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Relevant bibliographies by topics / Ford Foundation. Theater Theater

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Academic literature on the topic 'Ford Foundation. Theater Theater'

Author: Grafiati

Published: 4 June 2021

Last updated: 5 February 2022

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Journal articles on the topic "Ford Foundation. Theater Theater"

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Demeshchenko, Violeta. "Oriental Motives in the Aesthetics of the New Theater of Gordon Craig." Culturology Ideas, no. 14 (2'2018) (2018): 68–78. http://dx.doi.org/10.37627/2311-9489-14-2018-2.68-78.

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The article is an attempt to rethink the creativity of a well-known English director, artist, screenwriter and journalist Gordon Craig who, in his professional work, preferred the traditions of the Eastern Theatre (China, India, and Japan) and their aesthetics. The director also was fond of the ideas of symbolism, which made it possible to use the forms of figurative poetic and associative thinking effectively in theatrical performances being the means of transferring an emotional idea. The article also reveals the creative stages of the prominent English director Gordon Craig emphasising his theatrical experiments through the prism of oriental art, as well as how the director’s work as a whole influenced the formation of a new aesthetic tradition of the European theatre of the twentieth century. Undoubtedly, in the tradition of oriental art and theatre, Craig sought to borrow those living forms that could serve the creation of a new theatre; traditions verified by time could become a solid foundation for creative experimentation. Craig believed that new independent theatre art could arise only based on innovation, which includes the living knowledge of the theatrical past and the synthesis of all the achievements of European and Eastern culture. Craig’s experiments, conducted in the early twentieth century, his theoretical concepts of spatial construction of a spectacle, a new stage design, acting game and the philosophy of the super-puppets entirely influenced the entire theatre art of the twentieth century.

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Cizek, Erin, Patrick Kelly, Kathleen Kress, and Mildred Mattfeldt-Beman. "Factors Affecting Healthful Eating Among Touring Popular Musicians and Singers." Medical Problems of Performing Artists 31, no. 2 (June 1, 2016): 63–68. http://dx.doi.org/10.21091/mppa.2016.2013.

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Maintaining good health is essential for touring musicians and singers. The stressful demands of touring may impact food choices, leading to detrimental effects on health and performance. This exploratory pilot study aimed to assess factors affecting healthful eating of touring musicians and singers. A 46-item survey was used to assess food- and nutrition-related attitudes, knowledge and behaviors, and environmental factors, as well as lifestyle, musical background, and demographic data. Participants (n=35) were recruited from a musicians’ assistance foundation as well as touring musical theater productions and a music festival. Results indicate that touring musicians and singers had positive attitudes regarding healthful foods. Of 35 respondents, 80.0% indicated eating healthful food was important to them. Respondents reported feeling confident selecting (76.5%) and preparing (82.4%) healthful foods; however, they showed uncertainty when determining if carbohydrate-containing foods should be consumed or avoided. Respondents indicated environmental factors including availability and cost of healthy food options and tour schedules limited access to healthful foods. Venues (73.5%), fast food restaurants (67.6%), and airports (64.7%) were the most frequently identified locations in need of offering more healthful food choices. Respondents (52.9%) indicated more support from others while touring would help them make healthier food choices. More research is needed to develop mobile wellness programs as well as performance-based nutrition guidelines for musicians and singers that address the unique demands associated with touring.

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Bulman, Gail A. "Katherine Ford. The Theater of Revisions in the Hispanic Caribbean." Symposium: A Quarterly Journal in Modern Literatures 73, no. 4 (October 2, 2019): 247–49. http://dx.doi.org/10.1080/00397709.2019.1658405.

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Stevens, Camilla. "The Theater of Revisions in the Hispanic Caribbean by Katherine Ford." Latin American Theatre Review 52, no. 1 (2018): 226–27. http://dx.doi.org/10.1353/ltr.2018.0041.

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Ravas, Tammy. "THE NINA VANCE ALLEY THEATRE PAPERS AT THE UNIVERSITY OF HOUSTON LIBRARIES SPECIAL COLLECTIONS." Theatre Survey 49, no. 1 (May 2008): 119–28. http://dx.doi.org/10.1017/s0040557408000070.

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The University of Houston (UH) Libraries' Special Collections possesses several groups of papers and other items related to theatre and the performing arts, one of which is the Nina Vance Alley Theatre Papers. These items were donated to Special Collections in 2000. What follows is a brief biography of Nina Vance and history of the Alley as well as some highlights of items contained within this collection. Nina Vance was the Alley's first artistic director, from 1947 until her death in 1980. Along with Margo Jones and Zelda Fichandler, she helped shape the American regional-theatre movement in the later twentieth century. During her tenure at the Alley she directed 102 plays, produced 245 shows, and was awarded major grants, including significant funding from the Ford Foundation. Despite Vance's achievements in these areas, as well as in establishing the Alley as a respected theatre in the United States and across the world, few works of scholarship exist on her career. This could be partially due to the fact that many primary sources on the Alley Theatre and its founder, such as those found at the UH Libraries' Special Collections, have not been well publicized.

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OKUTOMI, Toshiyuki. "A STUDY ON THE FOUNDATION OF IREKO STYLE'S NOH THEATER." Journal of Architecture and Planning (Transactions of AIJ) 74, no. 637 (2009): 675–80. http://dx.doi.org/10.3130/aija.74.675.

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NICHOLSON, RASHNA DARIUS. "On the (Im)possibilities of a Free Theatre: Theatre Against Development in Palestine." Theatre Research International 46, no. 1 (March 2021): 4–22. http://dx.doi.org/10.1017/s0307883320000553.

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The focus of this article is a critical evaluation of the impact of international development and conflict-resolution funding on theatre in the Occupied Palestinian Territories. The article complicates the predominant narrative of theatre as ‘cultural resistance’ in conflict zones by historicizing the Ford Foundation's role in the institutionalization of Palestinian drama; delineating the effects of neo-liberal state building and development on Palestinian modes of performance; and subsequently, analysing the Freedom Theatre's imbrication in a normative, humanitarian logic. Aid, while ensuring the material conditions for the growth of the Palestinian performing arts, promoted a structural dependency that emptied the language of anti-colonial resistance of emancipatory potential, generating a soft, phantom sovereignty for the audience of the international community. By reimagining ‘freedom’ as liberation from a backward, conservative society, the language of the human rights industry and its attendant cultural economy spawns a spectral ‘cultural resistance’ where freedom and nationhood appear real and unreal – visions refracting, but not existing in, reality.

