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

Author: Grafiati

Published: 4 June 2021

Last updated: 8 February 2022

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1

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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2

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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4

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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5

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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11

Jindra, Miroslav. "Homosexual parenthood in children’s literature." Acta Univeristatis Lodziensis. Folia Librorum 1, no. 28 (June 25, 2019): 105–24. http://dx.doi.org/10.18778/0860-7435.28.05.

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Homosexuality in children’s literature is still a controversial topic in many countries of the world. Not only are people afraid to talk about this theme with children, they do not know how. The history of this topic in children’s literature dates back to the 80s of the 20th century, when the first books were published. In 20th century, human society went through many changes which were reflected in all the fields of art (theatre, fine arts, literature, etc.). Writers had a need to familiarise children readers with ‘taboo topics’ such as homosexuality, death, drugs, etc. They wanted to introduce homosexuals as ordinary men and women, who live their own lives with their joys and worries. Today, we can find three main themes in children’s literature: coming out, the life of homosexuals and homosexual parenthood. Each theme has its own specifics and typical reader age group of children or youth. This characterisation can help us to deeper identify the topic. The literature offers children and youth better and easier cognition of the world with its differences. The aim is to learn about the history of homosexuality in children’s literature and go deeper into its individual themes, especially homosexual parenthood. Children need to know everything about life and have no taboos. Why are we afraid to talk about it?

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12

Lewis, Tyson E. "Walter Benjamin’s radio pedagogy." Thesis Eleven 142, no. 1 (September 3, 2017): 18–33. http://dx.doi.org/10.1177/0725513617727891.

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This paper investigates the unique educational relevancy of Walter Benjamin’s radio broadcasts. While much has been written about Benjamin’s approach to both children’s literature and children’s theatre, his own pedagogical practice as a radio pedagogue remains largely marginalized in these discussions. In order to address this gap in the literature, I focus on the implications of shifting from the largely visual world of children (celebrated in color illustrations) to the auditory world of radio. Through a careful reading of the radio scripts, I argue that a perceptual alteration unique to the sonic medium of radio jumpstarts historical thinking in children. The following pedagogical principles which I extract from the radio broadcasts support and enhance this mode of historical materialist education. In conclusion, the article argues for the ongoing relevancy of Benjamin for thinking through the pedagogical implications of new information technologies within a postmodern era such as podcasts.

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13

Kina, Laura. "Ancestral Cartography: Trans-Pacific Interchanges and Okinawan Indigeneity." Asian Diasporic Visual Cultures and the Americas 6, no. 1-2 (July 6, 2020): 48–70. http://dx.doi.org/10.1163/23523085-00601004.

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This article examines how Okinawan Indigenous identity is influenced by “minor” Trans-Pacific interchanges between the Native Hawaiian sovereignty movement and Native American discourses on Indigeneity. Drawing from interviews with fellow Okinawan diaspora artist Denise Uyehara, the author explores their parallel responses as fourth generation Okinawan Americans to the recent resurgence of Okinawan Indigenous cultural history, practice, and identity. Uyehara’s collaboration with Native American artists in the performance Archipelago (2012) with Adam Cooper-Terán (Yaqui/Chicano), Ancestral Cartographic Rituals (2017) in collaboration with the late Payómkawichum, Ipi, and Mexican-American artist James Luna (1950–2018), and the immersive theatre project Shooting Columbus (2017) collaboration with The Fifth World Collective, is put into conversation with Kina’s painting series Sugar and Blue Hawai‘i (2010–2013) about Hawaiian sugar plantations and her trilingual illustrated children’s book Okinawan Princess: Da Legend of Hajichi Tattoos (Bess Press, 2019) written by Hawai‘i Creole author Lee A. Tonouchi.

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Piazzoni, Irene. "Bambini in scena. L'editoria teatrale per l'infanzia tra Otto e Novecento." MEMORIA E RICERCA, no. 29 (March 2009): 63–81. http://dx.doi.org/10.3280/mer2008-029006.

