C. Heck. "Bringing LGBTQ youth theater into the spotlight." Psychology of Sexual Orientation and Gender Diversity 3, no. 4 (December 2016): 499–500. http://dx.doi.org/10.1037/sgd0000205.

Full text

APA, Harvard, Vancouver, ISO, and other styles

11

Amanullayevna, Rakhmonova Kamolakhon. "Current issues of youth coverage in the theater." ACADEMICIA: An International Multidisciplinary Research Journal 10, no. 5 (2020): 1906. http://dx.doi.org/10.5958/2249-7137.2020.00326.2.

Full text

APA, Harvard, Vancouver, ISO, and other styles

12

Lee, Eunkyung. "The Meaning of Cultural Diversity in Youth Theater." Lingua Humanitatis 20, no. 2 (December 30, 2018): 13–39. http://dx.doi.org/10.16945/201820201.

Full text

APA, Harvard, Vancouver, ISO, and other styles

13

Mally, Lynn. "The Rise and Fall of the Soviet Youth Theater TRAM." Slavic Review 51, no. 3 (1992): 411–30. http://dx.doi.org/10.2307/2500052.

Full text

Abstract:

“Young people need their own theater, akin to their own spirit,” wrote the actor Nikolai Kriuchkov in a memoir of his life in the theater in the 1920s and 1930s. While he acknowledged that the Soviet Union had developed a network of professional Komsomol theaters aimed at youth, Kriuchkov charged that in general these theaters simply duplicated the repertoire of conventional stages. But TRAM, an acronym for the Theater of Working-Class Youth (Teatr Rabochei Molodezhi), where Kriuchov got his start, was different. “It had its own topical themes, its own character, and young people went willingly.”

APA, Harvard, Vancouver, ISO, and other styles

14

Newman, Alexa. "Exit Stage Left: Bringing out the Bard at Library Drama Camp." Children and Libraries 15, no. 3 (September 28, 2017): 23. http://dx.doi.org/10.5860/cal.15.3.23.

Full text

Abstract:

Most people would agree that the public library is an unconventional agency to host a youth drama camp, let alone a Shakespeare drama camp for children. So, how did I end up creating exactly that at my library?STEAM programming has been getting a big push recently, but most of the emphasis seems to be on the STEM part, and I wanted to focus on the arts. I had participated in youth theater myself back in the day, and it was a transformative experience. I loved the idea of having a theater program, especially for younger school-age kids, so I started brainstorming on how I could bring the theater experience to our young patrons.

APA, Harvard, Vancouver, ISO, and other styles

15

Jones, Daystar/Rosalie M. "José Limón: Mentor to Native Youth." Congress on Research in Dance Conference Proceedings 39, S1 (2007): 113–20. http://dx.doi.org/10.1017/s2049125500000200.

Full text

Abstract:

This paper presents a description of the work of José Limón with American Indian students at Flandreau Indian School in 1970. This historic event grew out of the collaboration of Juilliard's Martha Hill with Mrs. Stewart (Lee) Udall and her organization the Center for Arts of Indian America, which was dedicated to enabling native youth to enter the fields of dance and theater.

APA, Harvard, Vancouver, ISO, and other styles

16

Drozdov, N. A. "Organization of cooperation between the theater and schools (historical aspect)." Vestnik of Samara University. History, pedagogics, philology 26, no. 4 (December 30, 2020): 64–67. http://dx.doi.org/10.18287/2542-0445-2020-26-4-64-67.

Full text

Abstract:

The article considers the historical organizational and methodological experience of cooperation between the Leningrad Youth Theater and schools of the city in the late 1950-ies. The period is characterized by the end of the artistic direction of A.A. Bryantsev and the restructuring of soviet school in 1958. The purpose of the article is to identify the organizational and pedagogical conditions of cooperation between schools and the theater in the study period. The research problems are based on the pedagogical experience, the role and significance of theater teachers and school teachers in the process of cooperation. A set of historical and pedagogical methods (historical and genetic method, chronological, retrospective), as well as comparative, biographical methods allowed us to consider the historical practice of cooperation between the school and the theater in its development, sequence and regularity. The complex of historical and pedagogical methods (historical and genetic method, chronological, retrospective), as well as comparative, biographical methods allowed us to consider the historical practice of cooperation between school and the theater in its development, sequence and regularity. The principle of historicism and research methods allowed us to analyze the historical period and events in terms of their features and opportunities for participants in educational activities. As a result of the study, it was revealed that the emphasis of the joint activities of the school and the theater is based the assimilation of the moral and ethical component of performance by schoolchildren. The experience and professional duties of the teachers of the Leningrad Youth Theater are considered. The educational work of soviet school and the Theater are described as the result of the research

APA, Harvard, Vancouver, ISO, and other styles

17

Markova, Angelina. "School Television “Youth” – the Forum and the TV Theater in Education." Education and Technologies Journal 9, no. 2 (August 1, 2018): 350–52. http://dx.doi.org/10.26883/2010.182.1066.

Full text

APA, Harvard, Vancouver, ISO, and other styles

18

Mangerson, Polly T. "From Classroom to Stage to Community: The Francophone Youth Theater Experience." French Review 92, no. 3 (2019): 46–59. http://dx.doi.org/10.1353/tfr.2019.0181.