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Kurmalasari, Tety, Abdul Rahim Hamdan, and Satria Agust. "The Role of Mantra in Theater Makyong." Asian Culture and History 9, no. 2 (August 10, 2017): 71. http://dx.doi.org/10.5539/ach.v9n2p71.

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The research is based on the study of literature. The problem of this research was uses of the spell in theater makyong. The study of uses of the spell in theater makyong is assumed so interesting, because until now theater makyong has still been using spell used by the Panjak chairman to chase away the evil and averse evil before the show begins which is well-known as the ceremony of the"discard wet" or "open land". The spell in theater makyong consists of swearing, the evil, and averse evil spells related to ceremonies open land or discard wet, installing fabric spell, advanced series spell, make-up spell, perindang voice spell and pembungkam (speechless) spell. The sources of the data in this research were obtained from litelature and the Tanjungpinang Art Conservatory Foundation which has kept preserving Theater Makyong till now. The technique of collecting data was done by using the observation technique, interview, and recording elicited from the Panjak chairman, especially about the spell. The data were analyzed by using the collecting data technique. Relating to the research findings, there were seven spells associated with the stage opening ceremony and wet soil or waste opening ceremony and five spells associated with inner preparations existing in theater makyong. The use or the role of spell was as a protection.

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Gerdova, T. S. "Theater Art in Oleksandrivsk (Zaporizhzhya): end of the 19th – beginning of the 20th сenturies." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 57, no. 57 (March 10, 2020): 228–45. http://dx.doi.org/10.34064/khnum1-57.14.

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Introduction. Theoretical background. The territorial formation and economic development of Оlexandrivsk and the district is associated with the activation of social, including artistic, life all aspects in the Russian Empire. The creative potential of small towns, including Olexandrivsk, has become a fertile ground for the development of the principles and means of theatrical and stage creativity. Theater, as the most democratic form of art, is directly connected with changes in public life. The theater significant social role and insufficient knowledge on it in the Olexandrivsk conditions and its district determined the relevance of the research topic. The researches by S. Voitkovsky (2014), G. Dadamyan (1987), M. Yevreinov (2019) constitute the scientific and theoretical basis of the work. The study of theatrical art in the Oleksandrivsk (Zaporizhzhya) region is based on the works of O. Antonenko (2017), S. Grushkina (2011), T. Martynyuk (2003). The aim of the research is to study the theater art in Olexandrivsk and the district of the same name as an integral phenomenon of a certain time. The tasks of the work are determine the origins of the theater art in the region, coverage of the features of this phenomenon, identification of theater companies’ organizational forms, study of the theater groups’ repertoire and genre priorities, consideration of theater art professionalization issues in the region. The methodology involves the application of the basic dialectic principles (to reveal the internal contradictions of the research subject and the sources of its development); historical principle (to study the theater’ development as a process of changes in existence’ some forms); comparative method (to identify the theater art characteristics in the region); source study method (to create an archival and historical base for studying the problem); axiological approach (to identify of the theater artistic troupes’ value orientations in the region). Results of the research. Historical materials contain a few facts about the theatrical entertainment of the local population long before the foundation of Olexandrivsk. Similar to the more inhabited neighboring regions, in these territories the existence of a folk theater is likely, the roots of which M. Yevreinov sees in magical actions, rituals and buffoonery. The researcher considers the theater of Russia, the roots of which are in the theatrical art of Europe, to be a counterbalance to folk theater. At the state level, these traditions have been inculcated since the 17th century. This process in the region began from the time of Olexandrivsk foundation. There are two most stable groups of theater collectives in the theater environment of the region. Domestic and foreign drama and opera troupes, which were guided by the Western European theater traditions, are made up the first group. Ukrainian artists’ association and local amateur drama circles that further developed the traditions of folk theater consisted the second group. They united by the idea of national dramatic art. The factors of theater collective’ differentiation in this region are the form of organization of theater business, repertoire and genre priorities, issues of professionalization. The sole proprietorship form is characteristic for the Western European tradition collectives. In Olexandrivsk and the district, the private enterprise was the dominant form, as the most active organization type of theater business. This type of enterprise does not have the conventions of imperial, state, municipal and other theaters in terms of repertoire and personnel relations. This provided it with freedom, mobility and ingenuity. The organizational form of the partnership is characteristic for the troupes oriented towards the traditions of folk theater. Democracy of this form manifested itself in collective decisionmaking. The next factor in differentiating theater groups is repertoire and genre priorities. The Western European tradition troupes gave preference to the works of Western European and Russian authors. Ukrainian authors’ works, Ukrainian song and dance folklore dominated in the repertoire of Ukrainian associations, which continued the traditions of folk theater. These groups preferred works of a pronounced national orientation. The repertoire differences between the two groups reflected to the methods and skills of acting. It is necessary to master Italian vocal technique, classic instrumental technique, conducting symphonic skills in the Western European tradition troupes. In Ukrainian troupes’ music and dramatic performances, universal training actor is needed, equally skillful in stage speech, the folk dance, the style of folk singing. The theater groups’ genre preferences repertoire related to an orientation towards the original artistic traditions. The Western European tradition’ collectives repertoire abounded in dramas, operas, operettas and the romances, arias, opera scenes in the concert departments. The Ukrainian folk-theater tradition repertoire dominated by music and drama plays, simple Ukrainian opera and Ukrainian folk songs, romances by domestic composers in concert departments. In Olexandrivsk and the district, questions of theater art’ professionalization were not publicly raised widely. Some striving for the performances artistic level increase we can saw in the practice of inviting famous artists for touring performances. Thanks to this, acting skills, methods of working on the role and the performance as a whole enriched. Invitations to participation in the performance of famous performers of the folk-theatrical tradition to Ukrainian troupes were episodic. An indicative fact of development was the director’s position emergence in the Western European tradition troupes. Conclusions. The peculiarity of theater art in the Olexandrivsk region is the absence of a local professional theater, represented, on the one hand, by the work of guest domestic and foreign troupes, on the other – by Ukrainian artistic societies and local amateur associations. The dominant groups of groups embodied two types of theater: Western European tradition and folk tradition. These types of theater functioned in various organizational forms. Dramatic and operatic corpses of the European tradition were characterized by a form of individual private enterprise; Ukrainian groups that developed the traditions of folk theater – a form of acting society. Theater troupes of these two traditions distinguished by their repertoire priorities. The core of the repertoire of the Western European tradition groups was the Russian and Western European authors’ works. The groups, which developed the folk theater, staged mainly plays by Ukrainian and local authors. The vector of theatrical art development in the Olexandrivsk and region is not clear enough at the historical period under consideration. An organized and purposeful movement towards the theater art professionalization in the region of this historical period is not visible. Certain facts of attracting famous artists and interaction with other groups as well as the emergence of the directed theater can be considered as elements of а professionalization.