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- The essay explains the first results of a research on the spreading of the acting between children and teenagers in Italy in the period ranging between the XIXth century and the early years of the XXth. Staging various kind of theatrical works - like monologues, dialogues, comedies, both in schools, boarding schools, orphanages, and in domestic theatres of middle-class families, was a very common practice. This phenomenon gave birth to a real publication type where some publishers in particular of Milan, Florence and Turin became skilled in, together with amateur writers, who were often teachers and educationists. A large number of paperback or valuable collections were printed with the purpose of becoming an outline for the performance, by circulating within a heterogeneous public. The great children's theatrical publication season coincides with the building of a Unitarian State: it is therefore not by chance that the themes and subjects echo the objectives of national, patriotic events and pedagogy throughout time.

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15

Hall, Robin. "Children's Theatre in Japan." Asian Theatre Journal 3, no. 1 (1986): 102. http://dx.doi.org/10.2307/1124582.

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Munro, Lucy. "Edel Lamb. Performing Childhood in the Early Modern Theatre: The Children's Playing Companies (1599–1613). Early Modern Literature in History. New York: Palgrave Macmillan, 2009. xii + 189 pp. index. tbls. bibl. $75. ISBN: 978–0–23020–261–0." Renaissance Quarterly 62, no. 4 (2009): 1373–75. http://dx.doi.org/10.1086/650128.

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Manna, Anthony L. "Milestones in American Children's Theatre." Children's Literature Association Quarterly 17, no. 4 (1992): 39–41. http://dx.doi.org/10.1353/chq.0.1014.

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18

Fedenko, Alevtyna. "The importance of M. Kropyvnytskyi’s children’s theater for the formation of a professional musical children’s theater in Ukraine." Aspects of Historical Musicology 19, no. 19 (February 7, 2020): 332–45. http://dx.doi.org/10.34064/khnum2-19.19.