Full text

APA, Harvard, Vancouver, ISO, and other styles

19

Ansari, Isa, and Achmad Dipoyono. "Sense Of Multikulturalisme: Potensi Integrasi Dalam Kelompok Teater Pelajar SMA Di Kota Solo." Acintya Jurnal Penelitian Seni Budaya 11, no. 1 (March 12, 2020): 51–62. http://dx.doi.org/10.33153/acy.v11i1.2614.

Full text

Abstract:

In general, this study departs from a large scheme of research on Sense of Multiculturalism initiated by the Center for Theater Studies and Social Integration. This is a basic research to explore the potencies that exists among adolescents, both related to the conflict as well as efforts to integrate in high school theater groups. Problems of this research include; first, what potencies that can lead them into conflict areas? What potencies that develops in youth theater groups that can anticipate and strengthen the social integration? Data collection is done by interview, observation, and documentation. The results of this study indicate that the potencies that directs group members into conflict is due to the impartiality experienced by students participating in theater extracurricular activities, both from the school as well as from their family. But their potencies in integration is strongerthan the potencies in conflict, namely independence, maturity, togetherness, cooperation, and kinship among members of the student theater group. Keywords: integration, conflict, students theater

APA, Harvard, Vancouver, ISO, and other styles

20

Diba, Denise, and Ana Flavia d'Oliveira. "Community Theater as social support for youth: agents in the promotion of health." Ciência & Saúde Coletiva 20, no. 5 (May 2015): 1353–62. http://dx.doi.org/10.1590/1413-81232015205.01542014.

Full text

Abstract:

There has been much discussion on promotion of the health of young people in vulnerable situations; but little work has been done analyzing its actual operation - and this is especially true in relation to programs and projects that are outside the health services. This article aims to analyze the relationship of an experience in Community Theater with the promotion of health. It is a qualitative, ethnographic study made at the Pombas Urbanas Institute, in the Cidade Tiradentes district of the municipality of São Paulo, and is coordinated by a theater group with a history that is relevant to the objective of the study. Participatory observation was carried out for one year, with semi-structured interviews with young people, and with actors of the Pombas Urbanas group, and analysis of documents. The theoretical framework that was used is made up of concepts from the fields of collective health, Community Theater, and liberation pedagogy. The results are presented in two interlinked sub-categories which have arisen from the empiric material and from the references adopted: (i) 'True friends', and (ii) 'Dialog'. The analysis clearly shows the importance of this type of theatrical joint experience for the promotion of health by transforming the quality of relationships between people. Concepts of health, culture and education were used in analysis of the results.

APA, Harvard, Vancouver, ISO, and other styles

21

Vukajlov, Ljiljana, Aleksandra Milinkovic, Dijana Brkljac, and Olivera Dobrivojevic. "Evaluation model of the quality of theater locations: Case study - Novi Sad, Serbia." Facta universitatis - series: Architecture and Civil Engineering 15, no. 2 (2017): 225–38. http://dx.doi.org/10.2298/fuace170206017v.

Full text

Abstract:

With the development of information technologies and weakening of the economic power of citizens in the Republic of Serbia, interest in classical theater has decreased. As a result of their reduced activity, theater facilities are gradually deteriorating, and some are being adapted while others are being closed. The main objective of this paper is to evaluate the quality of significant urban parameters, to observe the possibilities for improvement of the functioning of theaters, and to propose concrete measures for revitalization of their surroundings. The efficiency and validity of a defined research methodology were tested on three representative examples, the Serbian National Theater, the Youth Theater, and the Novi Sad Theater, located in Novi Sad in Serbia. Upon recognition of the current state of the spatial, physical, functional and ecological conditions of the areas surrounding the representative theaters, the current problems were recorded, and measures are proposed that would be necessary for the theaters? revitalization.

APA, Harvard, Vancouver, ISO, and other styles

22

김태희. "Research on the gender appearing in the youth theater of Yoon daesung." Institute for Humanities and Social Sciences 19, no. 1 (February 2018): 213–35. http://dx.doi.org/10.15818/ihss.2018.19.1.213.

Full text

APA, Harvard, Vancouver, ISO, and other styles

23

Margot Francis. "“Bending the Light” toward Survivance: Anishinaabec-Led Youth Theater on Residential Schools." Native American and Indigenous Studies 2, no. 2 (2015): 87. http://dx.doi.org/10.5749/natiindistudj.2.2.0087.

Full text

APA, Harvard, Vancouver, ISO, and other styles

24

A. Semenova, E., and . "Street Theater in Modern Media Space." International Journal of Engineering & Technology 7, no. 4.38 (December 3, 2018): 459. http://dx.doi.org/10.14419/ijet.v7i4.38.24604.

Full text

Abstract:

Street theater is viewed in modern media space as a reduced, repeatedly duplicated carnival area. M.M. Bakhtin’s understanding of reduced forms of carnival laughter, which include humor, irony, sarcasm, is applied. The modern festival movement of street theaters in the beginning of the 21st century is analyzed. It is proved that despite the fact that street theater actively uses new interactive means of media communication, containing various information (audio-visual, acoustic, computing, optical, imagery, artistic, scenic, etc.) and contributing to the acceleration of information dissemination and audience expansion, this form of theater is rapidly degenerating. Street theater is transformed into a serious socio-cultural game. But despite the fact that media technologies offer not excess but poverty (deficit) instead of extravagant human nature, the carnival origin is preserved not in replicable formats of street theater, but in informal communication between urban and rural youth. This makes it possible to talk about the preservation of modern man's vital need for street theater and carnival communication. The analysis of these issues is based on the views of M.M. Bakhtin, V.B. Shklovsky, Guy Debord, and J. Baudrillard.