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Zhang, Xiaomeng, Wenting Liu, Yilun Zhou, and Ziao Liu. "Basic Selection and Analysis of Harbin Ice and Snow World Theater Project." E3S Web of Conferences 248 (2021): 03044. http://dx.doi.org/10.1051/e3sconf/202124803044.

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Harbin Ice and Snow World Project totals 98,000 square meters, consisting of Iceberg Pavilion, Dream Ice and Snow Pavilion, Ice and Snow Show, and Ice and Snow Art Museum.This project mainly introduces the foundation selection and structural design of the Harbin Ice and Snow World Show, verifies the feasibility of the project implementation, and analyzes the rationality of the structural foundation layout through structural design and structural calculation analysis.

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Dissertations / Theses on the topic "Ford Foundation. Theater Theater"

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McNerney, Sheila Rebecca. "Institutionalizing the American theatre : the Ford Foundation and the resident professional theatre, 1957-1965 /." Thesis, Connect to this title online; UW restricted, 1999. http://hdl.handle.net/1773/10216.

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Stoessner, Jennifer Kathleen. "Building American Puppetry on the Jim Henson Foundation." The Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=osu1211816560.

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Weintraub, Tara B. "Cross-Disciplinary Collaboration: Creating the Foundation for Collaboration Amongst the Arts Disciplines, Powered by Tectonic Theatre Project’s Moment Work." VCU Scholars Compass, 2015. http://scholarscompass.vcu.edu/etd/3708.

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During this course, upper-level VCUArts students are invited to join forces to become a part of a cross-disciplinary, ensemble-based exploration. Powered by Tectonic Theatre Project’s Moment Work, students will create new works and gain insight into the philosophies, purposes, and processes of Moment Work and other devised theatre techniques. The class will culminate in short, devised pieces, created and performed by the students. The focus of the class is on the creation of a harmonious ensemble amongst a varied group of young artists. I believe that in order to create a generation of innovative and forward-thinking artists, the segregation of the arts disciplines within academia must halt. Cross-disciplinary collaboration will invite varying perspectives to exist in a single setting, and hopefully lead to new forms of art.

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Cárpena, Silva Maria Fernanda, Salmón Susan Saraí Llerena, Seminario José Carlos Rabanal, and Serrano David Marcial Robles. "Plataforma de teatro en vivo y por streaming: Nearby Theater." Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2021. http://hdl.handle.net/10757/655431.

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Hoy en día, nuestro país está atravesando por uno de los momentos más difíciles de las últimas décadas a consecuencia de la crisis sanitaria que afecta al mundo entero. Es así como nuestra sociedad, consciente de la situación y confinamiento en el que vive, se ha ido adecuando a las nuevas formas de convivencia impuestas por esta nueva realidad, donde predomina lo digital y la necesidad de las personas por conectarse con el mundo exterior. Tomando como premisa lo antes mencionado, Plataforma de teatro en vivo y por streaming nace bajo la idea de ofrecer un producto audiovisual para los amantes del teatro, los cuales no pueden asistir debido al confinamiento a raíz de la pandemia. De este modo, la presente idea de negocio ofrecerá una propuesta de valor que genere satisfacción tanto para su público objetivo como para los usuarios que buscan experimentar una nueva forma de distracción. Asimismo, este emprendimiento tendrá como cimientos y diferencial en su propuesta las mejores herramientas tecnológicas actuales, las mismas que permitirán una interrelación entre los administradores de la plataforma y/o clientes finales del producto. En cuanto al mercado objetivo, este se encuentra conformado por personas entre los 20 y 60 años de edad que valoran la calidad de contenidos culturales, principalmente que sean asiduos al teatro y que también disfruten de contenidos audiovisuales a través del streaming.
Today, our country is going through one of the most difficult moments in recent decades as the result of the health crisis that affects the entire world. This is how our society, aware of the situation and confinement in which it lives, has been adapting to the new forms of coexistence imposed by this new reality, where the digital predominates and the need for people to connect with the outside world. Taking the aforementioned as a premise, Live and streaming theater platform was born under the idea of offering an audiovisual product for theater lovers, who cannot attend due to confinement as a result of the pandemic. In this way, the present business idea will offer a value proposition that generates satisfaction both for its target audience and for users seeking to experience a new form of distraction. Likewise, this undertaking will have as foundations and differential in its proposal the best current technological tools, which will allow an interrelation between the administrators of the platform and / or end customers of the product. As for the target market, it is made up of people between 20 and 60 years of age who value the quality of cultural content, mainly those who are regulars at the theater and who also enjoy audiovisual content through streaming.
Trabajo de investigación

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Kerns, Nancy Jane. "Gretchen Cryer and Nancy Ford| Elevating the Female Voice in American Musical Theater." Thesis, University of Hawai'i at Manoa, 2019. http://pqdtopen.proquest.com/#viewpdf?dispub=13421232.

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Gretchen Cryer and Nancy Ford, along with most other female creators of musicals, remain in the shadows, in spite of an increased focus by the media on women’s contributions to society. The messages of Cryer and Ford’s dramatic themes and songs have not been fully understood by many critics and audience members. Scholarly and popular writings on women in theater remain scarce, and literature on Cryer and Ford contains errors and promotes misunderstandings.

In this thesis, I argue that Gretchen Cryer and Nancy Ford, a writer and composer of musical theater respectively, tackled contemporary issues in their Broadway and off Broadway musicals, introduced new theatrical forms and musical genres to the stage, and have built a distinguished collaborative career and earned a meritorious position in musical theater heritage by incorporating these issues, in particular, those which pertain to women or those which affect women, into their works. I seek to correct and build upon extant writings and information from media resources. My thesis is the first monograph to detail the lives and works of Cryer and Ford, and to assess their contributions to the musical theater genre. My detailed case studies dissect several Cryer and Ford musicals, which speak directly to prominent images and ideas of the time, and reveal how their works emphasize the importance of interpersonal communication, and endorse humanism and, in particular, feminism. Cryer and Ford are trailblazers for other female musical writers, for whom they have advocated, and for whom I provide a comprehensive overview.

