Journal articles: 'Experimental Theater Experimental Theater'

1

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.

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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.

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Kelly, J. F. "DEAR EXPERIMENTAL THEATER WORLD." Theater 40, no. 2 (January 1, 2010): 4–5. http://dx.doi.org/10.1215/01610775-2009-026.

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Field, Thalia. "Experimental Theater Is History!" Theater 29, no. 2 (1999): 34–44. http://dx.doi.org/10.1215/01610775-29-2-34.

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Hidaka, Takayuki, and Leo L. Beranek. "Experimental theater of the New National Theater Tokyo, Japan." Journal of the Acoustical Society of America 115, no. 5 (May 2004): 2439. http://dx.doi.org/10.1121/1.4781780.

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Ding, Luonan, and Nienyuan Cheng. "Examining Experimental Theater in Contemporary China." Chinese Literature Today 8, no. 2 (July 3, 2019): 45–51. http://dx.doi.org/10.1080/21514399.2019.1674612.

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Makarova, E. E. "EXPERIMENTAL THEATER CENTERS’ TYPOLOGICAL ARCHITECTURE FEATURES FORMATION." Современные наукоемкие технологии (Modern High Technologies), no. 7 2018 (2018): 65–71. http://dx.doi.org/10.17513/snt.37080.

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7

Park, Ho-Young. "1960's Acting Method of Experimental Theater." Journal of the Korea Contents Association 9, no. 11 (November 28, 2009): 184–91. http://dx.doi.org/10.5392/jkca.2009.9.11.184.

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Shiau, Yan Chyuan, Ron Chen, and Cheng Wei Dan. "Renovation and Maintenance of Theater Dimmer Systems: Case Study on the Experimental Theater of the National Drama Theater." Applied Mechanics and Materials 174-177 (May 2012): 2036–41. http://dx.doi.org/10.4028/www.scientific.net/amm.174-177.2036.

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Many performing venues in Taiwan are historical. After long-time use, both the structure and equipment system of these venues have aged, thus causing critical impact on the stage, lighting, and sound effects. Based on the case of the Experimental Theater at the National Theater, this study investigated what should be noticed when renovating the theater lighting system, in order to provide an innovation guide for the management. This study also gathered the relevant information for maintaining the theater lighting system, in order to provide a reference for maintenance personnel to ensure the usability and functionality of dimmer systems.

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Ock-Ran Kim. "Experimental Theater 1990s, Co-creation Drama and Dramaturgy." Journal of Korean drama and theatre ll, no. 47 (March 2015): 205–60. http://dx.doi.org/10.17938/tjkdat.2015..47.205.

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10

Garrett, S. M. "The Awkward Age: New York's New Experimental Theater." Theater 31, no. 2 (January 1, 2001): 45–53. http://dx.doi.org/10.1215/01610775-31-2-45.

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11

Kolchanov, Vladimir V. "M.A. Bulgakov and V.E. Meyerhold: to the poetics of the avant-garde form “upside down theatre” and the erotic reception of the French theatre “nude”." Neophilology, no. 17 (2019): 84–89. http://dx.doi.org/10.20310/2587-6953-2019-5-17-84-89.

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In this study we analyze allusion from the novel by M.A. Bulgakov “The Fatal Eggs”, which, according to most literary critics, see the relations between M.A. Bulgakov and V.E. Meyerhold. Meanwhile, the theatrical avant-garde form of “upside down theatre” and the erotic reception of the French theater “nude”, denoted in it, say the opposite. They point to the political and social and public atmosphere that denies them, which is developing in the era of J.V. Stalin’s knocking together of the indisputable sample of the imperial spectacle. While indulging the tastes of the leader to be printed, M.A. Bulgakov uses sarcasm and hints that the further development of the experimental, constructivist theater will lead to the “brilliant revolutionary-artist” (S.S. Mokulsky) to impending death.

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Edward Flores, Suyo Ballarta Curin Rud,. "THEATER AS A STRATEGY TO IMPROVE ORAL EXPRESSION IN EI STUDENTS OF THE KINGDOM OF SPAIN IN THE COVID-19 PANDEMIC." Psychology and Education Journal 58, no. 1 (January 1, 2021): 3165–74. http://dx.doi.org/10.17762/pae.v58i1.1222.

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This research formulated as the main objective of determining the influence of the theater, as a strategy on the oral expression of first grade high school students of the I.E. Kingdom of Spain, Barranco- 2020, where theories related to oral expression were considered, in turn conceptions of oral expression and its elements, are revised concept of strategies. The study was quantitative, applied type, with quasi-experimental design, the sample was intentional non-probabilistic and consisted of two groups: Control Group of 25 students and Experimental Group also of 25 first grade high school students. The technique used was observation and the instrument an Oral Expression Observation Sheet, composed of 20 items that evaluates the three dimensions worked: verbal resources, for verbal and non-verbal. The results denote positive variation in the development of oral expression before and after the implementation of the program theatre as a strategy, which changes from 92% in process to 96% as an achievement in the post test; achieving a p-value of 000, less than α x 0.05, by using the Mann Whitney U-test, which makes it possible to conclude that the theater program influences oral expression. It is proposed to hold theatre workshops in educational institutions to improve oral expression.

