Relevant bibliographies by topics / History of children's theatre

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

Academic literature on the topic 'History of children's theatre'

Author: Grafiati
Published: 4 June 2021
Last updated: 8 February 2022

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Journal articles on the topic "History of children's theatre"

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Ashagrie, Aboneh. "Children's Theatre in Ethiopia." Aethiopica 15 (December 4, 2013): 105–17. http://dx.doi.org/10.15460/aethiopica.15.1.662.

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When theatre arts emerged in Ethiopia 90 years ago, all characters in the pioneering play were performed solely by children in front of the Crown Prince Täfäri Mäkwännǝn, and members of the aristocracy. The tradition of considering children as a main force of stage production, and the tendency of showing dramatic performance by students to the benefit of adult audience, likewise, continued up until the establishment of the first professional public theatre in 1942. It was late in early 1980s that a change in perspective occurred to urge the indispensability of producing plays for children’s consumption. Such a new insight, within a few years, led to the establishment of the Children and Youth Theatre in Addis Abäba. This article chronologically portrays the history and development of Ethiopian children’s theatre and will hopefully add knowledge to the account of African theatre in particular and the world theatre in general.
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Martin, Kathryn A., Roger L. Bedard, C. John Tolch, and Lowell Swortzell. "Spotlight on the Child: Studies in the History of American Children's Theatre." Theatre Journal 43, no. 2 (May 1991): 276. http://dx.doi.org/10.2307/3208240.

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Zer-Zion, Shelly. "Theater for Kindergarten Children in the Yishuv: Toward the Formation of an Eretz-Israeli Childhood." IMAGES 12, no. 1 (October 24, 2019): 70–84. http://dx.doi.org/10.1163/18718000-12340110.

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Abstract “The Children’s Theatre by the Kindergarten Teachers Center,” that was founded in 1928, was the first Hebrew repertory theatre exclusively addressing the audience of children attending kindergarten and the first grades of elementary school. This article explores how The Children’s Theater conveyed a set of performative practices that consolidated a habitus of Eretz-Israeli childhood. The theater articulated the embodied repertoire of Eretz-Israeli childhood and established it on two pillars. First, it epitomized the concept of an innocent and secure childhood. The world performed on the stage created a utopian notion of childhood. Second, it encouraged the children to participate in the world of adults, but in a way suited to their age and psychological needs. The ability of this theatre to create an enriching and a secure environment for children was deeply needed in the Jewish settlement of Palestine of the 1930’s and 1940’s, which was constituted of immigrants struggling to build a future in the land.
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ANANTHAKRISHNAN, B. "Pedagogy, practice and research in Indian theatre." Theatre Research International 35, no. 3 (October 2010): 291–92. http://dx.doi.org/10.1017/s030788331000060x.

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Modern academic training for theatre in India has a history of just over fifty years (since independence). The National School of Drama (NSD) was set up in 1957, but the prime objective of the institution at that time was to generate professionals to develop children's theatre and rural theatre. Although India possessed a wide range of traditional performance cultures throughout the country, from rituals to folk performances and classical performances, the NSD was modelled on the Royal Academy of Dramatic Arts (RADA) since the new institution was led by a graduate of RADA, Professor Ebrahim Alkazi, who put the institution on a functional track. Thus the toolkit used during the initial days was primarily based on Western models conducive to realism rather than growing organically out of the actual practices of the different forms of Indian performance. This early orientation remains today, emphasizing the creation of referential meanings on the stage through conventional methods and devices, taken as the unshakable organizing principle of theatre practice.
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McIntyre, John Alexander. "New Education beyond the school: Rosemarie Benjamin’s Theatre for Children, 1937-1957." History of Education Review 47, no. 2 (October 1, 2018): 217–28. http://dx.doi.org/10.1108/her-11-2017-0021.