APA, Harvard, Vancouver, ISO, and other styles

25

Zaatov, Ismet A. "Crym Girey I – the founder of the classical theater in the Crimea (on the issue of 257 years experience of the Crimean Tatar`s first theatrical productions of the European type theater)." Crimean Historical Review, no. 1 (2020): 100–135. http://dx.doi.org/10.22378/kio.2020.1.100-135.

Full text

Abstract:

The formation process of the Crimean Tatar theater can be divided into the following periods: medieval – folk theater (the initial round dance and toy puppet theater of shadows “Karagoz”, the theater of one actor “meddah”, the arena theater “orta oyuny”); Khan`s theater in the middle of the XVIII century (penetration into the Crimea of European theater traditions in the era of the Crimean Khan Crym Girey I); the revival of traditions of the Crimean Tatar theater late XIX–XX centuries (the activities of a theater-goers group of the Jadidist Crimean Tatar youth–followers of I. Gasprinsky, under the leadership of J. Meinov – the efforts of the Crimean Tatar noblewoman-myrzachkas under the leadership of A. Taiganskaya; organization of a professional Simferopol Tatar theater troupe under the People’s Commissar of Education of the Crimean ASSR in 1921 and creation and activities of the Crimean Tatar Drama Theater, headed by A. Taigan, and the Crimean Tatar amateur movement in the Crimea, and among the Crimean Tatar foreign diaspora of 1923–1944 (Soviet pre-deportation period); recreation and current activities of the Crimean Tatar theater in the Crimea,1989 (post deportation period). In this article, for the first time in the art history, is revealed the so-called Khan`s period in the formation of the Crimean Tatar theater, discussed the revolutionary activity in the field of Crimean Tatar art, the ascetic activity of the Crimean Khan Crym Girey I to promote the ideas of European theater traditions and create a classical theater in the Crimea. The picture of the actions undertaken by the Crimean ruler in the construction of theater business in the Crimea, as well as his thoughts and statements about the theater, was recreated according to the text published in the XVIII century, memories of personal meetings and conversations with Crym Girey I of European authors: German – von der Goltz, Polish – Pilshtynova, Russian – Nikiforov, Frenchman – de Tott, Austrian – Kleeman. Based on these recollections is built a clear and explicit picture of a role of Crym Girey I as a pioneer in bringing European theater traditions and creation of a classical theater in the culture of the Crimea, the Turkic and Muslim worlds.

APA, Harvard, Vancouver, ISO, and other styles

26

Slater, W. J. "Pantomime Riots." Classical Antiquity 13, no. 1 (April 1, 1994): 120–44. http://dx.doi.org/10.2307/25011007.

Full text

Abstract:

It is argued that there is no simple or single reason for the riots caused by pantomimes in early imperial Rome, and especially in 14 and 15 A.D. Theatrical passion has been suggested as the main cause, but other factors must be considered: the meaning of the theater as a symbol of order, the peculiar importance of the equestrian order in the architecture of the theater; the position of the main Roman theaters in their relation to the exercise grounds of the iuvenes; the complex relationships of the equestrian iuvenes with the pantomime artists. It is pointed out that it is not always easy to define a pantomime, or to know the nature of the program; but competition was certainly involved. It is argued that the policies of Tiberius toward the theater and the iuvenes were particularly productive of discontent, which led to repeated legislation to control it. The role of Drusus is probably crucial. A central role is also played by the theater claques, and the acclamations of the equestrians, the theater being their principal venue. Various connections between the equestrian iuvenes and the theater are considered. One key is the physical training of Roman youth, which had become affected by Greek concepts of gymnasium dancing, perhaps under the influence of rhetoric. This in turn made it possible for young Romans to develop quasi-pantomime skills, which they could demonstrate in their iuvenalia. Second, it is suggested that the Baths of Agrippa and their decoration can be seen as an indication of such a change in official policy, and their position next to the theaters is stressed. Third, the personal relations between pantomimes and the nobility is documented, and the importance of the private stage in Rome. Finally, the legislation of the Tabula Larinas is considered, as it affected nobles on the stage or in the arena, and other legal implications of this conflict between the senate and the youth are sketched.

APA, Harvard, Vancouver, ISO, and other styles

27

Nadri, Chihab, Jiayuan Dong, Haley Swaim, Sangjin Ko, Harsh Sanghavi, and Myounghoon Jeon. "Investigating the Effects of Demographics and Framing on the Robot-Theater Program." Proceedings of the Human Factors and Ergonomics Society Annual Meeting 64, no. 1 (December 2020): 485–89. http://dx.doi.org/10.1177/1071181320641110.

Full text

Abstract:

While STEAM (Science, Technology, Engineering, Arts and Mathematics) education programs have shown promise in increasing students’ interest in STEM and arts & design fields, the effects of demographic and other contextual factors have not been thoroughly investigated yet. While conducting robot-theater summer youth sessions with forty participants of the TechGirls international summer exchange program, we explored these factors. Participants in teams of four to six students created a script for a theater play that required the use of programmable robots. Results seem to suggest the influence of demographic factors such as nationality, as well as the effect of framing on participant attitudes towards robots and STEAM education. Subsequent validation of these effects in other studies is expected to contribute to refining the design of robot-theater and other STEAM education programs.