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Rora Paek. "The Discourse of Korean Experimental Theater in the 1970s." Journal of Korean drama and theatre ll, no. 30 (October 2009): 361–97. http://dx.doi.org/10.17938/tjkdat.2009..30.361.

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14

&NA;. "An experimental study of iatrogenically induced operating theater burns." Plastic and Reconstructive Surgery 79, no. 1 (January 1987): 155. http://dx.doi.org/10.1097/00006534-198701000-00071.

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15

Shovkoplias, H. "Between modernism and postmodernism: experimental theater of Yuriy Tarnawsky." Literature and Culture of Polissya 101, no. 16f (January 20, 2021): 228–40. http://dx.doi.org/10.31654/2520-6966-2021-16f-101-228-240.

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16

Tanner-Kennedy, Dana. "Gertrude Stein and the Metaphysical Avant-Garde." Religions 11, no. 4 (March 25, 2020): 152. http://dx.doi.org/10.3390/rel11040152.

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When American metaphysical religion appears onstage, it most often manifests in the subject matter and dramaturgies of experimental theater. In the artistic ferment of the 1960s and 1970s counterculture, theater-makers looked both to alternative dramaturgies and alternative religions to create radical works of political, social, and spiritual transformation. While the ritual experiments of European avant-garde artists like Artaud and Grotowski informed their work, American theater-makers also found inspiration in the dramas of Gertrude Stein, and many of these companies (the Living Theatre and the Wooster Group, most notably) either staged her work or claimed a direct influence (like Richard Foreman). Stein herself, though not a practitioner of metaphysical religion, spent formative years in Cambridge, Massachusetts, at Radcliffe under the tutelage of William James. Cambridge, at the turn of the twentieth century, was a hotbed of spiritualism, theosophy, alternative healing modalities, and James, in addition to running the psychology lab in which Stein studied, ran a multitude of investigations on extrasensory and paranormal phenomena. This article traces a web of associations connecting Ralph Waldo Emerson, Transcendentalism, and liberal Protestantism to Gertrude Stein and landscape dramaturgy to the midcentury avant-garde, the countercultural religious seeking of the 1960s and 1970s, and the Off-Off-Broadway movement.

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17

Mally, Lynn. "The Americanization of the Soviet Living Newspaper." Carl Beck Papers in Russian and East European Studies, no. 1903 (January 1, 2008): 44. http://dx.doi.org/10.5195/cbp.2008.140.

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This article examines the migration of a Soviet agitational theatrical form from Russia to the United States in the 1920s and 1930s. The Soviet living newspaper, or zhivaia gazeta, began during the Russian Civil War as a method to act out a pro-Soviet version of the news for mainly illiterate Red Army soldiers. During the 1920s, it evolved into an experimental form of agitprop theater that attracted the interest of foreigners, who hoped to develop new methods of political theater in their own countries. In the United States, the living newspaper format was first adopted by American communist circles. Eventually, the depression-era arts program, the Federal Theatre Project (FTP), incorporated an expanded and altered version as part of its many offerings. Living newspapers eventually became one of the FTP’s most celebrated and criticized performance genres. The political content of American living newspapers was a major factor in the government’s elimination of the FTP in 1939.

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18

Matthias, Bettina. "“Show, don’t tell!”." Scenario: A Journal of Performative Teaching, Learning, Research I, no. 1 (January 1, 2007): 52–65. http://dx.doi.org/10.33178/scenario.1.1.3.

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While the field of drama and theater continues to inspire many foreign language teachers, improvisational theater has not received more than passing attention as a resource providing interesting warm-ups and games to be used periodically in our classroom. This article makes a case for using the format of an improvisational theater workshop in beginning foreign language teaching. The example of a three-week experimental workshop in January 2006 suggests that improvisational theater and systematic work with its basic directive ‘Show, don’t tell!’ encourage students to communicate in a foreign language environment before they may feel prepared to do so in the target language itself. Physical engagement with a situation opens up communicative possibilities, and it eventually enables students to overcome cognitive and psychological barriers to successfully move towards greater linguistic proficiency and communicative freedom. While the field of drama and theater continues to inspire many foreign language teachers, improvisational theater has not received more than passing attention as a resource providing interesting warm-ups and games to be used periodically in our classroom. This article makes a case for using the format of an improvisational theater workshop in beginning foreign language teaching. The example of a three-week experimental workshop in January 2006 suggests that improvisational theater and systematic work with its basic directive ‘Show, don’t tell!’ encourage students to communicate in a foreign language environment before they may feel prepared to do so in the target language itself. Physical engagement with a situation opens up communicative possibilities, and it eventually enables students to overcome cognitive and psychological barriers to successfully move towards greater linguistic proficiency and communicative freedom.