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Purpose The purpose of this paper is to examine the work of Rosemary Benjamin’s Theatre for Children in Sydney as a compelling narrative of the New Education in Australia in the late 1930s, an historical moment when theatre for children emerged as a cultural experiment rich in educational ideas. Design/methodology/approach Contemporary sources and archival records are explored through several interpretive frames to develop a historical account of Benjamin’s Theatre for Children from 1937 to 1957. Findings Benjamin’s concept of children’s theatre was shaped by English progressive education as much as the Soviet model she extolled. She pursued her project in Sydney from 1937 because she found there a convivial European emigré community who encouraged her enterprise. They understood her Freudian ideas, which commended the use of the symbolic resources of myth and fairy tales to help children deal with difficult unconscious material. Benjamin also analysed audience reactions applying child study principles, evidence of the influence of Susan Isaacs and the New Education Fellowship. More successful as a Publicist than a Producer, Benjamin was able to mobilise support for her educational cause among performers, parents, cultural figures and educational authorities. Her contribution was to pave the way for those who would succeed with different models of theatre for children. Originality/value This is the first study to employ archival sources to document the history of the Theatre for Children, Sydney and address its neglect as a theatre project combining educational and theatrical values.
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Галина Вольчева. "FORUM-THEATRE AS A MEANS OF FORMING CONSTRUCTIVE BEHAVIOR OF ADOLESCENTS IN CONFLICT SITUATION." Social work and social education, no. 5 (December 23, 2020): 59–65. http://dx.doi.org/10.31499/2618-0715.5.2020.220771.

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The article analyzes the innovations in the educational space of children’s health and recreation facilities. The definition of “forum-theatre” is characterized and the history of its origin is revealed. The features of the use of socio-pedagogical technology “forum-theatre” as a means of forming constructive behaviour of adolescents during the conflict are theoretically substantiated in the article. The structure and the tasks for the organization of forum-theatre are defined.The model of a modern children’s recreational system must be built, taking into account the main problem areas of social development. According to modern educators and psychologists, aggressive manifestations of socio-cultural development significantly reduce the adaptive capacity of children and affect their physical and mental health. Restoring physical health and raising the level of stress resistance in children is an urgent task for modern children’s health and recreation facilities.Socio-pedagogical technology “forum-theatre” is a powerful and flexible communication tool, which, on the one hand, can teach the younger generation to respond adequately to the conflict situation and minimize its consequences, and, on the other hand, to make society more humane.This technology has the right to exist and be widely used in educational work with children because it provides optimal conditions for their social experience. In addition, it demonstrates to the younger generation that the ability to defend their own opinions, prevent conflict and actively participate in building their own lives is very important in modern society.
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Gupta, Tanika. "As Long as the Punters Enjoy It." New Theatre Quarterly 24, no. 3 (August 2008): 260–69. http://dx.doi.org/10.1017/s0266464x08000316.

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Tanika Gupta is one of the most prolific and outstanding new writers in contemporary British theatre. Born in Chiswick in 1965, she is a bilingual British Bengali who – after reading modern history at Oxford University – began her career in 1991, when her Radio 4 play, Asha, was part of the BBC Young Playwrights Festival. In 1995, her BBC film, The Rhythm of Raz, was nominated for a Children's BAFTA and the following year her film Bideshi won an award at the Bombay Short Film Festival. Meanwhile, although she made a living writing for Grange Hill and EastEnders, her play Voices on the Wind was being developed and, in 1996–98, she was Writer-in-Residence at the Soho Theatre. In 1997, A River Sutra was staged at Three Mills Island, London, and Skeleton at the Soho Theatre. In 1998, Flight, her BBC2 screenplay, won an EMMA. The Waiting Room (2000), staged by the National, won the John Whiting Award, and was followed by Sanctuary (National) and Inside Out, toured by Clean Break (both 2002). In 2003, Gupta's Fragile Land opened the new Hampstead Theatre's education space, her Asian version of Hobson's Choice was staged at the Young Vic, and she won the Asian Woman of Achievement Award. Later, she had further success with her campaigning play about the Zahid Mubarek case, Gladiator Games (Sheffield Crucible, 2005), and Sugar Mummies (Royal Court, 2006). A year later came a play for the National Youth Theatre, White Boy (Soho). What follows is an edited transcript of Aleks Sierz's ‘In Conversation with Tanika Gupta’, part of the ‘Universal Voices’ festival held at Rose Bruford College, Sidcup, Kent, in April 2007, organized by Nesta Jones.
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Georgakaki, Konstantza. "Children's Theater in Greece from 1949 to 2001." Journal of Modern Greek Studies 25, no. 2 (2007): 163–80. http://dx.doi.org/10.1353/mgs.2008.0010.