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Introduction and statement of the problem. Before the revolution of 1917, artists, writers, musicians and teachers created a rich literary fund that could be the basis for professional musical children’s theater in Ukraine. That is why there is a need to study the children’s musical and dramatic heritage of the past, which is an inexhaustible treasury of cultural and educational ideas that can be creatively developed and successfully applied in modern conditions. The process of creative development of the genre of children’s musical performance is today one of the most pressing problems of professional theater for children, take in account its growing popularity, both in the world and in Ukrainian musical culture. The lack of scientific research that fully and comprehensively cover the scientific and practical significance of musical children’s plays by Marko Kropyvnytskyi for the development of musical children’s theater in Ukraine indicates the need for more in-depth researching of the chosen topic. In our research, we rely on the works and articles of authoritative experts – in particular, I. Franko (1910), M. Voronyi (1913), D. Antonovich (1925), P. Rulin (1929), I. Mar’ianenko (1953), P. Kyrychok (1985), N. Yosipenko (1958), P. Perepelitsa (1956), A. Novikov (2007; 2011), L. Moroz (1990). The vast majority of researchers noted the great merits of the artist to the national drama in particular and Ukrainian culture in general. Among the scientific works devoted to Kropyvnytskyi as a children’s playwright, one can distinguish the research by A. Novikov (2007), which focuses on the history of creation of the first children’s troupe in the country, which had no analogues in the history of the world theater, since the actors in it were peasant children. In mentioned critical and scientific works, the innovative features of the playwright’s creative heritage are outlined, attention is focused on the specifics of the genre and problem-thematic range, literary-aesthetic, socio-political, and pedagogical views. The literary and theatrical activity of M. Kropyvnytskyi has been thoroughly studied. However, there is still no work that comprehensively reveal his musical and dramatic creativity for children. The purpose of the article is to show the significant role of M. Kropyvnytskyi in the development of children’s musical theater in Ukraine based on the research of children’s musical and dramatic creativity by the artist. The research methodology is integrative. The work uses knowledge of various fields of art history and related sciences: history and theory of theater, music theory, music and theater psychology, vocal and theater pedagogy. Presentation of the main material. A great pride of the playwright is the foundation by him on the territory of his village Zatyshok of the children’s theater, “actors” in which were his own and peasant children. This event was and remains unprecedented, since nothing like this has been observed in the history of Ukrainian and European culture. The troupe consisted of peasant children aged 10–13. For performances, Kropyvnytskyi assigned the largest room (hall) in the old house, where, as in a real theater, the stage was equipped. The first performance, “Goat-Dereza” (“Koza-dereza”), took place on Christmas day, 1906. The playwright drew the scenery himself, and prepared the costumes together with the children. The play was a great success. A few days later, the children’s troupe was invited to a “tour” in the neighboring village, and the entire theater with the scenery on five carts went on a journey of six versts (Novikov, 2007: 33). In the children’s repertoire at that time, there was, in fact, only one work – the opera by M. Lysenko “Goat-Dereza” (“Koza-dereza”) (libretto by Dniprova Chaika). Ukrainian children’s repertoire did not exist at that time, and in 1907, Kropyvnytskyi created two plays for young performers based on folk tales – “Ivasyk-Telesyk” and “At the behest of the pike” (“Po shchuchomu velinniu”). The performances included vocal numbers composed by M. Kropyvnytskyi on the themes of Ukrainian folk melodies. In a letter to his good friend entrepreneur A. Suslov in January 1908, the writer, in particular, notes: “I have assembled a troupe of peasant children and I am staging in the villages: Goat-dereza, IvasykTelesyk, and At the behest of the pike (the latter both are my)” (Kropyvnytskyi, 1960: 530). Based on the plot of folk tales of the same name, he wrote original musical and dramatic works for children of great educational value. The plays are quite simple in meaning and clearly depict the images of all the negative and positive characters. The first represent such social vices as lies and insincerity, and the second are carriers of eternal positive qualities – sincerity, candor, hard work. The plays are written in an exquisite Ukrainian language, close to the oral poetic creativity. All this, as M. Yosypenko rightly notes, is evidence of “a serious approach of M. Kropyvnytskyi to the business of writing plays for children, a deep knowledge of the psychology of the young audience and its cultural and educational needs and demands” (Yosypenko, 1958: 265). The performances require participation of music, which organic include into the language range of the play itself. Music explains and complements the true meaning of the situation to the young audience. Ukrainian musical folklore material formed the basis of the musical solution of M. Kropyvnytskyi’s children’s performances. Most often, folk songs served as a means to create the image and were introduce before the dramatic action mainly by the method of self-presentation: performing a particular song, the characters showed certain traits of their nature. The songs help to reveal the inner world of the characters, to express their state of mind and moods; often they contributed to the creation of the necessary stage atmosphere: festivities, fun and jokes. A significant part of the characters could not be imagined without songs. Using some folk melodies, Kropyvnytskyi mainly wrote original music, close in melody to the folk-song sources. Solo numbers, ensembles, and choirs are organically woven into the dramaturgy of these plays. A clear reflection of the integrity and unity of the musical and dramatic process is the principle of end-to-end development of the main musical idea of performances. In preparation for productions of his children’s plays, Kropyvnytskyi wrote an orchestration for them also. Intending to put these plays on the professional stage, Kropyvnytskyi wrote down advice to future directors regarding the production of their children’s plays. He began to think of broader horizons for them. In the spring of 1910, small artists had to show their art to the audience of the neighboring county town Kupyansk. However, the premature death of the Ukrainian playwright did not allow this plan to be realized. The children’s troupe soon ceased to exist. Kropyvnytskyi children’s troupe and the repertoire he created for it became a prologue to the development of the Ukrainian theater’s creativity for young viewers. In nowadays from the repertoire do not go off the pearls of drama for children “Ivasik-Telesik’ and “At the behest of the pike”. Conclusions. Marko Kropyvnytskyi’s creative heritage and practical activities wrote the gold pages to the history of Ukrainian musical children’s drama and Ukrainian children’s theater. Children’s musical and dramatic works of the writer based on song folklore are the effective mean to educate positive attitude of young Ukrainians to folk tradition as well as to form positive nature traits: generosity, hospitality, goodwill, charity.