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19

Alekseev, N. P., O. G. Gerasimov, V. A. Glazkova, V. P. Luk'yanov, V. K. Monyukov, M. N. Rusalova, P. V. Simonov, and M. V. Frolov. "An Experimental Study of the Emotionality of Theater College Students." Soviet Psychology 23, no. 3 (April 1985): 59–72. http://dx.doi.org/10.2753/rpo1061-0405230359.

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20

Chico, Tita. "Gimcrack's Legacy: Sex, Wealth, and the Theater of Experimental Philosophy." Comparative Drama 42, no. 1 (2008): 29–49. http://dx.doi.org/10.1353/cdr.2008.0018.

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21

Kauffmann, Stanley. "Broadway and the Necessity for ‘Bad Theatre’." New Theatre Quarterly 1, no. 4 (November 1985): 359–63. http://dx.doi.org/10.1017/s0266464x00001779.

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Is Broadway necessary? As the focus for new writing and major experimental work in the USA shifts ever further from the old theatre district around Times Square – first to off- and then to off-off-Broadway, more recently to the flourishing regional theatres – many critics have come to regard Broadway either as an economic anachronism, failing to perpetuate past glories, or simply as an irrelevance to ‘real’ theatre. Yet Stanley Kauffmann argues that a focal point for a nation's theatre is more than the sum of sometimes fraying parts, and works on the imagination in ways that cannot be evaluated by the fragmentary assessment of succeeding productions; and here he analyses the ‘organism’ that Broadway remains, and the function it performs. Stanley Kauffmann has been theatre critic for the New York Times, the New Republic, and the Saturday Review, while the most recent of his full-length works is Theater Criticisms (1984).

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22

Naiseh, Ragda A. "Impact Based on the Educational Development of the Theater in Environmental Awareness "Quasi-experimental Study among Kindergarten Children Educational Program (4-5 years): in the Province of Damascus."." Journal of Educational and Psychological Studies [JEPS] 9, no. 3 (August 1, 2015): 607. http://dx.doi.org/10.24200/jeps.vol9iss3pp607-627.

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This study aimed to identify the role of theater in the development of environmental awareness among a sample of Kindergarten children (4-5 years). Two tools were used to achieve the educational theater program and test environmental awareness. The research sample included 40 boys and girls, divided into two groups: experimental and control groups (20 boys and girls per each group). The researcher found the following results: There were significant differences between the average scores of the experimental group children and the average degree of children in the control group test direct dimensional environmental awareness for the children of the experimental group. There were significant differences between the average scores of the experimental group children and the average degree of children in the control group post-test deferred environmental awareness for the children of the experimental group.

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23

Overbeke, Grace. "An Interview with Young Jean Lee." Theatre Survey 57, no. 1 (December 9, 2015): 37–42. http://dx.doi.org/10.1017/s004055741500054x.

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Identified by Time Out New York as “one of the best experimental playwrights in America” and hailed by the New York Times as “the most adventurous downtown playwright of her generation,” Young Jean Lee (Fig. 1) is actively shaping the future of the American theatre. In 2003, she founded Young Jean Lee's Theater Company, through which she has written and directed ten productions. Her full-length plays, including The Shipment and Songs of the Dragons Flying to Heaven, have been published in four collections and performed worldwide. In 2013, she released her first short film, Here Come the Girls, and her debut album, We're Gonna Die. In the following interview, Young Jean Lee reflects on the role of humor in her plays, discusses her collaborative process, and reveals the two rules that she would never break in the theatre.

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Vera de la Torre, Ana Jazmina, Elsa Mayorie Chimbo Cáceres, Wilma Elizabeth Suárez Mosquera, and Verónica Elizabeth Masabanda Manotoa. "READING FLUENCY THROUGH READER’S THEATER." Ciencia Digital 2, no. 2 (June 27, 2018): 498–511. http://dx.doi.org/10.33262/cienciadigital.v2i2.116.

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El inglés es el idioma oficial de la ciencia y la tecnología. La mayor parte de la información publicada en el internet está escrita en este idioma, por esa razón para ser considerado un profesional competente se debe aprender inglés desde los niveles iniciales de formación para desarrollar destrezas que permitan acceder a información actualizada. Con respecto a la destreza lectora, la exactitud, prosodia y el utomatismo son elementos básicos que se consideran regularmente en las aulas ecuatorianas. En este contexto, el objetivo de la presente investigación fue determinar la correlación de la estrategia del “Reader’s Theatre” en el desarrollo de la fluidez lectora. La población investigada fue un grupo de niños entre 10 y 12 años de edad con quienes se aplicó una metodología basada en el enfoque cuantitativo y cualitativo con la utilización de trabajo de campo y un diseño cuasi experimental. En la fase de experimento, se empleó la estrategia del “Reader’s Theatre” mediante el uso de libretos y rúbricas aplicadas a 82 estudiantes de una institución primaria pública. Para la medición de la efectividad de la estrategia se utilizó un pre test y un post test. Los resultados demuestran que la estrategia del “Reader’s Theatre” mejora la fluidez lectora.