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Lešnik, Irina. "Drama in Education Reaching Beyond the “Art Form or Teaching Tool” Dichotomy." European Journal of Social Science Education and Research 5, no. 3 (December 1, 2018): 70–77. http://dx.doi.org/10.2478/ejser-2018-0059.

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Abstract In the following article we try to re-evaluate, the place drama occupies in contemporary elementary education. By limiting the role of drama to literature studies and theatre productions, we lose a greater potential Theatre Pedagogy has to offer to a much broader educational spectrum. The participatory practices of Theatre and Drama in Education (TiE, DiE) promote active learning, based on a most organic children’s activity - play. While students co-create the fictional world of drama, teacher's guidance is crucial in setting new challenges, encouraging students to find creative solutions and reflect on often-complex social issues. Because of its art component, drama challenges the participants on a cognitive as well as emotional level, becoming a truly transformational experience. As such, Drama in Education is especially useful when approaching sensitive and controversial topics. This thesis is presented on a case study observing Year 6 students at St’ Michael’s CE Academy in Birmingham, UK, using Drama in Education method as part of History curriculum.
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Macklin, E. Kim, Glen T. Hvenegaard, and Paul E. Johnson. "Improvisational Theater Games for Children in Park Interpretation." Journal of Interpretation Research 15, no. 1 (April 2010): 7–13. http://dx.doi.org/10.1177/109258721001500102.

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With children increasingly disconnected from nature and much interpretation geared toward adults, agencies need age-appropriate techniques for children. Improvisational theater games use group-based role-playing to solve problems through dialogue and activity in a creative, spontaneous, supportive, and interactive atmosphere. This paper highlights children's enjoyment and perceived learning resulting from a new improvisation program in Banff National Park, Canada. We thematically analyzed open-ended evaluations of an improvisation-dominated program. The activities enjoyed most included improvisation, because they involved fun, physical activity, creativity, challenge, and novelty. The least-enjoyed activities were physical activity games and an interpretive talk. Perceived learning was highest from an interpretive talk and nature walk and least from games focused on physical or group activities. Most perceived and desired learning related to natural history and park management topics. Despite being nontraditional and non-thematic, improvisation can contribute to children's enjoyment and perceived learning in park interpretive programs.
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Dissertations / Theses on the topic "History of children's theatre"

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Oliver, Sarah Miranda Londré Felicia Hardison. "Kansas City's Community Children's Theatre a history /." Diss., UMK access, 2008.

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Thesis (M.A.)--Dept. of Theatre. University of Missouri--Kansas City, 2008.
"A thesis in theatre." Typescript. Advisor: Felicia Hardison Londreʹ Vita. Title from "catalog record" of the print edition Description based on contents viewed Sept. 12, 2008. Includes bibliographical references (leaves 118-120). Online version of the print edition.
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Lay, Ruth Ann. "The Memory and the Legacy: The Whittlin' Whistlin' Brigade -- The Young Company 1974-2001." BYU ScholarsArchive, 2002. https://scholarsarchive.byu.edu/etd/2838.