APA, Harvard, Vancouver, ISO, and other styles

28

Kisiel, Cassandra, Margaret Blaustein, Joseph Spinazzola, Caren Swift Schmidt, Marla Zucker, and Bessel van der Kolk. "Evaluation of a Theater-Based Youth Violence Prevention Program for Elementary School Children." Journal of School Violence 5, no. 2 (June 12, 2006): 19–36. http://dx.doi.org/10.1300/j202v05n02_03.

Full text

APA, Harvard, Vancouver, ISO, and other styles

29

Szuster, Magdalena. "Theater Without a Script—Improvisation and the Experimental Stage of the Early Mid-Twentieth Century in the United States." Text Matters, no. 9 (December 30, 2019): 374–92. http://dx.doi.org/10.18778/2083-2931.09.23.

Full text

Abstract:

It was in the mid-twentieth century that the independent theatrical form based entirely on improvisation, known now as improvisational/improvised theatre, impro or improv, came into existence and took shape. Viola Spolin, the intellectual and the logician behind the improvisational movement, first used her improvised games as a WPA worker running theater classes for underprivileged youth in Chicago in 1939. But it was not until 1955 that her son, Paul Sills, together with a college theater group, the Compass Players, used Spolin’s games on stage. In the 1970s Sills made the format famous with his other project, the Second City. Since the emergence of improv in the US coincides with the renaissance of improvisation in theater, in this paper, I will look back at what may have prepared and propelled the emergence of improvised theater in the United States. Hence, this article is an attempt to look at the use of improvisation in theater and performing arts in the United States in the second half of the 20th century in order to highlight the various roles and functions of improvisation in the experimental theater of the day by analyzing how some of the most influential experimental theaters used improvisation as a means of play development, a component of actor training and an important element of the rehearsal process.

APA, Harvard, Vancouver, ISO, and other styles

30

Tomilin, Dmitry Valentinovich, Maria Vitalievna Nosova, and Yevgeniy Anatolyevich Glazov. "International Festival of Theater Schools of the BRICS countries as an example of successful cooperation of the “five” in the sphere of humanities." Человек и культура, no. 2 (February 2020): 65–76. http://dx.doi.org/10.25136/2409-8744.2020.2.32060.

Full text

Abstract:

This article describes the form of successful cooperation of the BRICS countries in the sphere of humanities. The subject of this research is the International Festival of Theater Schools of the BRICS countries, which is viewed as a festivity of creative youth that represents different cultures and performing arts of their country. The goal consists in characterization of the festival, which opens a unique opportunity for communication of youth from the BRICS countries, exchange theatrical traditions and experience, acquire new friends, and demonstrate their acting skills. The scientific novelty lies in the systematized material pertaining to the specificity of organization and hosting the International Festival of Theater Schools of the BRICS countries. It is proven that the international educational program in performing arts within the framework of the festival is the realization of artistic investments into the cultural life of the Russian Federation. The author’s special contribution consists in clarification of the fact that for the past ten years the BRICS countries have achieved great results in the area of culture and art. Among all types of cooperation, the exchange in education and culture play the key role as the bridge in the sphere of humanities between the countries. The International Festival of Theater Schools of the BRICS became the source of development of the worldview of youth from different countries; broadened the horizon of the contemporary forms of culture and art; as well as emphasized the defining role of the techniques of teaching acting through the prism of Stanislavsky’s method that transforms through the culture of ethnoses represented on the festival.

APA, Harvard, Vancouver, ISO, and other styles

31

Pereverzeva, Marina V. "Genre Specifics of the Musical and Its Reflection in Stage Practice (Experience in Staging the Performance by College Students)." Uchenye Zapiski RGSU 20, no. 1 (March 30, 2021): 164–71. http://dx.doi.org/10.17922/2071-5323-2021-20-1-164-171.

Full text

Abstract:

Pop faculties and departments of universities and colleges became the main suppliers of musical actors, interest in which arose in Russia in the 90s of the XX century. The methodological support for the preparation of musical artists has not yet been sufficiently covered due to the youth of this genre and the specifics not fully studied. The popularity of the musical in our country gradually leads to an increase in the number of specialized educational institutions and relevant faculties in existing theater and music colleges and universities, which, of course, should increase the overall level of stage productions in this genre and bring the Russian musical to new creative heights. Annotation. Pop faculties and departments of universities and colleges became the main suppliers of musical actors, interest in which arose in Russia in the 90s of the XX century. The methodological support for the preparation of musical artists has not yet been sufficiently covered due to the youth of this genre and the specifics not fully studied. The popularity of the musical in our country gradually leads to an increase in the number of specialized educational institutions and relevant faculties in existing theater and music colleges and universities, which, of course, should increase the overall level of stage productions in this genre and bring the Russian musical to new creative heights. As far as graduates of the College of Music and Theater master the skills of stage skills and singing in the process of training, the practice of their participation in theatrical productions as musical theater actors shows. In this case, the participation of college graduates in the most famous musical in Russia “Notre-Dame de Paris” is considered.

APA, Harvard, Vancouver, ISO, and other styles

32

Wernick, Laura J., Michael R. Woodford, and Alex Kulick. "LGBTQQ Youth Using Participatory Action Research and Theater to Effect Change: Moving Adult Decision-Makers to Create Youth-Centered Change." Journal of Community Practice 22, no. 1-2 (April 3, 2014): 47–66. http://dx.doi.org/10.1080/10705422.2014.901996.

Full text

APA, Harvard, Vancouver, ISO, and other styles

33

Shevelova, Oleksandra. "Children's and youth repertory of the modern musical theater in Ukraine: research problems of the director's concept." Ukrainian musicology 46 (October 27, 2020): 30–44. http://dx.doi.org/10.31318/0130-5298.2020.46.234590.