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Romano, Francesco, Luca Marocco, Jan Gustén, and Cesare M. Joppolo. "Numerical and experimental analysis of airborne particles control in an operating theater." Building and Environment 89 (July 2015): 369–79. http://dx.doi.org/10.1016/j.buildenv.2015.03.003.

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Kultys, Konrad. "Body and camera in motion — a dialogue between film and contemporary dance theater based on the experience gained in the making of the experimental art documentary Tensity." Dziennikarstwo i Media 15 (June 29, 2021): 51–64. http://dx.doi.org/10.19195/2082-8322.15.5.

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The paper presents the relationship between the worlds of film and dance theater, and the ways in which the medium of the performing body can be translated onto the screen by the director and cinematographer. By analyzing his own experiences and related artistic decisions made during the realization of the experimental documentary Tensity, the author looks at the clash of two different media and the relations that may result from the effort to translate dance theater performance into traditional film medium. Along with the change of medium, the nature of the work also changes and a completely new artistic value is created, enriched with elements unknown to theater, such as film editing, camera work and, finally, screen time. A film work based on the theatrical medium becomes a separate artistic creation, allowing the director and the cinematographer to build upon the foundation of the performative art of the actor/dancer.

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Szuster, Magdalena. "“Alchemy and smoke in a bottle” – contemporary improvisational theater in Poland and the United States." Acta Universitatis Lodziensis. Folia Litteraria Polonica 40, no. 2 (August 27, 2018): 107–38. http://dx.doi.org/10.18778/1505-9057.40.05.

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The article is an attempt to capture improvisational theater as a modern dynamic phenomenon through analyzing its features, definitions and traits in order to characterize the genre and to systematize the current state of knowledge on the subject matter. By comparing and contrasting various aspects and notions of impro(v) in Poland and the United States, the study not only looks at the theater of improvisation through the prism of the “relocation” of the form from its original grounds and implementing it in within a different tradition, but also shows the experimental flexibility of the genre within different cultural traditions and structures. Based largely on interviews with Polish and American improvisers alike, this article is an in-medias-res case study of the contemporary improvised theater in Poland and the USA.

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Clemente, Karen. "Playing with Performance: The Element of the Game in Experimental Dance and Theater." Journal of Popular Culture XXIV, no. 3 (December 1990): 1–10. http://dx.doi.org/10.1111/j.0022-3840.1990.2403_1.x.

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Chechyk, V. "Agafonov’s Early Kharkiv Creative Period: Dialogue with the Theatre." Vìsnik Harkìvsʹkoi deržavnoi akademìi dizajnu ì mistectv 2020, no. 3 (December 2020): 82–93. http://dx.doi.org/10.33625/visnik2020.03.082.

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This article is dedicated to the study of the nature of E. Agafonov’s creative ties with the theater – a topic that has been insufficiently covered in the native art history. The author’s field of view is set in the artist’s early Kharkiv period, marked as the years of 1905–1913. The article focuses on the exceptional role of E. Agafonov in the organization and the artistic practice of the first modernist theater “Blakytne Oko” in Kharkiv (1909–1911). Agafonov belonged to the constellation of masters who was very sensitive to the problem of evolving the artistic speech. He viewed the theater as a convincing platform for promoting and approving of the latest artistic values, discovered by Impressionism and Post-Impressionism. Experiments in easel art (with color, plastic, line, techniques, materials, etc.), largely inspired by the work of D. Burliuk (1906–1908), were directly reflected in Agafonov’s stage practice, namely in numerous designs of the modernist productions based on plays by M. Maeterlinkc, A. Schnitzler, S. Pshybyshevsky and O. Blok. In turn, it was established that theatrical motives were reflected in E. Agafonov’s easel art, as well as in the art of the students of his artistic studio – O. Rybnikov, I. Terentyev, M. Sinyakova, and K. Storozhnichenko. In this regard, a special attention is given to the linocuts by F. Nadezhdin. It was found that the program of “total” design of theatrical space (stage and auditorium), as well as the implementation of production ideas in the cabaret theater “Blakytne Oko” were the result of the master’s fascination with the concepts of artistic synthesis, actualized in the era of Modern. Agafonov moved from dramatization of paintings (of A. Beklin, F. Malyavin, and O. Rodin) to staging experimental show-programs like “The Evening of Autumn”, “Visiting Pierrot” and “In the Middle of Nowhere”, partial reconstruction of which was undertaken for the first time by the author of the article. Agafonov was close to the idea of artistic synthesis, identified by him in F. Malyavin’s paintings, in V. Komissarzhevska’s theatre and I. Duncan’s choreography. The study of E. Agafanov’s theatrical art expands the understanding of the history of formation and development of Ukrainian scenography at the beginning of the twentieth century.

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Ogaltsev, A. S. "PECULIARITIES OF COMPREHENSION OF CHEKHOV’s WORKS IN SPAIN." Bulletin of Udmurt University. Series History and Philology 30, no. 6 (December 11, 2020): 1072–77. http://dx.doi.org/10.35634/2412-9534-2020-30-6-1072-1077.