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Nyohi, Frowin. "Children's participation in theatre‐for‐development." Contemporary Theatre Review 12, no. 1-2 (January 2002): 211–27. http://dx.doi.org/10.1080/10486800208568660.

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20

Xireng, Jiang. "The Children's Art Theatre of Shanghai." Asian Theatre Journal 6, no. 2 (1989): 145. http://dx.doi.org/10.2307/1124456.

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21

JEDDELOH, R. J. "USA: children's theatre makes smoking a farce." Tobacco Control 7, no. 2 (June 1, 1998): 116. http://dx.doi.org/10.1136/tc.7.2.116.

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22

JENSEN. "THE THEATRE COLLECTION MAKES THEATRE HISTORY." Princeton University Library Chronicle 49, no. 3 (1988): 289. http://dx.doi.org/10.2307/26404155.

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23

Klein, Jeanne. "Children's Interpretations of Computer-Animated Dinosaurs in Theatre." Youth Theatre Journal 17, no. 1 (May 2003): 38–50. http://dx.doi.org/10.1080/08929092.2003.10012549.

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Roach, Joseph R. "Reconstructing Theatre/History." Theatre Topics 9, no. 1 (1999): 3–10. http://dx.doi.org/10.1353/tt.1999.0005.

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Tillis, Steve. "Remapping Theatre History." Theatre Topics 17, no. 1 (2007): 1–19. http://dx.doi.org/10.1353/tt.2007.0012.

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26

Shodell, Elly. ":Reminiscence Theatre: Making Theatre from Memories." Oral History Review 34, no. 2 (September 2007): 181–82. http://dx.doi.org/10.1525/ohr.2007.34.2.181.

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27

Greyvenstein, Walter. "LET US ENTERTAIN YOU! CHILDREN'S THEATRE AND POPULAR ENTERTAINMENT." South African Theatre Journal 3, no. 2 (January 1989): 51–90. http://dx.doi.org/10.1080/10137548.1989.9687979.

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Webb, Dorothy. "Betty Kessler Lyman and The Indiana Federal Children's Theatre." Youth Theatre Journal 9, no. 1 (May 1995): 68–78. http://dx.doi.org/10.1080/08929092.1995.10012467.

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Peters, Sibylle. "Participatory Children's Theatre and the Art of Research: The Theatre of Research/Das Forschungstheater2003–2013." Youth Theatre Journal 27, no. 2 (July 2013): 100–112. http://dx.doi.org/10.1080/08929092.2013.837693.

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30

Roark, Carolyn D. "Theatre History Explained (review)." Theatre Topics 17, no. 1 (2007): 87–88. http://dx.doi.org/10.1353/tt.2007.0011.

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31

Rush, Adam. "Musical theatre: a history." Studies in Theatre and Performance 39, no. 2 (November 8, 2017): 206–7. http://dx.doi.org/10.1080/14682761.2017.1401302.

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Reason, Matthew. "‘Did You Watch the Man or Did You Watch the Goose?’ Children's Responses to Puppets in Live Theatre." New Theatre Quarterly 24, no. 4 (November 2008): 337–54. http://dx.doi.org/10.1017/s0266464x08000481.

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Puppets are inanimate objects that, when watched by an audience, are invested with life and motion and character. This is particularly the case, we imagine, with children's theatre, where there is a cultural assumption that young audiences engage with the illusion and imaginative experience. In this article Matthew Reason uses innovative visual arts-based audience research to explore this question, asking how children respond to puppets in live theatre. In doing so he engages with questions of reality, illusion, belief, and disbelief in the theatre, as well as with questions about the respect and sophistication of young audiences. Matthew Reason is a Senior Lecturer in Theatre and Head of Programme for MA Studies in Creative Practice at York St John University. In 2006 he published Documentation, Disappearance, and the Representation of Live Performance (Palgrave), and a full-length exploration of children's experiences of live theatre, The Young Audience, will be published by Trentham Books in 2010.