Full text

Abstract:

The aim of the study is to determine the degree of research of the repertoire policy of the Ukrainian musical theatres in the context of works for children and youth; to emphasize the role of the director in selecting the appropriate techniques and artistic expressions aimed at young auditory. The object: children's and youth repertoire of modern Ukrainian musical theatre and its directorial incarnations, the nature of interpretations and their compliance with the young viewers' perception. The methodology implies the use of a system and analytical method, which allows carrying out theoretical and methodological generalization of scientific concepts, works and proposals of leading scientists in order to find a new scientific understanding of children's and youth repertoire of modern Ukrainian musical theatre. Functional-structural analysis makes it possible to determine the functional component of musical theatre and repertoire focused on the young audience, in particular, to form the principles and values of the influence of theatrical art on the individual. With the help of traditional methods of art research: genre, stylistic, interpretive approaches to directorial modifications of the repertoire in accordance with the modern requirements. The relevance of the study: exploring the little-studied topic of children's musical theatre in Ukraine, drawing the experts’ attention to the gaps that arise in the process of vector determination in the groups’ repertoire policy. The appeal to these aspects is signified by the need of finding the new directorial approaches if solving modern problems of children's and youth repertoire of musical theatres in Ukraine at the time of global changes in artistic culture. Art education of the young generation of the information technology era is an important component of comprehensive personal development. Findings and conclusion: the study of the problem of solving children's and youth subjects in Ukrainian musical theatres at the time of modern socio-cultural challenges allows us to state the lack of a systematic differentiated approach to the theme choice, directing techniques, artistic expression which are appropriate for the children's, teenagers’ and youth perception. The review of domestic and foreign researches on the chosen problems testifies to the existence of some separate developments in psychological and pedagogical, culturological, musicological, theatrical sciences. Unfortunately, there is still no comprehensive intersectoral scientific research that integrates the various achievement in order to create an artistically holistic performance for children and youth. The format of directorial incarnations of musical and theatrical performances of the specified repertoire implies the differentiation of directorial approaches to its interpretations in accordance with the peculiarities of the musical drama of works which are focused on the relevant audience. The further research prospects lay in the opportunity to identify examples of relevant works for the re-pertoire of the musical theatre in Ukraine and to establish the relevant directorial concepts that can be embodied in musical and theatrical performances aimed at children and youth audiences.

APA, Harvard, Vancouver, ISO, and other styles

34

Mally, L. "Performing the New Woman: The Komsomolka as Actress and Image in Soviet Youth Theater." Journal of Social History 30, no. 1 (September 1, 1996): 79–95. http://dx.doi.org/10.1353/jsh/30.1.79.

Full text

APA, Harvard, Vancouver, ISO, and other styles

35

Burton, Bruce. "Staging the Transitions to Maturity: Youth Theater and the Rites of Passage Through Adolescence." Youth Theatre Journal 16, no. 1 (May 2002): 63–70. http://dx.doi.org/10.1080/08929092.2002.10012541.

Full text

APA, Harvard, Vancouver, ISO, and other styles

36

Pinto, Lucas de Carvalho Larcher. "LIVROS COMO ESTÍMULOS E/OU DISPARADORES: POSSIBILIDADES DA DRAMATURGIA INFANTOJUVENIL BRASILEIRA NA ATUALIDADE." Revista Leia Escola 19, no. 2 (September 4, 2019): 79–89. http://dx.doi.org/10.35572/rle.v19i2.1473.

Full text

Abstract:

BOOKS LIKE STIMULATIONS AND/OR TRIGGERS: POSSIBILITIES OF BRAZILIAN THEATRICAL TEXT FOR CHILD AND YOUTH IN CURRENT DAY Neste artigo, discorro sobre parte de minha pesquisa de doutorado em Artes, em desenvolvimento na Universidade Estadual Paulista (UNESP). A partir da contextualização do uso de livros infantojuvenis como estímulos e/ou disparadores no Teatro Infantojuvenil brasileiro e de apontamentos acerca das tipologias e das particularidades das obras que vêm sendo utilizadas para este fim, pormenorizo alguns aspectos de dois livros que deram origem aos espetáculos paulistanos elencados em minha investigação como focos de atenção, observação, análise e reflexão. Trata-se, portanto, de uma tentativa de contribuir para o entendimento das diversas possibilidades da dramaturgia infantojuvenil brasileira na atualidade, assim como de suas recorrências e tendências, a partir do uso de livros como elementos capazes de estimular, disparar e direcionar a criação de obras teatrais a partir das linguagens verbal e/ou não-verbal... ou (palavras,) imagens e design. Abstract: In this article, I discuss part of my PhD research in Arts, in development at Universidade Estadual Paulista (UNESP). Based on the contextualization of the use of books for child and youth as stimuli and/or triggers in the Brazilian theater for child and youth and notes on the typologies and particularities of the books that have been used for this purpose, I detail some aspects about two books that gave rise to São Paulo shows in my investigation as foci of attention, observation, analysis and reflection. It is, therefore, an attempt to contribute to the understanding of the various possibilities of Brazilian theatrical text for child and youth, as well as its recurrences and tendencies, from the use of books as elements capable of stimulating, firing and directing the creation of theatrical works based on verbal and / or nonverbal languages ... or (words,) images and design.Keywords: Theater for child and youth. Books for child and youth. Theatrical text for child and youth.