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Cronin, Catherine Lisa Mackenzie. "John Ford and his circle : coterie values and the language of Ford's theatre." Thesis, University of Warwick, 1986. http://wrap.warwick.ac.uk/58519/.

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This thesis attempts an analysis of some of the major themes and characteristics in Ford's work in the light of the interests and concerns of his dedicatees. The first part, after a discussion of the Ford canon and its chronology, considers four prominent aspects of his writing. The first chapter examines the dislike evinced by many of his characters for food, and the second the distrust of language so frequently registered in his work, and the way in which this leads ultimately to the writing of unsatisfactory plays. The next chapter then goes on to suggest that these two elements of Ford's plays may perhaps be linked by his perception of personality as fragmentarily located in disparate parts of the body, all exerting conflicting claims to represent the totality of the self. The last chapter of the first half of the thesis is concerned with the attempt in The Broken Heart to find an alternative, nonverbal means of communication, and also examines the possibility that the feeling conveyed in Ford's plays of the unsatisfactoriness of physical food may be connected with the sense of spiritual starvation in The Broken Heart. It is further suggested that this in turn might perhaps reflect a preference on Ford's part for the Catholic rather than the Anglican communion. The possibility of Ford having Catholic sympathies is further examined in the first chapter of the second half of the thesis, which explores the careers and family connections of Ford's dedicatees, including their close links with Catholicism. The second chapter attempts to show that Perkin Warbeck can be read as a panegyric on the ancestors of Ford's dedicatees, with the covert implication that the dedicatees, too, were worthy of greater political power and respect than they in fact enjoyed. The final chapter examines how this meaning might, like that of The Broken Heart, have been conveyed on the stage visually rather than verbally, and the conclusion then reviews the way in which Ford's attempt to forge a private language tested his theatre to its limits, and suggests that the unsatisfactory plays of his later years were an inevitable result of his perception of his dedicatees as, both deserving of success and unable to achieve it.

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Hanemann, Brook Akya. "The Merry Wives of Windsor: A University Actress's Approach to the Role of Mistress Ford." Master's thesis, University of Central Florida, 2004. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4485.

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Art is too ethereal a thing to judge by tangible measure. There is no scale to weigh a performance on, no level to gauge a character's balance, no plumb line to measure its depth. No critic can appoint an allotment of stars to represent the worth of a production, and the audience, though a vital participant within the performance experience, cannot act as Jury and deliberate together to reach an absolute verdict of approval or disapproval. How then can an actor go about working towards giving a successful performance? The Merry Wives of Windsor was written at a time when wives were not permitted to tread upon the stage at all. During Shakespeare's era the roles of women were played only by cherub faced young men. The version of The Merry Wives of Windsor which was presented by the University of Central Florida in the fall of 2002 was not, however, set in those pre-femme days. The production was presented as if being performed by a traveling acting troupe of men and women with a repertoire of which The Merry Wives of Windsor was only a part. I was cast as Mistress Ford. Embarking on a Shakespeare play is no small feat. Earnest research on the lives of the Elizabethans will offer up clues into the mindset, customs, beliefs, and theories of the age in which the play was written. Modern day actors preparing themselves to take on a Shakespearian role may also look also to the theories and theatrical trends of his or her own time and those that have led up to it. This research is the foundation on which a performance must be built. The theatrical performer must act as his own instrument in the symphony of his performance. Stage acting is an art form which enfolds many forms of expressive artistic communication. The mind, the body, the voice, the emotions and in my opinion the soul must all come into play to reach the summit of an artistic theatrical performance and the actor's journey must be comprised of exercises to stretch and strengthen each area of the actor's instrument. A vigorous vocal regimen must be crafted and adhered to. An analytical investigation of the script is required. The actor's physicality must be tailored to portray the proper class, energy level and spirit of his character. The emotional life of the character should be thoroughly probed and the performer must find a way to fully embody the soul of the character and the age in which the character lived. In this particular case, I came to find that the usual modern day methods of performance preparation most commonly used by actors of our age were not in themselves enough to bring me to what I felt was a successful performance. I came instead to discover that a Brechtian approach to Shakespearian acting solved many of the challenges I faced when coming up short in my prior attempts to use a more Stanislavsky based method. Although the very nature of art makes it impossible to judge by tangible measure, there are very tangible ways to go about preparing for a role upon the stage. No single approach can work for every piece. One must exercise the mind, voice, body and soul to perform a role as weighty as a Shakespearian character. Proper research, analysis, and a regimen built upon exercises for the body and voice are the tools available for the serious actor. This thesis outlines a University actress' use of these tools and details how the discovery of Brechtian elements within the UCF production of Merry Wives opened doors to a new way of handling the portrayal Mistress Ford.
M.F.A.
Department of Theatre
Arts and Sciences
Theatre

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Sicha, Ñahuis Cindy Jhoanna. "Escuela de Arte Dramático." Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2021. http://hdl.handle.net/10757/656637.

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Proyecto de tesis que desarrolla en un solo conjunto volumétrico dos tipologías arquitectónicas las cuales se complementan significativamente. La parte cultural a través del Teatro dado para la ciudad y la otra que corresponde a la escuela como fuente de enseñanza y formación. La Escuela brindará a la comunidad un nuevo hito cultural, además le otorgará un carácter integrador por medio de la plaza de ingreso como escenario libre para las manifestaciones de interacción y como punto de encuentro, permitiendo de esta manera reforzar el concepto de edificio de cara a la ciudad; además, una apropiación y/o identificación con el espacio.
Thesis project that develops a single volumetric set two architectural typologies which are complemented significantly. The cultural part through the Theater given to the city and the other that corresponds to the school as a teaching source.
Tesis

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Moscol, Espinoza Brandy Sofía. "El concepto de éxito de la productora Tondero en el marco de la producción de cine nacional de género comedia: Análisis comparativo de las películas "Asu Mare 1" y "Soltera Codiciada"." Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2020. http://hdl.handle.net/10757/655134.