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Malshina, Natalia A., and Anna A. Firsova. "Quantitative Analysis of the Cultural Industry in the Russian Federation in 1990—2018." Observatory of Culture 17, no. 2 (June 30, 2020): 125–38. http://dx.doi.org/10.25281/2072-3156-2020-17-2-125-138.

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There is a clear need to consider the cultural industry as a holistic system that emerged as a result of the relationships and interactions of different markets. The cultural industry is becoming a model for understanding the changes in other areas of human activity. This is a consequence of the increasing role of symbolic creativity and (or) information in social and economic life. The article analyzes the conceptual apparatus of the system of cultural services. There are revealed the apparatus’s existing imperfections, which can be eliminated under the condition of legislative regulation. This research is purposed to conduct a quantitative analysis of the functioning of Russian cultural institutions in modern conditions. The cultural industry is a complex business structure interested in making a profit by producing and distributing cultural texts. The results of the last 25 years of Russian cultural history are reflected in the figures given. The analysis showed that, in general, the number of cultural institutions tends to decrease. Only the number of theatre-goers and museum visitors has increased, while other segments of the cultural sphere have reduced their numbers. The most stable are the performance indicators of children’s music schools. The functioning specifics analysis allowed to identify the dominant trends in the development of the modern Russian cultural industry, which systematically change its design, landscape and principles of operation. These are exogenous structural transformations, endogenous processes of culture, and transformations in the field of financing and administration by the state. The article notes that promising directions of the cultural industry development should include its transformation, aimed at meeting the needs of the market and the state, and contribute to the formation of a national economy congruent with the needs of the consumers. Basing on the findings of the research, it is possible to forecast the cultural industry development and further elaborate the set of mechanisms supporting it, which will create prerequisites for the revival of the regional economy and sustainable economic growth of the Russian Federation.

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Fassler, Christopher T., and Andre Lascombes. "Tudor Theatre: Allegory in the Theatre." Sixteenth Century Journal 33, no. 2 (2002): 562. http://dx.doi.org/10.2307/4143975.

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35

Winston, Joe. "Playing on The Magic Mountain: Theatre education and teacher training at a children's theatre in Brussels." Research in Drama Education: The Journal of Applied Theatre and Performance 8, no. 2 (September 2003): 203–16. http://dx.doi.org/10.1080/13569780308330.

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36

Bay-Cheng, Sarah. "Theatre Squared: Theatre History in the Age of Media." Theatre Topics 17, no. 1 (2007): 37–50. http://dx.doi.org/10.1353/tt.2007.0001.

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Kent, Assunta. "Quiet Revolution: Feminist Considerations in Adapting Literature for Children's Theatre." Theatre Topics 1, no. 1 (1991): 35–42. http://dx.doi.org/10.1353/tt.2010.0000.

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Klein, Jeanne. "From Children's Perspectives: A Model of Aesthetic Processing in Theatre." Journal of Aesthetic Education 39, no. 4 (2005): 40–57. http://dx.doi.org/10.1353/jae.2005.0041.

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39

Lynde, Denyse. "Wolfeville's Mermaid Theatre: The First Fifteen Years." Theatre Research in Canada 9, no. 1 (January 1988): 81–93. http://dx.doi.org/10.3138/tric.9.1.81.

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This article is a historical overview of the first fifteen years of children's theatre in Wolfville, Nova Scotia, where the Mermaid Theatre was founded. Developing from a local to a major international company, the Mermaid has redefined its mandates and policies and undergone major personnel changes and shifts in repertory that have significant implications for Canadian drama in both a local and national context.

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40

McConachie, Bruce A. "Realizing a Postpositivist Theatre History." New Theatre Quarterly 10, no. 39 (August 1994): 217–22. http://dx.doi.org/10.1017/s0266464x0000052x.