APA, Harvard, Vancouver, ISO, and other styles

37

Moola, Fiona, Brian W. McCrindle, and Patricia E. Longmuir. "Physical activity participation in youth with surgically corrected congenital heart disease: Devising guidelines so Johnny can participate." Paediatrics & Child Health 14, no. 3 (March 2009): 167–70. http://dx.doi.org/10.1093/pch/14.3.167.

Full text

APA, Harvard, Vancouver, ISO, and other styles

38

Jiménez-Morales, Manel, Marta Lopera-Mármol, and Alan Salvadó Romero. "Youth empowerment through the creation of i-docs: Educational and social impacts." Catalan Journal of Communication & Cultural Studies 12, no. 2 (October 1, 2020): 211–24. http://dx.doi.org/10.1386/cjcs_00028_1.

Full text

Abstract:

Information and Communication Technology (ICT) are key elements in the educational process of teens. Consequently, efforts should be made to integrate ICT into educational plans and policies. Based on this premise, HEBE has been launched – a study on youth empowerment that was funded by the Spanish Ministry of Economy and Competitiveness and carried out by five universities: the University of Girona, the Autonomous University of Madrid, the Autonomous University of Barcelona, the University of Barcelona and Pompeu Fabra University. The project, based on media literacy and transmedia skills, involves the creation of an interactive documentary (i-doc). The HEBE i-doc: digital prints relates the experiences and reflections during the maturation stage of six youngsters with different cultural, educational, family and social backgrounds and profiles. This exploration was carried out through their own audio-visual creations, in a life story format. The i-doc has the dual purpose of (1) devising a methodology based on digital ethnography, and (2) creating an interactive platform for sharing experiences and promoting the visibility of these issues via citizen science.

APA, Harvard, Vancouver, ISO, and other styles

39

Jenkins, Simon PR. "Working with coaches and their teams in youth and collegiate sport in the USA: An interview with Dr Andy Gillham." International Journal of Sports Science & Coaching 13, no. 3 (June 2018): 305–14. http://dx.doi.org/10.1177/1747954118771132.

Full text

Abstract:

Insights are provided from a coaching consultant’s work with sports teams, including helping coaches in figure skating cope with parents who were always in their way; being unable to help a women’s soccer coach eliminate toxic behaviour from senior players; devising a goal setting programme involving peer assessment in women’s soccer that was successful in motivating reserve players on the bench during matches; empowering a pitcher in women’s softball as a solution to a head coach’s poor relationship with his pitching coach; facilitating culture change in a figure skating club by rewriting the club coaching contracts; and improving team cohesion in women’s volleyball through role play in the locker room.

APA, Harvard, Vancouver, ISO, and other styles

40

Bae, Jin-Sup. "Youth Theater Education 30 Years by The Korean Teachers' Theater Association. Its Results and Prospect - Focusing on the Theatrical Plays by the Stage ‘Kyokeuk’." Joural of the Korea Entertainment Industry Association 9, no. 4 (December 31, 2015): 97. http://dx.doi.org/10.21184/jkeia.2015.12.9.4.97.

Full text

APA, Harvard, Vancouver, ISO, and other styles

41

Jerlström, Charlotta, and Annsofie Adolfsson. "Prevention of Chlamydia Infections With Theater in School Sex Education." Journal of School Nursing 36, no. 3 (November 22, 2018): 203–11. http://dx.doi.org/10.1177/1059840518811912.

Full text

Abstract:

The aim of the study was to evaluate if an intervention including theater in school sex education affects students’ knowledge, attitudes, and behavior regarding condom use in Sweden. The study was a cluster randomized controlled trial. The intervention group got a play, value exercises, chlamydia games, condom school, and interactive replay with professional actors and staff from a youth guidance center. The control group got standard sex education from school staff. Students in both groups answered web surveys on knowledge, attitudes, and behavior regarding condom use. Posteducation, knowledge on condom use, chlamydia, and protection had increased in both groups. However, students in the intervention group showed higher levels of knowledge, improved attitudes, and less risky behavior in regard to condom use compared to the control group. The intervention titled SAFETY seemed to be a beneficial supplement to standard sex education and more effective with regard to knowledge of condom use.

APA, Harvard, Vancouver, ISO, and other styles

42

Wernick, Laura J., Alex Kulick, and Michael R. Woodford. "HOW THEATER WITHIN A TRANSFORMATIVE ORGANIZING FRAMEWORK CULTIVATES INDIVIDUAL AND COLLECTIVE EMPOWERMENT AMONG LGBTQQ YOUTH." Journal of Community Psychology 42, no. 7 (August 11, 2014): 838–53. http://dx.doi.org/10.1002/jcop.21656.

Full text

APA, Harvard, Vancouver, ISO, and other styles

43

Maslennikova, Anzhela. "Opera and Choral Performance in Mykhailo Krechko’s Work." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 130 (March 18, 2021): 131–42. http://dx.doi.org/10.31318/2522-4190.2021.130.231220.