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La presente investigación se realizó con la finalidad de conocer los factores considerados exitosos por la productora Tondero, tales como el argumento narrativo, dentro de este la auto representación y las características principales del actor con reconocida trayectoria, como es la de la popularidad, en sus producciones nacionales de género comedia. Por otra parte, se realizará un análisis comparativo de las películas "Asu Mare 1" y "Soltera Codiciada", en las cuales se presentan dichos factores que confirman la acogida de las películas de Tondero y les permiten ser exitosas. Por último, se utilizó la técnica cualitativa con un paradigma interpretativo para poder llevar a cabo esta investigación, la cual es de suma importancia, ya que permite realizar una comparación con las perspectivas del público brindadas a través de las entrevistas semiestructuradas y el análisis de contenido de contenido propuesto por el investigador en las películas anteriormente mencionadas.
The present investigation was carried out with the purpose of knowing the factors considered successful by the producer Tondero as the narrative argument, within this the self-representation and the main characteristics of the actor with a recognized trajectory, such as popularity, in his national productions. of comedy genre. On the other hand, a comparative analysis will be made of the films "Asu Mare 1" and "Soltera Codiciada", in which these factors are presented that confirm the acceptance of the Tondero films and allow them to be successful. Finally, the qualitative technique with an interpretive paradigm was used to carry out this research, which is of utmost importance, since it allows a comparison to be made with the perspectives of the public provided through semi-structured interviews and content analysis. of content proposed by the researcher in the films mentioned above.
Trabajo de investigación

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Sotomayor, Sánchez Máriapaula. "La creación del personaje. Análisis del proceso constructivo entre el director y actor en el filme “Holy Motors” de Leos Carax." Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2020. http://hdl.handle.net/10757/654946.

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La presente investigación desarrolla un estudio a cerca del proceso constructivo y creativo de un personaje; como la labor del director y actor influyen en la creación. Para ello, se tomará cómo referencia el trabajo del director fránces Leos Carax junto a su actor fetiche Denis Lavant y como se refleja todo el desarrollo en el filme francés “Holy Motors” (2012). Asimismo, enfatizar el trabajo que debe desarrollar el actor para profundizar su papel. Por otro lado, desde el punto de vista del director, se abordará algunas técnicas e investigaciones que aportará a sus actividades como el responsable guía del intérprete. Este análisis aborda estudios a cerca del cine y teatro, con la finalidad, de realizar una serie de comparaciones y relaciones para enriquecer la información; además, de material de archivo de los filmes de Carax para indagar en la estética que trabaja y la forma en cómo rompe toda estructura con la explotación de la sublimación corporal. El objetivo es evidenciar la complejidad que existe en construir las personalidades, actos, pensamientos, etc. De un personaje. A partir, de esta información, finalmente, se establecerán mis objetivos específicos y generales para explicar con más detalles las categorías seleccionadas para este trabajo. Asimismo, complementarlos con algunos criterios que profundicen el análisis de la relación y formación entre ambos sea más fluida y adecuada.
The bellow investigation develops a study about the constructive and creative process of a character; how the work of the director and actor influence creation. For this, the work of the French director Leos Carax will be taken as a reference along with his fetish actor Denis Lavant and how all the development in the French film "Holy Motors" (2012) is reflected. Also, emphasize the work that the actor must develop to deepen his role. On the other hand, from the director's point of view, some techniques and investigations that contribute to his activities as the responsible interpreter guide will be addressed. This analysis addresses studies about cinema and theater, with the intention of making a series of comparisons and relationships to enrich the information; In addition, archive material from the Carax films to investigate the aesthetics that he works and the way in which he breaks the entire structure with the exploitation of body sublimation. The objective is to show the complexity that exists in building personalities, acts, thoughts, etc. Of a character. From this information, finally, my specific and general objectives will be established to explain in more detail the categories selected for this work. Also, complementary with some criteria that deepen the analysis of the relationship and formation between the two more fluid and adequate sea.
Trabajo de investigación

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Books on the topic "Ford Foundation. Theater Theater"

1

Pottlitzer, Joanne. Hispanic theater in the United States and Puerto Rico: A report to the Ford Foundation. New York: Ford Foundation, 1988.

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Gecau, Kimani. Community based theatre in Zimbabwe: An evaluation of Zimfep's experiences. Harare, Zimbabwe: ZIMFEP, 1991.

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Russell, Donn. Avant-guardian, 1965-1990: A theater foundation director's 25 years off Broadway. Pittsburgh, PA: Dorrance Pub. Co., 1996.

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Stage images and traditions: Shakespeare to Ford. Cambridge [Cambridgeshire]: Cambridge University Press, 1987.

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B, Balme Christopher, Erenstein R. L, Molinari Cesare 1935-, Barbieri Maria Chiara, and Pietrini Sandra, eds. European theatre iconography: Proceedings of the European Science Foundation Network (Mainz, 22-26 July 1998, Wassenaar, 21-25 July 1999, Poggio a Caiano, 20-23 July 2000). Roma: Bulzoni, 2002.

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Kosstrin, Hannah. Modernist Forms in a Jewish State. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199396924.003.0006.

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Focusing on Sokolow’s work in Israel, this chapter highlights tensions between American Jewishness and Israeliness through critical response to her dances Dreams (1961), Opus ’63 (1963), Forms (1964), and Odes (1964). It introduces the term “sabra physicality” to describe the performative qualities of defiant vulnerability that dancers in Sokolow’s Israeli company Lyric Theatre introduced into her oeuvre. With financial support from the American Fund for Israeli Institutions (America–Israel Cultural Foundation), Sokolow was part of the North American influence building Israeli art and cultural institutions as postwar alliances formed between the United States and Israeli governments. This chapter further shows Sokolow’s role in disseminating American modern dance through the bodies of her students abroad, through her work with the Inbal Yemenite Dance Group (Inbal Dance Theater) and Lyric Theatre. In turn, the way those dancers performed Graham’s technique and Sokolow’s choreography changed American modernism.

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Ng, Wing Chung. Introduction. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039119.003.0001.

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This introductory chapter sets out the book's purpose, which is to chart the historical formation Cantonese opera. It aims to fill a significant gap in the historical literature that has decidedly favored the kunqu style of local musical drama and Peking opera. The most recent publications on traditional theater, either in Chinese or English, have largely continued this trend. The existing literature remains modest for Cantonese opera, even though its significance as a foundation for this study is self-evident. It is hoped that this book will inspire a reimagination of China's theater scene to become more cognizant of other regional genres and inclusive of their complex and particular histories. An overview of the subsequent chapters is also presented.