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The Memory and The Legacy: The Whittlin' Whistlin' Brigade - The Young Company 1974-2001, is a history of the children's theatre of Brigham Young University. The Whittlin' Whistlin' Brigade - The Young Company acts as a training ground for graduate students working in theatre for young audiences. Then directing a production for The Whittlin' Whistlin' Brigade - The Young Company, students are instructed to perform all functions required of a professional company. As the The Whittlin' Whistlin' Brigade - The Young Company (WWB-TYC) spends much of its performance time on tour, those responsibilities are relegated to the students. Developed and headed by Dr. Harold R. Oaks of Brigham Young University, WWB-TYC produced children's theatre for local, regional, national and international audiences. The history includes production photos, budgets and business plans. A survey of former company members was conducted assessing the long-term affect on participants in relationship to their personal and professional life. This thesis is also in electronic form using animation, musical and narrative audio, an interactive menu and a photo-gallery. Text is available in HTML and PDF format with 'print' capability. A tutorial is included to aid in possible navigational concerns. Working within an electronic medium has facilitated the accessibility of a considerable collection of material highly diverse in nature. Twenty-seven years of production notes, performance programs, production photos, music, scripts, budgets, permissions, required licensing, travel arrangements and itineraries, performance schedules, educational/clientele data and historical developmental notes of the children's theater program itself presented not only volumes of material but also brought specific inclusion needs. In addition, the results of a program survey of the program will be presented in graph and chart format. Determined needs include: 1. A history of children's theater both nationally and at Brigham Young University. 2. Supporting documentation of program development and implementation. 3. Survey results of WWB-TYC participants.
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Chamberlain-Snider, Sandra. "Arts Umbrella's Theatre Troupes : a history of theatre training for children and youth." Thesis, University of British Columbia, 2013. http://hdl.handle.net/2429/44203.

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Arts Umbrella is a not-for-profit arts education centre for children and youth ages two to nineteen. Its Theatre program has been providing artistic theatre training to young people in the Metro Vancouver area for almost thirty years. This study's objective is to present the history of the Theatre Troupes within a historiographical methodology that takes into account all the contributing factors towards the program's successful development. The material archive resources of Program Guides, Reports to the Board, Newsletters, Show Programs and the original Business Plan are documented in a chronological exposition of the Theatre Troupes' history along with interviews with Arts Umbrella co-founder Carol Henriquez, the influential Troupe directors Sarah Rodgers, Paul Moniz de Sa and Susanne Moniz de Sa, other artist-instructors and a summary of survey questionnaire responses from parents and alumni. The young theatre students at Arts Umbrella have experienced a rich and diverse history of theatre artists in Vancouver, in a safe and nurturing environment that has been consistently funded and stable administratively since inception of the Theatre Arts program in 1984.
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Konesko, Patrick M. "Representing Childhood: The Social, Historical, and Theatrical Significance of the Child on Stage." Bowling Green State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1365154777.

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GRAY, FRED ALLEN. "CHILDREN'S MUSICALS, 1973-1985: ANNOTATIONS WITH SOURCEBOOK FOR PRODUCTION (DRAMA, ELEMENTARY, HISTORY, VOICE, CHORAL)." Diss., The University of Arizona, 1985. http://hdl.handle.net/10150/188089.

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The purpose of this study was to collect and annotate the musical dramas for children of elementary school age published since 1972. Musical dramas selected were limited to those having a story line rather than just a narrator and chorus, having dialogue interaction between the characters, containing mostly original music, and written for grades kindergarten through six. This document is intended as a resource for elementary school teachers and church workers who are searching for appropriate material for performance or study. Annotations of 210 musicals for children, sacred and secular, are the main emphasis of the study. Pertinent information in each annotation includes: basic story line, voice span (extreme range of the music), tessitura (range where most of the tones lie), recommended grade level, duration, type of accompaniment available, 1985 prices and required purchase for performance rights, staging requirements, number and characteristics of the songs, and personnel needed. Musicals were obtained through publishers, music retailers, and leasing firms. A part of the study is a history of musical drama in America and in America's schools. Musical drama has been a part of elementary education in America almost from its inception. The first musical drama in America was presented in Charleston, S.C., in 1735, and the first school music drama was presented in New York in 1853. Because children's musicals involve the child voice, information is contained in the study concerning practices which might cause vocal damage. Current research and theory about children's voice range is reported. Opinion is divided about proper natural voice range for children. Each viewpoint has supporting research. The study shows that an abundance of musical drama material is available for children of elementary age, especially the upper grades. A sourcebook for directors and producers of children's musicals has been included to assist those who have a limited knowledge of stage lighting, choreography, make-up, sound systems, sets, and costumes. Suggestions are provided for choosing a musical, holding auditions, scheduling rehearsals, and involving parents and community. 1973 was selected as the beginning date for inclusion of musicals in the study because of the resurgence of writing and publishing elementary school musicals and because of the growing number of musicals written for church children's groups. Recommended areas for further research concerning children's musicals include the present usage figures for published musicals, an annotated list of musicals using only narrators and choir, and usage figures of musicals by geographic areas.
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Crow, Ruthanne Lay. "The Memory and the Legacy: The Whittlin' Whistlin' Brigade-- The Young Company, 1974-2001." Diss., CLICK HERE for online access CLICK HERE for online access, 2002. http://patriot.lib.byu.edu/u?/MTAF,24579.

