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Relevant bibliographies by topics / Education Theater audiences Theater

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Academic literature on the topic 'Education Theater audiences Theater'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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Journal articles on the topic "Education Theater audiences Theater"

1

Kamenets, Aleksandr Vladlenovich, Irina Aleksandrovna Urmina, Elena Olegovna Kuznetsova, Lyubov Vladimirovna Molina, and Galina Ivanovna Gribkova. "The problems of fulfilling the culture formation potential of modern russian theater." LAPLAGE EM REVISTA 7, Extra-D (July 12, 2021): 252–59. http://dx.doi.org/10.24115/s2446-622020217extra-d1090p.252-259.

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The article focuses on the essential components of the contemporary theatrical process. The problems of drama and its recessionary trends are identified. Special attention is paid to the issue of values and ideals in dramaturgical work and significance for the further activity conducted by theaters. One of the pivotal aspects in the improvement of theaters’ work identified in the article is the task of optimization of the interaction between these institutions with the audience. The authors also examine the problems of modern theater directing that matter in terms of fulfilling the cultural and creative potential of modern Russian theaters. The authors associate the prospects of further improvement of the system of establishing theaters as cultural institutions with taking advantage of the opportunities for creating a more effective interaction between theater professionals and specialists working in the sphere of education.

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Zlotnikova, Tanjana S., and Svetlana V. Girshon. "Amateur theaters: soviet past and current practices." Yaroslavl Pedagogical Bulletin 1, no. 118 (2021): 202–9. http://dx.doi.org/10.20323/1813-145x-2021-1-118-202-209.

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This work offers an overview of sources devoted to amateur theater as a socio-cultural phenomenon that existed on the territory of the Soviet state and in post-Soviet Russia. Since amateur theater as a socio-cultural phenomenon has a complex nature, it is advisable to apply an interdisciplinary approach to the study of its activities. The activities of amateur theaters are considered in historical, cultural and sociocultural contexts. The authors consider the sociological, pedagogical, organizational aspects of the activities of amateur theaters, as well as their contribution to the culturalpractices of the regions. Throughout the existence of the Soviet state, amateur theaters were considered as means of propaganda and education of amateur artists and their audiences in the spirit of Soviet ideology. Unlike professional theaters, amateur groups in the 60s instantly reacted to a change in ideological paradigms, asked sharp, uncomfortable questions, and reflected an active civic position. The thaw period was marked by the creative heyday of amateur studio theaters, which ended in clashes with Soviet censorship. In the 90s, after the Soviet dissolution and the abolition of the leading role of the CPSU in the life of the state, amateur groups entered the period of experiments both organizationally and aesthetically. A certain boundary of this period was the professionalization of some amateur groups and the cessation of the activities of others. The authors consider the cultural practices of amateur theaters since the 2000s, when the process of transferring part of amateur groups from departmental subordination to municipal was completed. Attention is also given to the conditions for the existence of amateur theaters in the Yaroslavl region nowadays. Amateur theaters position themselves mainly as a way of organizing active creative leisure of the adult population. The pedagogical component in their activities has an insignificant part, the repertoire is entertaining in nature. In the presence of two or three groups known outside the region, the main part of amateur theaters in the Yaroslavl region carry out a cultural and educational function in small settlements where there is no professional theater

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Waszkiel, Halina. "The Puppet Theatre in Poland." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 51, no. 51 (October 3, 2018): 164–79. http://dx.doi.org/10.34064/khnum1-51.09.