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The article deals with the process of comprehension of A.P. Chekhov's works in the Spanish culture. It’s based on Russian and foreign sources. The author of the article demonstrates the most significant moments in the understanding of the Russian writer by Spanish literary critics, theater directors and film directors. The article contains a brief overview of key periodicals and books, plays and film adaptations that illustrate the evolution of comprehension of Chekhov's works. Citations of Spanish culture figures, critics, translators and journalists are given by author's translation from their works and interviews. The article illustrates the period from the first mention of Chekhov's name in the Spanish press in 1894 to the nowadays. The author pays special attention to the first screen versions of the Russian playwright’s plays and the most eccentric experimental staging in the capital and provincial theaters of Spain.

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Benet i Jornet, Josep Maria. "DEL DESERT A LA TERRA PROMESA: 40 ANYS DE LITERATURA DRAMÀTICA A BARCELONA." Catalan Review 18, no. 1-2 (January 1, 2004): 231–36. http://dx.doi.org/10.3828/catr.18.1-2.16.

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Celebrated playwright Josep Maria Benet i Jornet offers a personally inflected overview of the last forty years of theater in Catalonia. A strong defender of textually based productions, Benet notes that the Catalan language, marginalized under Franco, does not exactly come booming center stage once the dictator disappears. Whether in its strictly commercial or more experimental and independent forms (or in combinations thereof), theater in Catalonia appeared to have little room for Catalan authors, living or dead. By the mid-1980s, however, the situation had changed, and the authors of theatrical works (Sergi Belbel, Lluïsa Cunillé, Carles Batlle, Jordi Galzeran, Jordi Sànchez, and others) were once again in demand in alternative, private, and public venues.

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Wacht Katz, Merav, Zvika Abramsky, Burt P. Kotler, Michael L. Rosenzweig, Ofir Altstein, Inbar Roth, and Constantine Klimovitsky. "Comparing the non-lethal and lethal effects of predation risk ‬on goldfish anti-predatory behavior." Israel Journal of Ecology and Evolution 62, no. 3-4 (May 18, 2016): 121–27. http://dx.doi.org/10.1080/15659801.2015.1059720.

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Little egrets (Egretta garzetta) and common goldfish (Carassius auratus) interacted in experimental theaters that challenge them with a behavioral game. We studied the behavioral tactics of both players. The experimental theaters consist of three equally spaced pools, each with a shelter in its center. The fish can take shelter in a safe but foodless habitat, or swim exposed in the open that contains food. The egrets can move among the pools to catch the exposed fish. We investigated the importance of non-lethal effects versus lethal effects on predator–prey interactions. We created a variance in predation pressure by keeping the number of egrets fixed but varying the number of pools of the experimental theater between 1 and 3 pools. In all treatments, even when the egret was present, individual goldfish emerged from protected cover occasionally, exposing at least their heads and sometimes their entire bodies in apparent disregard for the possibly lethal consequences. We assumed that this behavior stems from the fish's constant need to collect information about its surroundings. The fish responded appropriately to the variations in predation pressure by changing their activity level outside the cover, i.e., the fish drastically and significantly reduced their exposure outside the cover, as well as the rate of peeping, as predation pressure increased. The results demonstrate the importance role of non-lethal effects, and how they drive the behavior of prey in response to predation risk, which in turn, drives the action of the predator in an asymmetric two-player game of stealth and fear.

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Nordmann, Alfred. "Political Theater as Experimental Anthropology: On a Production of Kleist's Prinz Friedrich von Homburg." New German Critique, no. 66 (1995): 17. http://dx.doi.org/10.2307/488586.

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34

Peled, Kobi. "The theater of memory: Direct speech in Palestinian oral history." Memory Studies 13, no. 4 (May 28, 2018): 633–48. http://dx.doi.org/10.1177/1750698018777023.

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A striking feature of Palestinian oral history projects is the extensive use that interviewees make of direct speech to communicate their memories—especially those born before the 1948 Arab–Israeli war. They do so irrespective of whether or not they participated in or actually heard the dialogues they wish to convey. This article seeks to characterize and explain this phenomenon. In the interviews conducted by the author—an Arabic-speaking Jew—as well as in other projects, this mode of speech is marked by ease of transition from character to character and between different points in time. It clearly gives pleasure to those engaged in the act of remembering, and it grades readily into a theatrical performance in which tone of speech and the quality of the acting become the main thing. This form of discourse sprang up from the soil of a rural oral culture and still flourishes as a prop for supporting memory, a vessel for collecting and disseminating stories, and a technique for expressing identification with significant figures from the past.

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Carter, Curtis L. "Somaesthetics and Dance." Contemporary Pragmatism 12, no. 1 (June 16, 2015): 100–115. http://dx.doi.org/10.1163/18758185-01201006.