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Thesis (M.A.)--Brigham Young University. Dept. of Theatre and Media Arts, 2002.
Includes CD-ROM: "The Whittlin' Whistling Brigade, The Young Company. Electronic and multi-media thesis by Ruthanne Lay Crow, July 2002." Includes bibliographical references (p. 228-229).
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Laissle, Kate M. "An Examination of the History and Practices of Children's Theater Culminating in a Touring Production of Thumbelina: The Story of a Brave Little Girl." Ohio University Honors Tutorial College / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1275666975.

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Lauritzen, Chareen Hardy. "The Roberta Jones Junior Theatre : a model children's theatre /." Diss., CLICK HERE for online access, 2009. http://contentdm.lib.byu.edu/ETD/image/etd2882.pdf.

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Lawver, Kimberly. "SWOT Analysis of Theatre 8:15, A Children's Community Theatre." University of Akron / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=akron1336245437.

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Marshall, Brian M. "Caryl Crane Children's Theatre A Strategic Analysis." University of Akron / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=akron1302124613.

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Books on the topic "History of children's theatre"

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Historical guide to children's theatre in America. New York: Greenwood Press, 1987.

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Theatre for children in the United States: A history. Studio City, CA: Players Press, 1997.

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Smith, Chari R. Extraordinary women from U.S. history: Readers theatre for grades 4-8. Portsmouth, NH: Teacher Ideas Press, 2003.

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Bellville, Cheryl Walsh. Theater magic: Behind the scenes at a children's theater. Minneapolis: Carolrhoda Books, 1986.

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Bellville, Cheryl Walsh. Theater magic: Behind the scenes at a children's theater. Minneapolis: Carolrhoda Books, 1986.

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Performing childhood in the early modern theatre: The children's playing companies (1599-1613). New York: Palgrave Macmillan, 2009.

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Saʻd, Fayṣal Aḥmad. Masraḥat al-manāhij al-madrasīyah. [al-Kharṭūm: al-Amānah al-ʻĀmmah lil-Kharṭūm ʻĀṣimah lil-Thaqāfah al-ʻArabīyah, 2005.

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Wings of fancy: Using readers theatre to study fantasy genre. Westport, Conn: Teacher Ideas Press, 2006.

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1930-, Shaw Ann M., and Krzys Katherine, eds. Discovering a new audience for theatre: The history of ASSITEJ, the International Association of Theatre for Children and Youth. Santa Fe: Sunstone Press, 2008.

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Varty, Anne. Children and theatre in Victorian Britain: All work, no play. Basingstoke [England]: Palgrave Macmillan, 2008.

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Book chapters on the topic "History of children's theatre"

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Macleod, Joseph. "Children's Gauze." In A Soviet Theatre Sketch Book, 47–55. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003228677-5.

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Schneider, Rebecca. "“Theatre”." In Theatre & History, 18–21. London: Macmillan Education UK, 2014. http://dx.doi.org/10.1007/978-1-137-45657-1_3.

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Aebischer, Pascale, and Nicolas Tredell. "Theatre History." In Jacobean Drama, 26–39. London: Macmillan Education UK, 2010. http://dx.doi.org/10.1007/978-1-137-06669-5_3.