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Background, problems and innovations of the study. The modern Puppet Theater in Poland is a phenomenon that is very difficult for definition and it opposes its own identification itself. Problems here start at the stage of fundamental definitions already. In English, the case is simpler: “doll” means a doll, a toy, and “puppet” is a theatrical puppet, as well as in French functions “poupée” and “marionette” respectively. In Polish, one word serves both semantic concepts, and it is the reason that most identify the theater of puppets with theater for children, that is a big mistake. Wanting to get out of this hassle, some theaters have thrown out their puppet signage by skipping their own names. Changes in names were intended only to convey information to viewers that in these theaters do not always operate with puppets and not always for the children’s audience. In view of the use of the word “animation” in Polish, that is, “vitalization”, and also the “animator”, that is, “actor who is animating the puppet”, the term “animant” is suggested, which logically, in our opinion, is used unlike from the word “puppet”. Every subject that is animated by animator can be called an animant, starting with classical puppets (glove puppets, cane puppets, excretory puppets, silhouette puppets, tantamarees, etc.) to various plastic shapes (animals, images of fantastic creatures or unrelated to any known), any finished products (such as chairs, umbrellas, cups), as well as immaterial, which are animated in the course of action directed by the actor, either visible to viewers or hidden. In short, the animator animates the animant. If the phenomenon of vitalization does not come, that is, the act of giving “the animant” the illusion of life does not occur, then objects on the stage remain only the requisite or elements of scenography. Synopsis of the main material of the study. In the past, puppet performances, whether fair or vernacular, were seen by everyone who wanted, regardless of age. At the turn of the XIX–XX centuries, the puppet theater got divided into two separate areas – theater for adults and the one for children. After the war, the professional puppet theater for adults became a branch of the puppet theater for children. In general, little has changed so far. The only puppet theater that plays exclusively for adults is “Theater – the Impossible Union”, under the direction of Mark Khodachinsky. In the Polish puppet theater the literary model still dominates, that is, the principle of starting to work on the performance from the choice of drama. There is no such literary work, old or modern, which could not be adapted for the puppet theater. The only important thing is how and why to do it, what significance carries the use of animants, and also, whether the applying of animation does the audience mislead, as it happens when under the name of the puppet theater at the festival shows performances that have nothing in common with puppets / animations. What special the puppet theater has to offer the adult audience? The possibilities are enormous, and in the historical perspective may be many significant achievements, but this does not mean that the masterpieces are born on the stones. The daily offer of theaters varies, and in reality the puppet theaters repertoire for adults is quite modest. The metaphorical potential of puppets equally well justifies themselves, both in the classics and in modern drama. The animants perfectly show themselves in a poetry theater, fairy-tale, conventional and surrealistic. The puppet theater has an exceptional ability to embody inhuman creatures. These can be figures of deities, angels, devils, spirits, envy, death. At the puppet scenes, also animals act; come alive ordinary household items – chairs, umbrellas, fruits and vegetables, whose animation gives not only an interesting comic effect or grotesque, but also demonstrates another, more empathic view of the whole world around us. In the theater of dolls there is no limit to the imagination of creators, because literally everything can became an animant. You need only puppeteers. The puppet theater in Poland, for both children and adults, has strong organizational foundations. There are about 30 institutional theaters (city or voivodship), as well as an increasing number of “independent theaters”. The POLUNIMA, that is, the Polish branch of the UNIMA International Union of Puppets, operates. The valuable, bilingual (Polish–English) quarterly magazine “Puppet Theater” is being issued. The number of puppet festivals is increasing rapidly, and three of them are devoted to the adult puppet theater: “Puppet is also a human” in Warsaw, “Materia Prima” in Krakow, “Metamorphoses of Puppets” in Bialystok. There is no shortage of good dramas for both adults and children (thanks to the periodical “New Art for Children and Youth” published by the Center for Children’s Arts in Poznan). Conclusions. One of the main problems is the lack of vocational education in the field of the scenography of the puppet theater. The next aspect – creative and now else financial – the puppet show is more difficult, in general more expensive and more time-consuming in preparation than the performance in the drama theater. Actor-puppeteer also gets a task those three times heavier: to play live (as an actor in a drama theater), while playing a puppet and with a puppet. Consequently, the narrative of dramatic story on the stage is triple: the actor in relation to the viewer, the puppet in relation to the viewer, the actor in relation to the puppet. The director also works double – both the actor and the puppet should be led. It is necessary to observe the effect that arises from the actions of both stage partners. So the second threat seems to be absurd, but, alas, it is very real – the escape of puppeteers from puppets. The art of the puppet theater requires hard work, and by its nature, it is more chamber. This art is important for gourmets, poets, admirers of animation skills, as well as the searchers for new artistic ways in the theater, in wide understanding. Fortunately, there are some real fans of the puppet theater, and their admiration for the miracle of animation is contagious.

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Swedberg, Anne. "Participatory Audiences, East Harlem Street Theater, and Maryat Lee, 1951." Youth Theatre Journal 21, no. 1 (May 2007): 70–80. http://dx.doi.org/10.1080/08929092.2007.10012597.