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Dance is proposed as the most representative of somaesthetic arts in Thinking Through the Body: Essays in Somaesthetics and other writings of Richard Shusterman. Shusterman offers a useful, but incomplete approach to somaesthetics of dance. In the examples provided, dance appears as subordinate to another art form (theater or photography) or as a means to achieving bodily excellence. Missing, for example, are accounts of the role of dance as an independent art form, how somaesthetics would address differences in varying approaches to dance, and attention to the viewer’s somaesthetic dance experience. Three strategies for developing new directions for dance somaesthetics are offered here: identify a fuller range of applications of somaesthetics to dance as an independent art form (e.g. Martha Graham); develop somaesthetics for a wider range of theatre dance (e.g. ballet, modern and experimental dance); and relate somaesthetics to more general features of dance (content, form, expression, style, kinesthetics) necessary for understanding the roles of the choreographer/dancer and the viewer.

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D’Andrea, Giancarlo, Albina Angelini, Camillo Foresti, Pietro Familiari, Emanuela Caroli, and Alessandro Frati. "Platinum-Iridium Subdermal Magnetic Resonance Imaging-Compatible Needle Electrodes Are Suitable for Intraoperative Neurophysiological Monitoring During Image-Guided Surgery With High-Field Intraoperative Magnetic Resonance Imaging: An Experimental Study." Operative Neurosurgery 10, no. 3 (September 1, 2014): 387–92. http://dx.doi.org/10.1227/neu.0000000000000432.

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Abstract BACKGROUND: Neurosurgery aims to achieve maximal tumor resection while preserving neurological function. Tools such as neuronavigation, high-field intraoperative magnetic resonance imaging (iMRI), and intraoperative neurophysiological monitoring (IOM) have consistently helped to achieve this goal, but integration has often been difficult. Surgery of eloquent areas requires IOM, which in an operating theater equipped with high-field (1.5-T) iMRI could present several issues. OBJECTIVE: To identify the electrodes types more suitable for IOM in a high-field iMRI operating theater by performing an experimental study on phantoms, to report our experience with platinum-iridium (Pt/Ir) electrodes during surgery, and to prove that integration between IOM with Pt/Ir electrodes and high-field iMRI is safe and reliable. METHODS: Electrodes of different materials (gold, Pt/Ir, and stainless steel) were tested on jelly phantom and apples to evaluate their safety and compatibility. Subsequently, electrodes were tested on 5 healthy volunteers before being used on patients. RESULTS: None of the different electrodes presented thermal instability, and no damage to the volunteers’ skin occurred. Stainless steel electrodes caused severe imaging distortion. Gold electrodes had no distortion, but their high cost makes their use in routine surgery unaffordable. Pt/Ir electrodes are significantly less expensive than gold electrodes and were completely safe, compatible, and suitable for use in an operating theater with high-field iMRI, providing excellent IOM and mild interference that did not affect the quality of intraoperative imaging. CONCLUSION: We suggest the use of Pt/Ir electrodes for IOM in 1.5-T iMRI suites.

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Lo, Chih-Cheng, Hsifu Wen, and Yi-Shuang Lin. "The Effect of Readers Theater on EFL Seventh-Graders’ Reading and Listening Comprehension." SAGE Open 11, no. 3 (July 2021): 215824402110383. http://dx.doi.org/10.1177/21582440211038388.

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While the effect of Readers Theater (RT) on English oral reading fluency has been extensively investigated, research on the effect of RT on adolescents’ English reading and listening comprehension was scant and yielded different results. This research aimed to explore how RT instruction influenced English as a Foreign Language (EFL) students, especially adolescents, in English reading and listening comprehension. This article conducted a 10-week quasi-experimental design involving two intact classes of 68 seventh-grade students from central Taiwan. The instruments included pretests and posttests of English reading and listening comprehension and nine students were interviewed for an in-depth analysis. The results revealed that the experimental group statistically significantly outperformed the control group on reading comprehension, but not on listening comprehension. Consequently, despite the advantages of RT instruction on reading comprehension stated in the article, interaction among learners in terms of listening comprehension is needed to be emphasized in the course when adopting the RT instruction.

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Blauvelt, Ekaterina Igorevna. "RESULTS OF EXPERIMENTAL WORK AIMED TO IDENTIFY SCHOOL ANXIETY AMONG TEENAGERS." Globus: psychology and pedagogy 7, no. 2(42) (May 19, 2021): 9–15. http://dx.doi.org/10.52013/2713-3060-42-2-2.

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The article describes the concepts of «anxiety» and «school anxiety»: interpretation and development in psychological science. This article studies the reasons and factors of anxiety of school anxiety in teenagers. The relevance of this topic caused by an increasing number of teenagers who get increasing anxiety and experiencing negative emotions. This article identifies the level of school and personal anxiety of teenagers (5th-7th grade) and discusses possible causes of anxiety in this age group. The article presents the results of the work of a school psychologist aimed to identify the level of school anxiety: results of the ascertaining experiment, forming experiment, individual and group consultations with elements of psychological theater, aimed at reducing the high level of anxiety of teenagers. The article describes productive options for teacher-student cooperation aimed to decrease the level of anxiety among teenagers. The article explains the recommendations for formation a psychologically safe educational environment.