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Shem-Tov, Naphtaly. "Performing history." In Israeli Theatre, 35–61. London ; New York : Routledge, 2021. | Series: Routledge Jewish studies series: Routledge, 2021. http://dx.doi.org/10.4324/9781351009089-3.

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Dickson, Gary. "History: Charisma." In The Children's Crusade, 59–82. London: Palgrave Macmillan UK, 2008. http://dx.doi.org/10.1057/9780230592988_4.

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Schneider, Rebecca. "“History”." In Theatre & History, 13–18. London: Macmillan Education UK, 2014. http://dx.doi.org/10.1007/978-1-137-45657-1_2.

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Schneider, Rebecca. "Whose history is theatre’s history?" In Theatre & History, 61–70. London: Macmillan Education UK, 2014. http://dx.doi.org/10.1007/978-1-137-45657-1_6.

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Frazer, Frances. "9. Children's Literature." In Literary History of Canada, edited by William New, Carl Berger, Alan Cairns, Francess Halpenny, Henry Kreisel, Douglas Lochhead, Philip Stratford, and Clara Thomas, 217–29. Toronto: University of Toronto Press, 1990. http://dx.doi.org/10.3138/9781487589547-011.

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Watson, Donald G. "Theatre, History, Politics." In Shakespeare’s Early History Plays, 1–34. London: Palgrave Macmillan UK, 1990. http://dx.doi.org/10.1007/978-1-349-11035-3_1.

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Leonhardt, Nic. "Global theatre history." In The Routledge Handbook of Transregional Studies, 487–93. Abingdon, Oxon ; New York, NY : Routledge, 2019. | Series: The Routledge history handbooks: Routledge, 2018. http://dx.doi.org/10.4324/9780429438233-61.

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Conference papers on the topic "History of children's theatre"

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Drossinou-Korea, Maria. "Targeted, individually structured special education and training intervention programs and pedagogical applications in museum." In 7th International e-Conference on Studies in Humanities and Social Sciences. Center for Open Access in Science, Belgrade, 2021. http://dx.doi.org/10.32591/coas.e-conf.07.11107d.

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Anthropocentric museums are “an important place in public debate, creation and questioning ideas” because they can have a positive impact on the lives of underprivileged or marginalized people. They can also strengthen specific communities and contribute to the creation of fairer societies. The science of Museology together with the science of Special Education and Training (SET) support with the Targeted Individual Structured and Integrated Program for Students with Special Educational needs (TISIPfSEN), in children and young people with special educational needs and disabilities (SENDs). The purpose of this work was to study museology applications in accordance with the pedagogical tool TISIPfSEN. The main working hypothesis explored access to theatre and entertainment events, museums and archaeological sites of people with SENDs, which is not always an easy process given that they are a heterogeneous group due to their inherent or acquired specificity. The applications also drew pedagogical materials through the charm of the art of theatre and puppetry. In this context, performances were given free of charge through the Kalamata Experimental Stage to children and young people with SENDs, in the city of Kalamata and Sparta. This project led to voluntary application from students of department of history of University of Peloponnese. The results showed that people’s disability does not always mean impotence. Accessibility to museum programs and theatrical events in modern organized societies is possible. The learning process becomes accessible with the pedagogical tool TISIPfSEN to people with special needs. Necessary conditions, knowledge in the SET and the necessary training of all according to universal design. In conclusion, TISIPfSEN museum pedagogical programs facilitate different social groups in approaching, understanding the differential material culture, with alternative forms of communication and learning, given that heterogeneity in nature is a universal phenomenon.
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CHIMITDORZHIEVA, L. S. "ABOUT THE HISTORY OF THE RUSSIAN DRAMA THEATRE FOUNDATION IN BURYATIA." In Scientific conference, devoted to the 95th anniversary of the Republic of Buryatia. Publishing House of the Buryat Scientific Center of the Siberian Branch of the Russian Academy of Science, 2018. http://dx.doi.org/10.30792/978-5-7925-0521-6-2018-219-221.