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Riley, Ruth, Johanna Spiers, and Viv Gordon. "PreScribed (A Life Written for Me): A Theatrical Qualitative Research-Based Performance Script Informed by General Practitioners’ Experiences of Emotional Distress." International Journal of Qualitative Methods 20 (January 1, 2021): 160940692199918. http://dx.doi.org/10.1177/1609406921999188.

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This paper includes the script from a research-informed, theater-based production titled PreScribed (A Life Written for Me), which depicts the life of a distressed General Practitioner (GP) who is on the verge of breaking down and burning out. The authors provide context for the collaboration between artist and researchers and report on the creative methodological process involved in the co-production of the script, where research findings were imaginatively transformed into live theater. The researchers provide their reflections on the process and value of artistic collaboration and use of theater to disseminate research findings about emotions to wider audiences. It is concluded that qualitative researchers and artists can collaborate to co-create resonant and powerful pieces of work which communicate the emotions and experiences of research participants in ways that traditional academic dissemination methods cannot. The authors hope that sharing their experiences and this script as well as their reflections on the benefits of this approach may encourage researchers and artists to engage in this type of methodological collaboration in the future.

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Hensley, Michelle. "It's Just a Play (and That's Enough)." Theatre Survey 57, no. 3 (August 10, 2016): 415–18. http://dx.doi.org/10.1017/s0040557416000429.

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Ten Thousand Things Theater performs plays for as many different kinds of audience as we can. We are a strictly professional theatre company that works with the best actors in the Twin Cities (our home for the past twenty-three years), performing Shakespeare, Greek tragedy, Brecht, American musicals, and contemporary plays, taking each production to seven or eight correctional facilities (men's, women's, and juvenile), nine or ten low-income centers (homeless shelters, adult-education centers, housing projects, detox centers, immigrant centers, Indian reservations, rural areas), as well as doing twelve to sixteen shows for the paying general public. That's it—taking a play directly to extremely diverse audiences in order to engage with as many different kinds of people as possible. We do not work with individual marginalized communities over stretches of time to create theatre pieces, nor do we integrate community members as actors or writers or designers in the process. This is of course very valuable work, and such work may indeed change people's lives—it's just not what we do. We have never set out to try to change anyone's life. We never will begin with that intention. We simply try to tell stories as well as we possibly can, engaging with each audience as deeply and strongly as possible.

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Eroma, Marina. "Generation Z as a theater audience (on the problem of social partnership between school and theater)." KANT 37, no. 4 (December 2020): 400–405. http://dx.doi.org/10.24923/2222-243x.2020-37.82.

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The article is devoted to the current problem of partnership between the school and the theater. The article examines the key concepts that characterize the worldview of modern high school students-generation Z. The author notes the importance of the theater's influence on the process of personal development of adolescents – the development of their empathy and criteria for value judgment. The purpose of the research is to reveal the importance of strengthening contacts between school and theater in the context of the transformation of modern education. The scientific novelty of the work consists in an interdisciplinary approach to the issue with the involvement of materials from the field of pedagogy, cultural studies, psychology and theater studies. As a result, the author substantiates the need for innovative transformations in the field of social partnership between the school and the theater, and suggests the development and implementation of the project of an educational theater festival in an online format.

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Prendergast, Monica. "anecdotal." Qualitative Inquiry 26, no. 6 (May 5, 2019): 674–76. http://dx.doi.org/10.1177/1077800419846642.

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A poem based on an encounter with an audience member by the author following a prison theater production that the author was in as a mentor actor working alongside male inmates. The poem was presented as part of a panel on Applied Theater and Change—that is, how are we to know that change has occurred as a result of an applied theater experience or performance—at the triennial International Drama in Education Research Institute, University of Auckland, New Zealand in July of 2018.

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Van Bewer, Vanessa, Roberta L. Woodgate, Donna Martin, and Frank Deer. "Illuminating Indigenous health care provider stories through forum theater." AlterNative: An International Journal of Indigenous Peoples 17, no. 1 (February 23, 2021): 61–70. http://dx.doi.org/10.1177/1177180121995801.