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Knopf, Robert. Script Analysis for Theatre. Bloomsbury Publishing Plc, 2017. http://dx.doi.org/10.5040/9781408183267.

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Script Analysis for Theatre: Tools for Interpretation, Collaboration and Production provides theatre students and emerging theatre artists with the tools, skills and a shared language to analyze play scripts, communicate about them, and collaborate with others on stage productions. Based largely on concepts derived from Stanislavski’s system of acting and method acting, the book focuses on action - what characters do to each other in specific circumstances, times, and places - as the engine of every play. From this foundation, readers will learn to distinguish the big picture of a script, dissect and ’score’ smaller units and moment-to-moment action, and create individualized blueprints from which to collaborate on shaping the action in production from their perspectives as actors, directors, and designers. Script Analysis for Theatre offers a practical approach to script analysis for theatre production and is grounded in case studies of a range of the most studied plays, including Sophocles’ Oedipus the King, Shakespeare’s Twelfth Night, Henrik Ibsen’s Hedda Gabler, Georg Büchner’s Woyzeck, Oscar Wilde’s The Importance of Being Earnest, Tennessee Williams’s A Streetcar Named Desire, and Paula Vogel’s How I Learned to Drive, among others. Readers will develop the real-life skills professional theatre artists use to design, rehearse, and produce plays.

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Hildy, Franklin J., and Oscar G. Brockett. History of the Theatre, Foundation Edition. Allyn & Bacon, 2006.

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Robert, Erenstein, Molinari Cesare, and Balme Christopher, eds. European theatre iconography: Proceedings of the European science foundation network : Mainz, 22-26 July 1998, Wassenaar, 21-25 July 1999, Poggio a Caiano, 20-23 July 2000. Roma: Bulzoni, 2002.

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Book chapters on the topic "Ford Foundation. Theater Theater"

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Wiltshire, Kim. "Foundational Exercises and Key Points." In Writing for Theatre, 103–12. London: Macmillan Education UK, 2016. http://dx.doi.org/10.1007/978-1-137-36920-8_7.

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Johnson, Jake. "Introduction." In Mormons, Musical Theater, and Belonging in America, 9–31. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042515.003.0002.

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This chapter suggests that American communities have used the theater to claim a stake in national identity by “sounding” American. The root of this practice is the phenomenon of speaking on behalf of another person, a vocal performance style that, among other things, is the foundation of American democratic principles. This vicarious voice is exemplified in two iconic American institutions born from Jacksonian ideology--musical theater (via blackface minstrelsy) and Mormonism. This chapter argues that examining the two together creates an important case study for how a unified American sound motivates and permeates the practice of belonging in America. Such a provocation also makes the case for the importance of studying musical theater outside of Broadway and offer this as an example of how significant a role musical theater plays in the lives of people all over the world for reasons that have little to do with the economic, entertainment, or consumerist purposes of Times Square.

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Leheny, David. "Staging The Empire of Light." In Empire of Hope, 117–43. Cornell University Press, 2018. http://dx.doi.org/10.7591/cornell/9781501729072.003.0005.

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In 2009, the Tokyo-based theater group Caramel Box staged an adaptation of a science-fiction story by the popular author Onda Riku as one of its annual summer performances. This chapter traces the fraught history of Caramel Box within a larger trajectory of Japan’s postwar and recession-era theater companies, looking particularly at the group’s emphasis on non-political, partly comic melodramas as the most reliable way to please their devoted and almost entirely female audience. In doing so, it calls special attention to narrative rules and logics that forced a rethinking of the structure of Onda’s story in order to hit certain emotional beats at times and in ways their audience would expect and appreciate. By addressing the politics disclosed in ostensibly non-political theater, the chapter argues that Caramel Box offers an opportunity to consider how sentimental portrayals of virtuous innocence lay the foundation for climaxes that emphasize rediscovery and reintegration.

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"Higher Ground Project." In Writing Appalachia, edited by Katherine Ledford and Theresa Lloyd, 720–30. University Press of Kentucky, 2020. http://dx.doi.org/10.5810/kentucky/9780813178790.003.0104.

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The power of community is at the center of a series of musical plays created by the Higher Ground Project, which is composed of students at Southeast Kentucky Community and Technical College and residents of Harlan County, Kentucky, and is spearheaded by Robert Gipe, director of the college’s Appalachian Program. The plays begin with oral histories gathered by Appalachian studies students and other Harlan County community members as part of grants awarded by the Rockefeller Foundation and the Appalachian Regional Commission; from these interviews, Higher Ground participants create musical theater. Playwright Jo Carson worked with the project for its first play....

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Iarossi, Maria Pompeiana, and Luisa Ferro. "“The Past is Never Dead. It's Not Even Past”." In Advances in Library and Information Science, 228–55. IGI Global, 2017. http://dx.doi.org/10.4018/978-1-5225-0680-5.ch010.

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In the European ancient foundation city, the past forms a constitutive part of its structure. However, it is not easily recognizable in cities like Milan, where the ruins of monuments of imperial era (as the Theater, the Amphitheater and the Circus) have been submerged by the urban stratification. The recent success of visualization systems by web (such as GoogleMaps or Bing) have highlighted a widespread need for knowledge of places, which can be satisfied through an innovative application of tools as GIS. This chapter explains how, in the virtual space-time of a webGIS, it is possible to provide specific paths, that accompany any user, even if he doesn't have specific skills, to discover the immanent remote past of the city, described by an appropriate display of its cartographic and iconographic heritage.

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Kendall, Julie E. "Metaphors for E-Collaboration." In Advances in E-Collaboration, 14–30. IGI Global, 2008. http://dx.doi.org/10.4018/978-1-59904-825-3.ch002.