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Lupo, Philip J., Heather E. Danysh, Sharon E. Plon, David Malkin, Simone Hettmer, Douglas S. Hawkins, Stephen X. Skapek, et al. "Abstract 1296: Family history of cancer and rhabdomyosarcoma in children: a report from the Children's Oncology Group." In Proceedings: AACR Annual Meeting 2014; April 5-9, 2014; San Diego, CA. American Association for Cancer Research, 2014. http://dx.doi.org/10.1158/1538-7445.am2014-1296.

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Vershinina, S. F. "DEVELOPMENT OF TOURIST ROUTES FOR THE PURPOSE OF CHILDREN'S TRIP FOR THE RESEARCH OF THE OWN REGION." In Prirodopol'zovanie i ohrana prirody: Ohrana pamjatnikov prirody, biologicheskogo i landshaftnogo raznoobrazija Tomskogo Priob'ja i drugih regionov Rossii. Izdatel'stvo Tomskogo gosudarstvennogo universiteta, 2020. http://dx.doi.org/10.17223/978-5-94621-954-9-2020-94.

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The article shows an analysis of the environmentally-educational, historically-cultural activities of the Museum of the History of Education of the Tomsk district MBEICE “Kopylovsky Teenage Club“ Odyssey ”named after A.I. Shirokov”, Tomsk district.
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Johnson, C. C., S. L. Havstad, J. M. Biagini Myers, T. Gebretsadik, T. V. Hartert, G. Hershey, D. J. Jackson, et al. "Asthma Incidence Rates in the Echo Children's Respiratory and Environmental Workgroup (CREW) Consortium by Family History, Sex, Race/Ethnicity and Year of Birth." In American Thoracic Society 2019 International Conference, May 17-22, 2019 - Dallas, TX. American Thoracic Society, 2019. http://dx.doi.org/10.1164/ajrccm-conference.2019.199.1_meetingabstracts.a5864.

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Ismail, Salah. "The Hidden Heritage of Ankara Citadel: an Ambigous Future between Conservation and Transformation." In INTERNATIONAL CONFERENCE ON ARCHITECTURAL AND CIVIL ENGINEERING 2020. Cihan University-Erbil, 2021. http://dx.doi.org/10.24086/aces2020/paper.223.

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Although Ankara gained international attention mainly after its declaration as Capital of the Turkish Republic in 1923, the city hosts many buildings and monuments from different historical eras. The remains of Roman, Byzantine, Seljuk and Ottoman Empires discovered in the center of the city, clearly bear witness to the rich and diverse heritage of the capital. However, this heritage appears as less documented, studied and even not properly conserved. The citadel of Ankara, which dominates the narrow streets of the old city has withstood its long history very well and today houses a small neighborhood made up of valuable Ottoman wooden buildings. The link to the Roman and Medieval periods is still tangible. The Roman theatre remains at the foot of the hill are still observable, while the stone columns and beams used in the construction of the walls in a later era. The aim of this paper is to document and present the different historical eras of the castle, focusing on the remains of the medieval era. Analyzing the key features of the castle and the previous intervention on it will support the identification of the potentials of the site. Finally, recommendations for future work of architectural preservation will be elaborated on the basis of national and international conservation guidelines.
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Estéfany Freitas Barbosa, Glória, Larissa da Silva Gomes, Margaret Fernandes Coelho de Oliveira, and Ana Raquel de Souza Pourbaix Diniz. "The impacts of the Digital Age on the formation of readers in the early years of Elementary School." In 7th International Congress on Scientific Knowledge. Perspectivas Online: Humanas e Sociais Aplicadas, 2021. http://dx.doi.org/10.25242/8876113220212441.