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Learning about the historical and current context of Indigenous peoples’ lives and building campus communities that value cultural safety remains at the heart of the Canadian educational agenda and have been enacted as priorities in the Manitoba Collaborative Indigenous Education Blueprint. A participatory approach informed by forum theater and Indigenous sharing circles involving collaboration between Indigenous and non-Indigenous health care professionals ( n = 8) was employed to explore the above priorities. Through the workshop activities, vignettes were created and performed to an audience of students and educators ( n = 7). The findings emerging from the workshop illuminated that Indigenous people in nursing and higher education face challenges with negotiating their identity, lateral violence and struggle to find safe spaces and people due to tokenism and a paucity of physical spaces dedicated to Indigenous students. This study contributed to provoking a greater understanding of Indigenous experiences in higher education and advancing reconciliation.

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Cavallaro, Daniela. "Who Says You Can’t Be a Saint? Female Saints as Heroes on the Italian Catholic Stage." Journal of Humanistic Psychology 58, no. 4 (July 28, 2017): 444–59. http://dx.doi.org/10.1177/0022167817722272.

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This essay considers how one modern order of Catholic priests and nuns, the Salesians, presented the lives of female saints as heroic role models through theater to young women in Italy in the post-World War II years. My discussion touches on the Salesian use of theater in education; the most important Salesian woman author, Caterina Pesci; the heroic journey of the saints that Pesci chose as role models; the effect that the theatrical representation of these saints was meant to make on performers and audience, and the historical reasons for the importance of saints as heroic role models in postwar Italy.

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Dissertations / Theses on the topic "Education Theater audiences Theater"

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Harelik, Elizabeth A. "Shrews, Moneylenders, Soldiers, and Moors: Tackling Challenging Issues in Shakespeare for Young Audiences." The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1461187189.

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Richardson, John M. "The Blue Glow From the Back Row: The Impact of New Technologies on the Adolescent Experience of Live Theatre." Thesis, Université d'Ottawa / University of Ottawa, 2010. http://hdl.handle.net/10393/19609.

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This article considers the impact of new technologies on the adolescent experience of live, literary theatre. Drawing together the work of theorists in literacies, new technologies and audience studies, together with brain research, and the results of a focus group of four secondary students who have seen four plays at Canada’s National Arts Centre, it examines the consequences of young people’s immersion in digital culture and the new mindset that often results. The expectation of instant access to data, inter-connectivity, stimulation and control can make it difficult for adolescents to decode the metaphorical aspects of a theatrical performance. The article concludes that language arts and dramatic arts educators have a key role in teaching students how to decode—and therefore enjoy and appreciate— a play.

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Prince, Kathryn. "Educating an audience: Shakespeare in the Victorian periodicals." Thesis, University of Ottawa (Canada), 2005. http://hdl.handle.net/10393/29251.

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Based on extensive archival research, this thesis offers an entirely new perspective on popular Shakespeare reception by recuperating articles published in Victorian periodicals. Shakespeare had already reached the apex of British culture in the previous century, becoming the national poet of intellectuals and gentlemen, but during the Victorian era he was embraced by groups outside the corridors of power. If Shakespeare was sometimes employed as an instrument of enculturation, imposed on these groups, he was also used by them to resist this cultural hegemony. As a comprehensive record of how Shakespeare was represented to a wide variety of readers, the periodicals are invaluable. Research has already demonstrated the varied representations of Shakespeare available to the Victorians through performance, criticism, and creative works employing Shakespeare as a point of departure, as well as his prevalence in formal education and examinations. A missing element of this Victorian picture, the periodicals, has been virtually ignored by Shakespeare studies. Articles published in periodicals intended for well-defined readerships including the working classes (chapter one), children (two), women (three), and theatregoers (four and five) are records of alternative Shakespeares reshaped for particular demographic groups. As the pressure to sell copies was renewed with each issue, the periodicals were acutely responsive to the interests of their readers, and Shakespeare's prevalence in such diverse publications is powerful evidence of both the scope and the variety of his popular appeal. In the Girl's Own Paper, for instance, Portia became a vehicle for discussing women's rights, while some working-class periodicals borrowed from Coriolanus and Richard III to sharpen their readers' views on class relations, and the proponents of a national theatre transformed Shakespeare into the saviour of English drama. Measured in terms of utility, a favourite word among Victorian thinkers, Shakespeare became a valuable, contested commodity for Victorian readers and spectators. In turn, the Victorians prevented Shakespeare from fading into the forgotten past by continuing to discover new ways of making him relevant.

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Hoppe, Meredith A. "Breaking tradition reaching for the avant-garde in theatre for young audiences /." Orlando, Fla. : University of Central Florida, 2009. http://purl.fcla.edu/fcla/etd/CFE0002968.