Full text

Abstract:

The article considers some aspects of opera and choral performance on the example of analysis of the theatrical period of creativity of one of the prominent figures of Ukrainian choral culture, founder of the choir of the State Children’s Musical Theater — People’s Artist of Ukraine, Professor Mykhailo Krechko (1925–1996). M. Krechko as the first chief choirmaster of the theater built his individual principles of work and theatrical traditions inherent in such a unique opera choir. SCMT is the second in the world and the only professional opera and ballet theater in Ukraine for children and youth).The established traditions and peculiarities of the choir’s work in SCMT are analyzed, based on the repertoire of the newly created Theater and the genre range of performances of choir artists (opera, ballet, musical, cantata and oratorio works, a cappella music performance).Formulation of the problem in general. The relevance of the chosen subject is due to the lack of basic scientific research into the life and work of the famous Ukrainian choral conductor M. Krechko. This is the first comprehensive appeal to the activities of an outstanding master of choral work, active propagandist and collector of folk songs, composer, publicist, teacher and music and public figure, who devoted his entire creative life to the development of national choral culture. A separate task is to study and analyze the basis of the traditions of opera and choral performance initiated by M. Krechko during his work at the State Children’s Musical Theater. Also, it is important to systematically study the methodology and means of educating opera choristers on the example of the work of M. Krechko. Analysis of research and publications to solve the problem. General characteristics of the life and work of Mikhail Krechko are examined in the works of O. Bench-Shokalo, M. Kravchuk, A. Lashchenko, L. Mokanu. The issues of choir and opera choir are analyzed in the works of L. Butenko, O. Letychevska, B. Pokrovsky, K. Pigrov, P. Chesnokov, which explores the functioning of the choir and the nuances of managing this process, as well as the work of specialists in the opera house.The problem of the specifics of M. Krechko’s work with the opera choir was not raised in the scientific literature, which determined the relevance of this article. The research materials of the archive of the “Kyiv Municipal Academic Opera and Ballet Theater for Children and Youth” — programs of performances and concerts, reviews; family archival materials of the Krechko family; publications by M. Krechko and devoted to the work of M. Krechko (booklets, articles in newspapers and magazines, author’s books and reference books). Also, below are a number of personal conclusions of the author of the article while working as a choir artist under the direction of M. Krechko.The purpose of the article is to study the life and work of M. Krechko as an opera choirmaster, his methodology and practical implementation of the multitasking of choir artists in a wide range of synthesis of arts in the opera house.Conclusions and prospects for further exploration in this direction. The article explores for the first time the theme of opera and choral performance in the works of the outstanding Ukrainian choirmaster — People's Artist of Ukraine, Professor Mykhailo Krechko. The above facts from archival materials and analysis of the maestro's artistic activity allow to learn more about the master's contribution to the choral art of Ukraine and its important role in the formation of the vector of development of the State Children's Musical Theater. Emphasis is placed on the specifics and universalism of the theatrical choir. Summarizing all the above, we can say that the modern creative life of the choir Kyiv Municipal Academic Opera and Ballet Theater for Children and Youth is fundamentally based on the high artistic principles laid down by the founder of the choir — Mykhailo Krechko. The Maestro’s great love for the Theater Choir, which he called his “swan song”, high performing skills and a wide range of genres of repertoire, education of followers and like-minded people, and deep traditions established by the choirmaster are a strong foundation and guide to new artistic victories.

APA, Harvard, Vancouver, ISO, and other styles

44

Khansa, Lara, Tabitha James, and Deborah F. Cook. "Acceptance, Use, and Influence of Political Technologies among Youth Voters in the 2008 US Presidential Election." International Journal of E-Politics 1, no. 4 (October 2010): 1–21. http://dx.doi.org/10.4018/jep.2010100101.

Full text

Abstract:

The visibility of network-based technologies in the 2008 U.S. presidential election is indicative of their importance as tools to inform and motivate a populace. By explaining what factors impact usage behaviors with respect to these technologies, their use can be better encouraged. In this paper, the authors examine the constructs influencing usage behaviors for political technologies using the unified theory of acceptance and use of technology (UTAUT) model. The authors also explore the impact of the use of political technologies on political interest and activism in organized movements. The model was tested on a large sample of youth voters, and results suggest that performance and effort expectancy, along with social influences, impact the use of political technology. Evidence was also found suggesting that the usage of political technologies positively impacts political interest and political activism. Findings suggest that room for growth exists in devising novel ways to use political technologies to motivate active participation.

APA, Harvard, Vancouver, ISO, and other styles

45

Agratina, Elena E. "Jean-Honoré Fragonard’s Work and the Theatre Culture of the 18th Century." Observatory of Culture 16, no. 4 (September 13, 2019): 406–17. http://dx.doi.org/10.25281/2072-3156-2019-16-4-406-417.

Full text

Abstract:

The article, for the first time, examines the work of the master of the 18th century Jean-Honoré Fragonard (1732—1806) within the context of the theatre culture of that time. Being a student of François Boucher (1703—1770), who was working as a theater decorator for a long time, Fragonard from his youth had the opportunity to join the world of theater. The painter’s passion for the stage greatly influenced the thematic and figurative composition of his works. Early historical paintings of Fragonard, such as “Jeroboam Sacrificing to Idols” (1752, School of Fine Arts, Paris), were created under the influence of Baroque theater and decorative art and opera productions. Undoubtedly, Fragonard’s familiarity with theatre was promoted by his long stay in Italy, where the famous families of theater decorators Bibiena and Galliari was working at that time. The article pays special attention to the process of planning and execution of the painting “The High Priest Coresus Sacrificing Himself to Save Callirhoe” (1765, Louvre), made not without regard to the opera “Callirhoe”, popular in Paris in the 18th century. It was theater that inspired the master to create his famous costume series of “Fantasy Portraits”, one of which depicted Marie-Madeleine Guimard (1743—1816), who not only had posed for the artist, but also ordered him to design her own mansion conceived as a temple of Terpsichore, the Muse of dance. In addition, Fragonard was the author of several panoramic genre paintings conveying the atmosphere of the then popular street theater. Works of this brilliant master exemplify the relationship of arts that determined the nature of the cultural environment of that era and requires constant attention from modern researchers.