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What constitutes regional commerce? What creates and enhances a regional identity? In the United States, regions can be quite large and may even cover geographical territory from several surrounding counties or states. They are larger than any one individual company, shopping street, or district. Regional cooperation of commercial businesses is often manifested through special events, cooperative advertising with coordinated signage, extended opening hours, and special discounts that contribute to building a sense of community, and which eventually develop a sense of region. The political and environmental exigencies for the creation and expansion of regions have meant an increase in the popularity and importance of regions and a subsequent movement to enhance and differentiate their identities. We now see the rise of regional governments, water authorities, and educational institutions among many others. One little-explored idea has been the use of e-collaboration to forge, reinforce, and sustain a regional identity via the virtual world. Although geographical separation of many miles might dictate that bricks-and-mortar theatres cannot easily collaborate physically (i.e., they cannot share costumes, props, ushers, and so on), the possibility of e-collaboration opens potential opportunities for attracting wider audiences, reaching and ultimately casting fresh talent, and building reciprocal audiences who possess a passion for the arts and who have the means and desire to travel to attend performances throughout the geographical region. In this study, a methodology built on the conceptual foundation of metaphor research was used to comprehend and then interpret the Web presence of 15 nonprofit theatres that comprise the total regional theatre of southern New Jersey that exists on the Web. In order to add additional insight, our earlier research findings from working with off-Broadway and regional theatre festivals were extended to analyze the Web presence of the theatres in southern New We contribute to the literature by systematic and deep investigation of the strategic importance of the Web for nonprofit theatre groups in the southern New Jersey region. In addition, our use of the metaphor methodology in order to create a telling portrait of what transpires on the Web in relation to nonprofit organizations is also an original contribution. Our work is meant to heighten the awareness of administrators to the rapidly accelerating need for the strategic use of e-collaboration. We propose that with the use of the Web, administrators can move toward creating a regional theatre Web presence for South Jersey, one which would make use of an evolutionary metaphor. To this end, we suggest the use of an organism metaphor. Through the creation of reciprocal hyperlinks, theatres can be supported in improving their practice of colocation on the Web, wherein they will be taking strides to cooperate as a regional theatre community.

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Kendall, Julie E. "Metaphors for E-Collaboration." In Virtual Team Leadership and Collaborative Engineering Advancements, 255–70. IGI Global, 2009. http://dx.doi.org/10.4018/978-1-60566-110-0.ch018.

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What constitutes regional commerce? What creates and enhances a regional identity? In the United States, regions can be quite large and may even cover geographical territory from several surrounding counties or states. They are larger than any one individual company, shopping street, or district. Regional cooperation of commercial businesses is often manifested through special events, cooperative advertising with coordinated signage, extended opening hours, and special discounts that contribute to building a sense of community, and which eventually develop a sense of region. The political and environmental exigencies for the creation and expansion of regions have meant an increase in the popularity and importance of regions and a subsequent movement to enhance and differentiate their identities. We now see the rise of regional governments, water authorities, and educational institutions among many others. One little-explored idea has been the use of e-collaboration to forge, reinforce, and sustain a regional identity via the virtual world. Although geographical separation of many miles might dictate that bricks-and-mortar theatres cannot easily collaborate physically (i.e., they cannot share costumes, props, ushers, and so on), the possibility of e-collaboration opens potential opportunities for attracting wider audiences, reaching and ultimately casting fresh talent, and building reciprocal audiences who possess a passion for the arts and who have the means and desire to travel to attend performances throughout the geographical region. In this study, a methodology built on the conceptual foundation of metaphor research was used to comprehend and then interpret the Web presence of 15 nonprofit theatres that comprise the total regional theatre of southern New Jersey that exists on the Web. In order to add additional insight, our earlier research findings from working with off-Broadway and regional theatre festivals were extended to analyze the Web presence of the theatres in southern New Jersey. We contribute to the literature by systematic and deep investigation of the strategic importance of the Web for nonprofit theatre groups in the southern New Jersey region. In addition, our use of the metaphor methodology in order to create a telling portrait of what transpires on the Web in relation to nonprofit organizations is also an original contribution. Our work is meant to heighten the awareness of administrators to the rapidly accelerating need for the strategic use of e-collaboration. We propose that with the use of the Web, administrators can move toward creating a regional theatre Web presence for South Jersey, one which would make use of an evolutionary metaphor. To this end, we suggest the use of an organism metaphor. Through the creation of reciprocal hyperlinks, theatres can be supported in improving their practice of colocation on the Web, wherein they will be taking strides to cooperate as a regional theatre community.

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8

"ALVIN AILEY DANCE THEATER FOUNDATION." In The Art of the Turnaround, 32–60. Brandeis University Press, 2009. http://dx.doi.org/10.2307/j.ctv102bgz4.7.

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Chacón, Gloria Elizabeth. "Contemporary Maya Women’s Theater." In Indigenous Cosmolectics, 103–24. University of North Carolina Press, 2018. http://dx.doi.org/10.5149/northcarolina/9781469636795.003.0005.

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The 4^th Chapter focuses on FOMMA and Ajchowen, two foundational Maya women’s theater troupes in Mexico and Guatemala, and their productions. It argues their plays re-envision women’s roles as critical to the future of indigenous peoples. The discussion concludes that both theater collectives underscore a need for political autonomy.

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Daniel, Larry J. "Flawed Foundations." In Conquered, 1–13. University of North Carolina Press, 2019. http://dx.doi.org/10.5149/northcarolina/9781469649504.003.0001.

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This chapter explores the numerous intrinsic flaws of the Army of Tennessee beginning with the hiring of unqualified officers, inadequate training for troops, and insufficient organization. The chapter also addresses the problem of sectionalism in the army. The Army of Tennessee drew soldiers from three different regions in the western front—the Upper South, Lower South, and Highlands. Soldiers from different regions were often hostile to each other because of perceived cultural and ideological differences. Lastly, the Confederacy put the Army of Tennessee at a disadvantage by poorly navigating the strategic and political issues concerning the defense of rivers permeating the western theater.

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Conference papers on the topic "Ford Foundation. Theater Theater"

1

Hillegass, Matthew J., and Eric L. Rabeno. "Seeded Fault Testing of Military Ground Vehicles as a Pathway to Condition Based Maintenance." In ASME 2010 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. ASMEDC, 2010. http://dx.doi.org/10.1115/detc2010-28039.