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Wood, Andrew. "Theatre spectatorship and the "apraxia" problem." Thesis, McGill University, 1989. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=59834.

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Some recent work of Suvin (indebted to Merleau-Ponty's Phenomenologie de la perception) asserts that two fundamental aspects of the praxis of theatre spectatorship--the non-tactile, inactive physicality of the spectator, and her/his imaginative cognitive participation in the apperception of the performance text--might better be understood when examined with regard to the "apraxias," neurological disorders of purposive physical movement. This thesis follows up this line of thought in examining clinical material on apraxia, both temporally previous and subsequent to Merleau-Ponty's discussion. Additionally, it is contended that various paradigms in Bergson and within modern cognitive science (Edelman, Schacter) may be applied with some utility to the praxis of theatre spectatorship. This may lead to a better understanding of the mental participation of the spectator in the performance text as a modulation of present perception and past subjective experience. Such an understanding is compatible with a semiotic "encyclopedia" (Eco), possibly buttressing it with arguments extrapolated from neurology.

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Deal, Claire Elizabeth. "Collaborative theater of testimony performance as critical performance pedagogy implications for theater artists, community members, audiences, and performance studies scholars /." Fairfax, VA : George Mason University, 2008. http://hdl.handle.net/1920/3356.

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Thesis (Ph.D.)--George Mason University, 2008.
Vita: p. 244. Thesis director: Lorraine A. Brown. Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Cultural Studies. Title from PDF t.p. (viewed Jan. 11, 2009). Includes bibliographical references (p. 228-243). Also issued in print.

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Tauscher, Bryanna Nicole. "Theatre for Young Audiences and Educational Study Guides: Design, Implentation and Teachers' Perceptions." Thesis, The University of Arizona, 2006. http://hdl.handle.net/10150/193261.

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The purpose of this study was to evaluate a Theatre For Young Audiences (TYA) paper and multimedia study guide and to investigate teachers' perceptions of study guides created for TYA. It used current literature surrounding TYA performances, supplemental materials for the elementary classroom, and multimedia in performance and education, to glean critical elements for creating a useful TYA study guide. These elements provided the framework for creating a rubric to evaluate a TYA study guide's potential success in the classroom. The mixed methods study then used the created rubric to evaluate etc . . .'s (Educational Theatre Company) 2005 Hey Diddle Diddle! The Rhymes and Rhythms of Mother Goose study guide. This data was combined with surveys administered to elementary teachers. The study guide rated high on the rubric and teachers' perceptions were generally positive. Overall the analysis yielded information useful for the creation of future guides and research.

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Beal, Ara Grabaskas. "MISCASTING THE SPECTATOR: DRAMATURGS AND AUDIENCES IN TRANSCULTURAL PRODUCTIONS." Connect to this document online, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1114146896.

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Butterworth, Michael E. "Theater Education and Emerging Technologies." ScholarWorks, 2000. http://scholarworks.waldenu.edu/dissertations/7.

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Theater educators need compelling arguments for including the use of emerging technologies in the secondary theater classroom. The research documents the current uses of emerging technologies in the secondary theater classroom and contrasts the uses of traditional theater technologies with the uses of emerging technologies. Interviews with theater professionals identify current issues and practices in the theater community regarding the usage of technology. A telephone survey of theater teachers reveals patterns of technology use in the Seattle School District. The research concludes that theater teachers have many tools at their disposal to teach students the processes of artistic problem solving and the tools of technology are one of those very compelling and powerful tools.

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Chiu, Chun-Kai. "Movie theater ticket order system: (MTTOS)." CSUSB ScholarWorks, 2004. https://scholarworks.lib.csusb.edu/etd-project/2541.

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This project is a movie theater order system. This system allows people to get movie information and purchase tickets on the Internet. This project is based on a Model-View-Controller (MVC) architecture, which introduces a controller servlet to provide a single point of entry to the web system and encourages more reuse and extensibility of the code.

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Books on the topic "Education Theater audiences Theater"

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Actors, audiences, and historic theaters of Kentucky. Lexington: University Press of Kentucky, 2000.

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Theatre as a prison of Longue Durée. Frankfurt am Main [Germany]: Peter Lang, 2011.