APA, Harvard, Vancouver, ISO, and other styles

46

Yu., Filipchuk, and Kubai R. "DESIGN RESULTS OF CULTURAL AND EDUCATIONAL, THEATRICAL AND ENTERTAINMENT BUILDINGS." Architectural Studies 6, no. 1 (September 1, 2020): 143–48. http://dx.doi.org/10.23939/as2020.01.143.

Full text

Abstract:

theatrical and entertainment buildings, designed by teachers and students of the Department of architectural environmental design, Institute of Architecture, National University of Lviv Polytechnic. Nowadays, the theater architectural industry in Ukraine that specializes in youth audiences and students has no clear answer to the question of what the architecture of contemporary theater for children and young people should be and what functional colors and scenographic palette it should include. The theatrical architecture of buildings for children and youth in modern Ukraine continues to be a copy of the building since the Soviet Union. At the beginning of the 21st century nothing new appeared except analogs of the Theater of Young Spectators and the Puppet Theater of the former era. The analysis of more than 25 projects of all ranks has shown that most of them are based not only on the ideas of architects of the second half of the twentieth century but also those that made up a network of cultural and educational, theatrical and spectacular buildings in the former USSR. However, in recent years the projects of the Lviv School of Architecture, and especially after the creation of the Department of Architectural Environmental Design, have changed direction towards finding solutions for the architecture of the future. Evidence of the results of both educational, competitive design and the creation of special courses that reanimate the ideas of the architecture of futurists of the twentieth century - F. Kiesler, I. Leonidov and other architects of futurists in the applied sphere A. Quarmby, K. Tange, B. Fuller and those engaged in the search for architecture, which is at least partially called the architecture of the future - G. Holmin, Wolf D. Prix, G. Krieger. The materials of the article highlight the main principles of designing cultural and educational, theatrical, and entertainment centers in the 21st century. The author outlines the factors that continue to harm the future development of cultural and educational, theatrical, and entertainment centers in Ukraine. Highlighted experience of designing search, educational and competition projects on the example of the activity of the Department of architectural environmental design proves that it can find application in the applied architectural and construction industry of the country as a whole.

APA, Harvard, Vancouver, ISO, and other styles

47

Yadav, Rambalak, Vikas Chauhan, and Govind Swaroop Pathak. "Intention to adopt internet banking in an emerging economy: a perspective of Indian youth." International Journal of Bank Marketing 33, no. 4 (June 1, 2015): 530–44. http://dx.doi.org/10.1108/ijbm-06-2014-0075.

Full text

Abstract:

Purpose – The purpose of this paper is to understand the consumer’s intention toward internet banking adoption in Indian context by combining two theories; theory of planned behavior (TPB), technology acceptance model (TAM) and an additional construct, i.e. perceived risk. Design/methodology/approach – A questionnaire based survey was conducted to collect responses from young consumers (210 usable responses). Data were analyzed using structural equation modeling to evaluate the strength of relationship. Findings – The result shows that perceived usefulness, attitude, subjective norm and perceived behavioral control significantly influences the consumer’s intention to adopt internet banking whereas perceived risk failed to show any significant influence over intention to adopt internet banking. Research limitations/implications – The study is limited to young consumers (i.e. professional students) only. Further, the study concerns itself with consumer’s intention not actual behavior. Practical implications – The finding will be useful for bank officials for devising strategies and policies related to internet banking in the Indian scenario. Originality/value – The paper is one of the initial attempts in Indian context to understand the consumer’s intention to adopt internet banking by combining TPB and TAM theories.

APA, Harvard, Vancouver, ISO, and other styles

48

Cheadle, Allen, Carol Cahill, Pamela M. Schwartz, John Edmiston, Sarah Johnson, Larry Davis, and Curtis Robbins. "Engaging Youth in Learning about Healthful Eating and Active Living: An Evaluation of Educational Theater Programs." Journal of Nutrition Education and Behavior 44, no. 2 (March 2012): 160–65. http://dx.doi.org/10.1016/j.jneb.2011.06.005.

Full text

APA, Harvard, Vancouver, ISO, and other styles

49

Corbett, Blythe A., Sara Ioannou, Alexandra P. Key, Catherine Coke, Rachael Muscatello, Simon Vandekar, and Ian Muse. "Treatment Effects in Social Cognition and Behavior following a Theater-based Intervention for Youth with Autism." Developmental Neuropsychology 44, no. 7 (October 3, 2019): 481–94. http://dx.doi.org/10.1080/87565641.2019.1676244.

Full text

APA, Harvard, Vancouver, ISO, and other styles

50

Calzo, Jerel P., Laura M. Bogart, Nick Bazo, Evelyn Francis, Abe Rybeck, Kaamila Mohamed, David Menino, Talia Kieu, and Riana B. Jumamil. "Feasibility and Acceptability of a Theater-Based HIV Prevention Workshop Developed by and for LGBTQ Youth." Progress in Community Health Partnerships: Research, Education, and Action 15, no. 2 (2021): 189–201. http://dx.doi.org/10.1353/cpr.2021.0021.

Full text

APA, Harvard, Vancouver, ISO, and other styles

We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!