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The performance of military ground vehicle systems is being degraded due to high operation tempo and exposure to extreme environments while performing in-theater service. To address this issue, the US Army is implementing a policy of Condition Based Maintenance which is supported by the Army Material System Analysis Activity (AMSAA). The vision of this policy is to base the maintenance of systems upon the actual condition of the system and not upon time- or distance-based schedules. This capability will be enabled by the application of usage, diagnostic and prognostic processes executed on a Health and Usage Monitoring System (HUMS) installed on these vehicle systems. A thorough understanding of the ways in which the system condition is degenerated and the ability of the HUMS to detect, identify, and communicate all conditions that require maintenance in a timely manner are key requirements of these processes. Seeded Fault Testing is the critical means of fulfilling these requirements. A joint Seeded Fault Testing project between AMSAA and the US Army Aberdeen Test Center (ATC) has been initiated to gain a thorough understanding of ground vehicle system condition degeneration and HUMS implementation of products and processes that can accurately identify and communicate it. A military vehicle underwent exhaustive testing in support of this project. The vehicle was subjected to specific use scenarios while carefully controlled faults are induced in engine, transmission, and other key mechanical subsystems that would degrade vehicle performance and degenerate system condition. The vehicle’s induced faults included lowered coolant levels to simulate leakage, restriction of air flow across radiators and filters to simulate dust and debris accumulation, and lowered transmission and engine oil levels to simulate leakage and usage. The objective of this project was to use the results from the seeded fault tests to establish critical thresholds, trends, and patterns that will be the basis of the creation and implementation of real-time HUMS-based algorithms that predict faults, warn operators and maintainers of imminent failures, and provide a sound foundation for Condition Based Maintenance.

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2

Xu, Han, Stephan Krusche, and Bernd Bruegge. "Using software theater for the demonstration of innovative ubiquitous applications." In ESEC/FSE'15: Joint Meeting of the European Software Engineering Conference and the ACM SIGSOFT Symposium on the Foundations of Software Engineering. New York, NY, USA: ACM, 2015. http://dx.doi.org/10.1145/2786805.2803207.

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3

Shi, Bo, and Zhao-Fei Tian. "Research on Modular Modeling Method of Reactor Coolant System Based on THEATRe." In 2014 22nd International Conference on Nuclear Engineering. American Society of Mechanical Engineers, 2014. http://dx.doi.org/10.1115/icone22-30450.

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At present, research on the reactor coolant system is less yet, though modular modeling method has been widely used in the second-loop system of reactor. This paper takes the reactor coolant system of Qinshan-1 nuclear power plant as the object of study, analyses and researches on modular modeling method of reactor coolant system based on THEATRe, which is a large Thermal-Hydraulic real time simulation software developed by GSE Company and adopts NMNP (Nodal Momentum Nodal Pressure) solving method. This research establishes the modular model of the reactor coolant system equipments (including reactor core, main coolant pump, pressurizer, steam generator) using the THEATRe code. Due to each module is wrote into through different input cards, they can be solved by using their own matrix of velocity-pressure to guarantee the independence of the numerical calculation for different modular modules. THEATRe code does not have its own TDV like relap-5, meanwhile it also needs to ensure the pressurizer module can play a role in the multi-pressure node system. So this paper modifies solving method of the THEATRe source code to get suitable pressure boundary and flux boundary for RCS equipment modular module, and selects reasonable time step and data exchange frequency to achieve the data exchange of boundary pressure, flux and enthalpy among the equipment modules, which lays the foundation of establishing the real-time modular simulation model of the reactor coolant system in the future.

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4

Mason, Timothy. "SC42 Developing NTS recognition for foundation doctors through joint foundation doctor simulation." In Abstracts of the Association for Simulated Practice in Healthcare 9th Annual Conference, 13th to 15th November 2018, Southport Theatre and Convention Centre, UK. The Association for Simulated Practice in Healthcare, 2018. http://dx.doi.org/10.1136/bmjstel-2018-aspihconf.65.

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Feneley, Andrew, George Badham, Victoria Gray, Jessica Blake, and Barry Featherstone. "P12 Foundation realistic on-call simulation training (FROST): improving confidence at the transition from medical student to foundation doctor." In Abstracts of the Association for Simulated Practice in Healthcare 9th Annual Conference, 13th to 15th November 2018, Southport Theatre and Convention Centre, UK. The Association for Simulated Practice in Healthcare, 2018. http://dx.doi.org/10.1136/bmjstel-2018-aspihconf.106.

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Smith, Mike, Chiara Mosley, and Craig Rogers. "SC24 Reducing group size increases the impact of simulation training for foundation trainees." In Abstracts of the Association for Simulated Practice in Healthcare 9th Annual Conference, 13th to 15th November 2018, Southport Theatre and Convention Centre, UK. The Association for Simulated Practice in Healthcare, 2018. http://dx.doi.org/10.1136/bmjstel-2018-aspihconf.47.

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Mason, Timothy. "SC13 Developing non-technical skills recognition for junior doctors through joint foundation doctor simulation." In Abstracts of the Association for Simulated Practice in Healthcare 9th Annual Conference, 13th to 15th November 2018, Southport Theatre and Convention Centre, UK. The Association for Simulated Practice in Healthcare, 2018. http://dx.doi.org/10.1136/bmjstel-2018-aspihconf.37.

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Dandy, Ryan, Samuel Morrish, and Caroline Walker. "P40 Clinical simulations as a framework for delivering human factors education to foundation year 1 doctors." In Abstracts of the Association for Simulated Practice in Healthcare 9th Annual Conference, 13th to 15th November 2018, Southport Theatre and Convention Centre, UK. The Association for Simulated Practice in Healthcare, 2018. http://dx.doi.org/10.1136/bmjstel-2018-aspihconf.132.

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Loughrey, Mark, and Udesh Naidoo. "P15 Is there a problem finding and retaining clinical faculty for foundation doctor simulation in south london, kent, surrey and sussex?" In Abstracts of the Association for Simulated Practice in Healthcare 9th Annual Conference, 13th to 15th November 2018, Southport Theatre and Convention Centre, UK. The Association for Simulated Practice in Healthcare, 2018. http://dx.doi.org/10.1136/bmjstel-2018-aspihconf.109.

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Broomfield, Rebecca, Melanie Cotter, and John Dunne. "P32 Can you improve knowledge and confidence in common paediatric emergencies using simulation teaching as part of a foundation year teaching program?" In Abstracts of the Association for Simulated Practice in Healthcare 9th Annual Conference, 13th to 15th November 2018, Southport Theatre and Convention Centre, UK. The Association for Simulated Practice in Healthcare, 2018. http://dx.doi.org/10.1136/bmjstel-2018-aspihconf.124.

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