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L'acteur et son public: Petite histoire d'une étrange relation. Paris: L'Harmattan, 2009.

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Verdeil, Jean. L'acteur et son public: Petite histoire d'une étrange relation. Paris: L'Harmattan, 2009.

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Buzuk, R. L. Tėatralʹnyi͡a︡ dali͡a︡hli͡a︡dy: Rozdum ab suchasnym belaruskim tėatry i hledachu. Minsk: "Navuka i tėkhnika", 1990.

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Francoeur, Louis. Le théâtre brèche: Essai. Montréal: Triptyque, 2002.

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Lakatos, Gyuláné. A színházak adatai: 1992-2001. Budapest: Központi Statisztikai Hivatal, 2002.

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Mervant-Roux, Marie-Madeleine. L' assise du théâtre: Pour une étude du spectateur. Paris: CNRS, 1998.

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Victor, Emeljanow, ed. Reflecting the audience: London theatre going, 1840-1880. Hatfield: University of Hertfordshire Press, 2001.

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Curt, Isaksson, and Jansson Lisbeth, eds. Teaterögon: Publiken möter föreställningen upplevelse-utbud-vanor. [Stockholm]: Liber, 1986.

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Book chapters on the topic "Education Theater audiences Theater"

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Geddes, Louise. "Imagined Theater." In Shakespeare’s Audiences, 166–79. New York, NY : Routledge, 2021. | Series: Routledge studies in Shakespeare: Routledge, 2021. http://dx.doi.org/10.4324/9781003152538-14.

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Miles, Emma, and Helen Nicholson. "Theatres as Sites of Learning: Theatre for Early Years Audiences." In Education and Theatres, 273–86. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-22223-9_18.

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Rhine, Anthony. "Theater education." In Theatre Management, 236–49. London: Macmillan Education UK, 2017. http://dx.doi.org/10.1057/978-1-352-00175-4_15.

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Odegaard, Marianne. "Science Theater/Drama." In Encyclopedia of Science Education, 928–30. Dordrecht: Springer Netherlands, 2015. http://dx.doi.org/10.1007/978-94-007-2150-0_336.

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Odegaard, Marianne. "Science Theater/Drama." In Encyclopedia of Science Education, 1–3. Dordrecht: Springer Netherlands, 2012. http://dx.doi.org/10.1007/978-94-007-6165-0_336-3.

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Bedard, Roger L. "Theatre for Young Audiences and Cultural Identity." In Key Concepts in Theatre/Drama Education, 283–87. Rotterdam: SensePublishers, 2011. http://dx.doi.org/10.1007/978-94-6091-332-7_46.

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Klein, Jeanne. "Criticism and Appreciation in Theatre for Young Audiences." In Key Concepts in Theatre/Drama Education, 289–93. Rotterdam: SensePublishers, 2011. http://dx.doi.org/10.1007/978-94-6091-332-7_47.

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Natriello, Gary. "The Learning Theater Project." In Digital-Age Innovation in Higher Education, 192–208. New York, NY : Routledge, 2021.: Routledge, 2021. http://dx.doi.org/10.4324/9781003038924-13.

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Sinclair, Christine, Richard Sallis, Christian Leavesley, and Jolyon James. "Arena Theatre’s Big Fish: The Marlin Project: Finding New Meanings in the Spaces Between Audience and Participation in Theatre for Young People." In Education and Theatres, 179–93. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-22223-9_12.

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González, Enrique, Andrés De La Pena, Felipe Cortés, Diego Molano, Benjamín Baron, Nicolas Gualteros, John Páez, and Carlos Parra. "Robotic Theater: An Architecture for Competency Based Learning." In Robotics in Education, 126–37. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-26945-6_12.

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Conference papers on the topic "Education Theater audiences Theater"

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Ormanlı, Okan. "Relationship Between Movie Theaters and Audience During the Pandemic: “Beyoğlu 1989 E-Bulletin” as an Example." In COMMUNICATION AND TECHNOLOGY CONGRESS. ISTANBUL AYDIN UNIVERSITY, 2021. http://dx.doi.org/10.17932/ctcspc.21/ctc21.028.