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The theme aboutreader formation in Brazil is recurrent in different debates throughout history, considering its importance for the construction of a literate society.This study aimed to draw the reader's profileaged 6 to 10 yearsof the literary text, making an interface with the influence of the Digital Age in the choice of textual genres (fairy tales, legends, fables, among others) and in the formats of reading adhered to by students.Therefore, we aimed to identify the different styles of reading, as well as the ideological aspects inherent to this phenomenon, based on the frequency and formats of reading, namely: on screen and on paper.As a methodology, we carried out a bibliographic survey and applied exploratory research to private school teachers, in a city in the interior of the State of Rio de Janeiro.The survey data point to the great challenge of waking up children's appetite for the universe of reading in the Digital Age. Of the interviewed teachers,most defend the importance of literary reading, however most prefer videos and movies to reading.According to the teachers' testimony, children who like to read develop more creativity and criticality. The research revealed that the option for the act ofreading in detriment to other possibilities of access to culture receives a lot of influence from the encouragement of the school and the family.The sampling highlighted the importance of the literary ambience. We hope that the studywill contribute to the thought of new strategies to encourage reading, by portraying the students' inclination towards audiovisual language
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Reports on the topic "History of children's theatre"

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Pond, Robert. The history of community theatre in Anchorage, Alaska, 1946-1976. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.2970.

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Prysyazhnyi, Mykhaylo. UNIQUE, BUT UNCOMPLETED PROJECTS (FROM HISTORY OF THE UKRAINIAN EMIGRANT PRESS). Ivan Franko National University of Lviv, March 2021. http://dx.doi.org/10.30970/vjo.2021.50.11093.

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In the article investigational three magazines which went out after Second World war in Germany and Austria in the environment of the Ukrainian emigrants, is «Theater» (edition of association of artists of the Ukrainian stage), «Student flag» (a magazine of the Ukrainian academic young people is in Austria), «Young friends» (a plastoviy magazine is for senior children and youth). The thematic structure of magazines, which is inferior the association of different on age, is considered, by vital experience and professional orientation of people in the conditions of the forced emigration, paid regard to graphic registration of magazines, which, without regard to absence of the proper publisher-polydiene bases, marked structuralness and expressiveness. A repertoire of periodicals of Ukrainian migration is in the American, English and French areas of occupation of Germany and Austria after Second world war, which consists of 200 names, strikes the tipologichnoy vseokhopnistyu and testifies to the high intellectual level of the moved persons, desire of yaknaynovishe, to realize the considerable potential in new terms with hope on transference of the purchased experience to Ukraine. On ruins of Europe for two-three years the network of the press, which could be proud of the European state is separately taken, is created. Different was a period of their appearance: from odnogo-dvokh there are to a few hundred numbers, that it is related to intensive migration of Ukrainians to the USA, Canada, countries of South America, Australia. But indisputable is a fact of forming of conceptions of newspapers and magazines, which it follows to study, doslidzhuvati and adjust them to present Ukrainian realities. Here not superfluous will be an example of a few editions on the thematic range of which the names – «Plastun» specify, «Skob», «Mali druzi», «Sonechko», «Yunackiy shliah», «Iyzhak», «Lys Mykyta» (satire, humour), «Literaturna gazeta», «Ukraina і svit», «Ridne slovo», «Hrystyianskyi shliah», «Golos derzhavnyka», «Ukrainskyi samostiynyk», «Gart», «Zmag» (sport), «Litopys politviaznia», «Ukrains’ka shkola», «Torgivlia i promysel», «Gospodars’ko-kooperatyvne zhyttia», «Ukrainskyi gospodar», «Ukrainskyi esperantist», «Radiotehnik», «Politviazen’», «Ukrainskyi selianyn» Considering three riznovektorni magazines «Teatr» (edition of Association Mistciv the Ukrainian Stage), «Studentskyi prapor» (a magazine of the Ukrainian academic young people is in Austria), «Yuni druzi» (a plastoviy magazine is for senior children and youth) assert that maintenance all three magazines directed on creation of different on age and by the professional orientation of national associations for achievement of the unique purpose – cherishing and maintainance of environments of ukrainstva, identity, in the conditions of strange land. Without regard to unfavorable publisher-polydiene possibilities, absence of financial support and proper encouragement, release, followed the intensive necessity of concentration of efforts for achievement of primary purpose – receipt and re-erecting of the Ukrainian State.
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