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Stepanova, Polina Mikhailovna. "The fundamental concepts of cultural anthropology applied in the theory and practice of the anthropological theater." Культура и искусство, no. 8 (August 2021): 1–10. http://dx.doi.org/10.7256/2454-0625.2021.8.36248.

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This article explores the classical terms and concepts of cultural anthropology, which have found practical application in the performances, paratheatrical experiments and actions of the Polish experimental stage director Jerzy Grotowski (1933–1999) and collectives of the modern anthropological theater that continue the pursuits of Grotowski of the late XX century. The methods and terms of cultural (social) anthropology by A. van Gennep, V. Turner, M. Eliade, B. Malinowski and structural anthropology by C. Levi-Strauss give a better perspective on the specific terminological apparatus of Grotowski, unique practical discoveries of his works, and conceptual basis of theatrical anthropology as one of the paramount phenomena in the development of modern art. This article is first to discuss the problems of the emergence and formation of anthropological methodology as the framework for creating a scientific apparatus for understanding ritual-theatrical forms, as well as practical tool for artistic expression in the theatrical and paratheatrical experiments. Based on the fundamental works of the school of cultural anthropology, the author reveals the key terms of modern anthropological theater. As a result of studying the methods and approaches of cultural anthropology, the author determines the new unique technique of the modern Polish theater ensembles based not on the reconstruction of theatrical forms of the past, but rather reactualization of the mythological structures in the process of creating ritual-theatrical action.

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Gallagher-Ross, Jacob. "The Ghosts of the Avant-garde(s): Exorcising Experimental Theater and Performance, by James M. Harding." Contemporary Theatre Review 25, no. 2 (April 3, 2015): 270–72. http://dx.doi.org/10.1080/10486801.2015.1020696.

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Listengarten, Julia. "The Ghosts of the Avant-Garde(S): Exorcising Experimental Theater and Performance by James M. Harding." Theatre Journal 67, no. 1 (2015): 156–57. http://dx.doi.org/10.1353/tj.2015.0019.

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Buckley, Jennifer. "The Ghosts of the Avant-Garde(s): Exorcising Experimental Theater and Performance by James M. Harding." Comparative Drama 47, no. 4 (2013): 576–79. http://dx.doi.org/10.1353/cdr.2013.0043.

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Danoff-Burg, Sharon. "Theater of disorder: patients, doctors, and the construction of illness." Journal of Behavior Therapy and Experimental Psychiatry 35, no. 1 (March 2004): 75–79. http://dx.doi.org/10.1016/j.jbtep.2004.03.007.

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이기원. "A Study on the Open Theater: The Formation Process and Dramatic Meaning of the Experimental Theatrical Company." English & American Cultural Studies 8, no. 3 (December 2008): 171–98. http://dx.doi.org/10.15839/eacs.8.3.200812.171.

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Lange, Rense, and James Houran. "Context-Induced Paranormal Experiences: Support for Houran and Lange's Model of Haunting Phenomena." Perceptual and Motor Skills 84, no. 3_suppl (June 1997): 1455–58. http://dx.doi.org/10.2466/pms.1997.84.3c.1455.

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Houran and Lange's psychological model of haunting phenomena predicts that contextual variables alone are sufficient to induce poltergeist-like perceptions. 22 subjects individually visited five areas of a performance theater and were asked to notice the environment. 11 subjects in an informed condition were instructed that the location was haunted, while 11 in the control condition were told that the building was simply under renovation. Subjects' perceptions in both conditions were recorded via Green, et al.'s 1992 experiential questionnaire which contains 10 subscales related to psychological and physiological perceptions. Analysis yielded significantly more intense perceptual experiences on nine of the ten subscales in the informed condition, indicating that demand characteristics alone can stimulate paranormal-type experiences.

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Phonethibsavads, Anthony, Sophia Bender, and Kylie Peppler. "Utilizing the Consensual Assessment Technique to Compare Creativity in Drama Spaces." Creativity. Theories – Research - Applications 6, no. 1 (June 1, 2019): 4–19. http://dx.doi.org/10.1515/ctra-2019-0001.

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AbstractObjective: This study examines the validity of Amabile’s (1982) consensual assessment technique in measuring creativity in a warm-up activity in fourth-grade drama classrooms and compares the scores between warm-ups occurring in a blackbox theater setting (experimental) vs. a traditional classroom (control). Method: Four professional actors viewed 60 clips of children’s drama warm-ups and scored for creativity, using a 5-point scale. After establishing sufficient inter-rater reliability (IRR), we used the average scores of the raters to compare creativity between the experimental and control groups. Results: The raters demonstrated high agreement, with a coefficient alpha estimate of .819. An independent samples t-test between the experimental and control groups was significant at p < .001, with the experimental group receiving higher scores. Conclusions: The results suggested that creativity was significantly higher in the experimental group, and the context correlated with creativity, despite neither group having yet received drama instruction at that time. This paper presents discussions about validity, opinions of the raters, possible implications for the activity itself, and possible effect of setting on creativity.