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Covid-19, a disease that transformed into a pandemic at the beginning of 2020, caused catastrophic results in the world and Turkey. There have been some restrictions on trade, education, tourism, and art. Daily life was not interrupted but some services and events that they have not primary functions (for some people) like “art” were on the verge of stopping and carried to the digital platforms. In this context, some corporations opened their archives and sometimes actual events to the public free of charge or for a certain amount of money. Art, which has always had “healing”, “mediating” and “unifying” effects, was consumed by the billions of people through digital devices. Considering art is both a sector and an industry, the unexpected phenomenon of Covid-19, which is a kind of crisis that occurs one in a hundred years and takes longer than expected, led to the temporary or permanent closure of some art and culture institutions. Due to these results, some supportive programs have been organized by official or non-official institutions to solve financial problems. In Turkey, all the movie theaters closed down on the 16th of March 2020 by the Ministry of Internal Affairs. Some halls opened in July and August, however, because of lack of audience and of the increasing number of patients they have closed down again in November. 2019 was a bad year for the sector yet 2020 was even worse with the decline of the audience by the ratio of %90. Before the pandemic, there were some problems in terms of halls. In this context, some movie theaters tried to find solutions not to lose the audience and find financial support. Beyoğlu Movie Theater that began operating in 1989, had some financial problems before the pandemic. The managers of the hall created a project called “Beyoğlu 1989”, which was a kind of electronic bulletin, and started sending e-mails to the subscribers. This project, which was implemented for the first time in Turkey, has reached the 57th issue and 800 subscribers today and has turned into a kind of weekly electronic-digital cinema newspaper that is also promoted on the Instagram account of the Beyoğlu cinema with 45 thousand followers. The broadcast also follows the cinema agenda and undertakes the task of a written-visual archive. In conclusion, a movie theater that started operating in the analog age, today use all the possibilities and utilities of the digital age and also with the help of its owners and followers, creates a communication ecology to prevent the shutdown. The aim of this article is to examine an electronic bulletin (also a film magazine) “1989”, which is first in Turkey, with the qualitative method.

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Mikheeva, Liudmila, Magda Dzhichonaia, and Julia Gushchina. "“Silver” Age Theater." In The 6th International Conference on Arts, Design and Contemporary Education (ICADCE 2020). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210106.001.

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Bryce, Renee, and Vicki Allan. "Mystery Bug Theater." In 2011 24th IEEE-CS Conference on Software Engineering Education and Training (CSEE&T). IEEE, 2011. http://dx.doi.org/10.1109/cseet.2011.5876109.

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Harari, Michal Doron. "Applause The Audience: Benefits Of Being The Audience In Theatre Group Work." In ERD 2017 - Education, Reflection, Development, Fourth Edition. Cognitive-Crcs, 2018. http://dx.doi.org/10.15405/epsbs.2018.06.64.

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Radhiah, Aisyatur, Yusrianti Yusrianti, and Aulia Haq Giranti. "Aesthetic Education in Theater Art Education." In Proceedings of the 2nd International Conference on Arts and Culture (ICONARC 2018). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/iconarc-18.2019.101.

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Yudiaryani, Yudiaryani, Aisyatur Radhiah, Yusrianti Yusrianti, and Aulia Haq Giranti. "Aesthetic Education in Theater Art Education." In Proceedings of the 2nd International Conference on Arts and Culture (ICONARC 2018). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/iconarc-18.2019.47.

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Savenkova, Lubov G. "Theatre Art In The Information Age: Youth Audience Perception Features." In EEIA 2019 - International Conference "Education Environment for the Information Age". Cognitive-Crcs, 2019. http://dx.doi.org/10.15405/epsbs.2019.09.02.81.

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Laamanen, Mikko, Ilkka Jormanainen, and Erkki Sutinen. "Theater robotics for human technology education." In Koli Calling '15: 15th Koli Calling International Conference on Computing Education Research. New York, NY, USA: ACM, 2015. http://dx.doi.org/10.1145/2828959.2828975.

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Umetsu, Kenya, Naoyuki Kubota, and Jinseok Woo. "Effects of the Audience Robot on Robot Interactive Theater Considering the State of Audiences." In 2019 IEEE Symposium Series on Computational Intelligence (SSCI). IEEE, 2019. http://dx.doi.org/10.1109/ssci44817.2019.9003010.

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Krasoń, Katarzyna. "THE THEATER OF MOVEMENT IN PRIMARY SCHOOL EDUCATION." In International Technology, Education and Development Conference. IATED, 2017. http://dx.doi.org/10.21125/inted.2017.1146.

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