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Bruce McConachie teaches in the Theatre Department at the College of William and Mary in Virginia. He is one of the leading theatre historians in the United States, who has, as David Mayer put it in his review of McConachie's most recent book, Melodramatic Formations: American Theatre and Society, 1820–1870, ‘been examining, criticizing, and improving the practice of theatre historiography’ for many years. McConachie's re-examination of how history is researched, analyzed, and written has its origins in an article, ‘Towards a Postpositivist Theatre History’, which he published in Theatre Journal in 1985, criticizing scholars who limit their theatre histories to events in the theatre. He called for historians to realize that theatre is only one part of a much larger socio-cultural complex, and that it is the historian's job to analyze theatre in terms of that complex. this article was the point of departure for the following interview, which Ian Watson conducted with McConachie in Philadelphia in January 1993.

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Schoolfield, George C., Frederick J. Marker, and Lise-Lone Marker. "A History of Scandinavian Theatre." World Literature Today 71, no. 4 (1997): 808. http://dx.doi.org/10.2307/40153403.

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El Desouqi, Anas Mohamed El Sayyed. "Verbatim Theatre: History and Techniques." مجلة کلیة الآداب .جامعة بورسعید 11, no. 11 (January 1, 2018): 255–95. http://dx.doi.org/10.21608/jfpsu.2018.57657.

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Tornqvist, Egil, Frederick J. Marker, and Lise-Lone Marker. "A History of Scandinavian Theatre." Modern Language Review 94, no. 3 (July 1999): 898. http://dx.doi.org/10.2307/3737097.

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McConachie, Bruce A. "Towards a Postpositivist Theatre History." Theatre Journal 37, no. 4 (December 1985): 465. http://dx.doi.org/10.2307/3207520.

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Reilingh, Maarten A., and Glynne Wickham. "A History of the Theatre." Theatre Journal 38, no. 4 (December 1986): 510. http://dx.doi.org/10.2307/3208312.

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Carnicke, Sharon Marie, Robert Leach, and Victor Borovsky. "A History of Russian Theatre." Slavic and East European Journal 45, no. 4 (2001): 784. http://dx.doi.org/10.2307/3086155.

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Carney, Saraleigh, Glynne Wickham, Patti P. Gillespie, and Kenneth M. Cameron. "A History of the Theatre." Performing Arts Journal 10, no. 1 (1986): 116. http://dx.doi.org/10.2307/3245579.

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Lorch, Jennifer, Joseph Farrell, and Paolo Puppa. "A History of Italian Theatre." Modern Language Review 103, no. 1 (January 1, 2008): 256. http://dx.doi.org/10.2307/20467726.

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Scott, Virginia. "Dark Thoughts about [Theatre] History." Theatre Survey 45, no. 2 (November 2004): 189–93. http://dx.doi.org/10.1017/s0040557404000134.

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Coetzee's nameless speaker, known only as “Mother,” is accused by her son of an excess of righteousness, and so might I be if I were to agree with her, at least in part, about that gang of thugs. Nonetheless, my hope for the future of the discipline does include the possibility that Clio will escape from the particular thug responsible for jargon and gibberish. Actually, nothing arouses darker thoughts in those of us who believe in lucid and stylish prose than sentences like “what is at stake here is the possibility that the cultural presence of the actor in theatre and in theatre history is delimited by material representational practices generated within a particular discursive site, and subject to the constraints of what can be enunciated about the self's contingent existence.” This may be perfectly clear to others, but I read it as a signal to a choir within which I do not sing, and I stop reading—a pity, since the topic is especially interesting to me and the author has important things to say. But, as Terry Eagleton says in his new book After Theory (the one presently receiving an international drubbing), “you can be difficult without being obscure.”

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Erdman, Harley. "Introduction to "Reconstructing Theatre/History"." Theatre Topics 9, no. 1 (1999): 1–2. http://dx.doi.org/10.1353/tt.1999.0003.

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