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Walker, Matthew. "Architecture, Anatomy, and the New Science in Early Modern London." Journal of the Society of Architectural Historians 72, no. 4 (December 1, 2013): 475–502. http://dx.doi.org/10.1525/jsah.2013.72.4.475.

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Focuses on an important but overlooked building in late seventeenth-century London: the College of Physicians on Warwick Lane designed by the scientist and architect Robert Hooke in the 1670s. The building, which was commissioned in response to the previous college’s destruction in the Great Fire of London in 1666, was itself demolished in the nineteenth century. In this article, Matthew Walker argues that the conception and design of Hooke’s college had close links with the early Royal Society and its broader experimental philosophical program. This came about through the agency of Hooke—the society’s curator—as well as the prominence of the college’s physicians in the experimental philosophical group in its early years. By analyzing Hooke’s design for the college, and its prominent anatomy theater in particular, this article thus raises broader questions about architecture’s relationship with medicine and experimental science in early modern London.

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Burt, Ramsay. "The Specter of Interdisciplinarity." Dance Research Journal 41, no. 1 (2009): 3–22. http://dx.doi.org/10.1017/s0149767700000504.

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Theater dance is an interdisciplinary form, and some of the most interesting advances in progressive and experimental dance work in recent years have been interdisciplinary in nature. Where Anglo-American dance scholarship is concerned, however, a “theoretical turn” that has led some dance scholars to develop interdisciplinary methodologies has proved highly controversial. Interdisciplinarity is in danger of becoming a specter haunting dance scholarship.Dance has not been alone in finding this transition difficult. As art historian and cultural theorist Mieke Bal has recently noted, one challenge facing the academy today is to find “a theoretical link between linguistic, visual and aural domains that blend so consistently in contemporary culture but remain so insistently separated as fields of study in the academy” (Bal 1999a, 10). Where dance is concerned, corporeality needs to be added to Bal's list of domains. This essay explores some of the reasons underlying resistance among Anglo-American dance scholars to the use of interdisciplinary methodologies. By doing so it aims to give an account of the public space in which recent examples of theater dance from Europe and the United States map out complex webs of relationships between corporeal, linguistic, visual, and aural levels of signification.

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Huebner, Steven. "Édouard Dujardin, Wagner, and the Origins of Stream of Consciousness Writing." 19th-Century Music 37, no. 1 (2013): 56–88. http://dx.doi.org/10.1525/ncm.2013.37.1.56.

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Abstract Édouard Dujardin's novel Les Lauriers sont coupés (1887) has long been acknowledged as an important influence on the stream of consciousness style (called monologue intérieur by Dujardin) found in James Joyce's Ulysses. Dujardin wrote the book during the period he edited the short-lived Revue wagnérienne. The study shows how monologue intérieur was connected to experimental literary trends debated on the pages of the Revue as well as in the Symbolist movement more generally. Two of these trends were vers libre and the construct of an interiorized mental theater, and both were grounded in particular perceptions of Wagnerian opera. Dujardin and his Symbolist colleagues appreciated Wagner's move to abstraction, but thought he had not gone far enough. The article illustrates how putative syntactical freedoms in Wagner's work encouraged vers libre, how a song cycle Dujardin composed to his own vers libre tested the boundaries between literature and music against a Wagnerian backcloth, and how a “paraphrase” of the Amfortas monologue in the first act of Parsifal published in the Revue produced a theater of the mind. The invention of monologue intérieur emerges as a rich and multivalent point of intersection between Wagnerian opera and modernity.

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Huebner, Steven. "Édouard Dujardin, Wagner, and the Origins of Stream of Consciousness Writing." 19th-Century Music 37, no. 1 (2013): 56–88. http://dx.doi.org/10.1525/ncm.2013.37.3.56.

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Abstract Édouard Dujardin's novel Les Lauriers sont coupés (1887) has long been acknowledged as an important influence on the stream of consciousness style (called monologue intérieur by Dujardin) found in James Joyce's Ulysses. Dujardin wrote the book during the period he edited the short-lived Revue wagnérienne. The study shows how monologue intérieur was connected to experimental literary trends debated on the pages of the Revue as well as in the Symbolist movement more generally. Two of these trends were vers libre and the construct of an interiorized mental theater, and both were grounded in particular perceptions of Wagnerian opera. Dujardin and his Symbolist colleagues appreciated Wagner's move to abstraction, but thought he had not gone far enough. The article illustrates how putative syntactical freedoms in Wagner's work encouraged vers libre, how a song cycle Dujardin composed to his own vers libre tested the boundaries between literature and music against a Wagnerian backcloth, and how a “paraphrase” of the Amfortas monologue in the first act of Parsifal published in the Revue produced a theater of the mind. The invention of monologue intérieur emerges as a rich and multivalent point of intersection between Wagnerian opera and modernity.

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Journal articles on the topic 'Experimental Theater Experimental Theater'

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