Academic literature on the topic 'Interactive theatre'

Video games are becoming the fastest growing and most lucrative form of entertainment across the globe. The goal of this project was to take gaming to the next level; to the theatre. I have devised an original piece of theatre using the CIC’s of video gaming: Creativity, Interaction, and Community and put on a production from members of the VCU community. Aside from the project, I have detailed why video games are growing in popularity at an alarming rate and why they belong in the category of ‘Art.’ With new technology and new stories being told, the gaming industry is now an entertainment force to be counted. The project was exposed to the VCU community involving gamers from many different areas of study through theatre as our medium allowing us to convey our thoughts, emotions, and message to an audience. This experimental project is an exploration into bridging the world of gaming into the laps of an awaiting audience.

This project is situated in Olievenhoutbosch - a still-developing community - within a new urban design framework called the Olievenhoutbosch Osmosis Framework, which is a student project criticizing the original Olievenhoutbosch Ministerial Housing Estate Framework of July 2005. The framework addresses the issues related to connectivity in the area, and the design intervention attempts to address this issue on a human scale, on various experiential levels. The dissertation explores the use of multi-functional theatre spaces with varying degrees of interaction and levels of activity. The primary generators for this design intervention has been its urban connectivity, location, the specific site, human movement, and human activities related to the site and the programme of the intervention. In view of the context, the programme, the design intent of the framework, and the location in the framework, the design intervention will create spaces both in and around the structure in which various activities can take place, through the interplay between different tectonic elements.<br>Dissertation MArch(Prof)--University of Pretoria, 2012.<br>Architecture<br>MArch(Prof)<br>Unrestricted

Interactive multimedia offers a degree of richness that lies outside the scope of conventional design methods for computer based learning. This research seeks to develop an interdisciplinary approach to design, that recognises the ways in which the combination and integration of different media forms can be exploited to stimulate experiential, intuitive, perceptual, and social/communicative aspects of learning. The goal of the project has been to develop a conceptual design model for the development of multimedia learning environments (MLEs), for humanistic learning applications, by using interactive drama. The models and methods developed though a practical design project have been founded upon theory from the realms of psychology, social sciences, learning and education, the arts and media, and software design. They address the cognitive and social aspects of learning, the use and interpretation of interactive media, the creation of learning environments, and the activities involved in design. As a vehicle to test the theoretical perspective, a design project has been undertaken, that has involved: 0 learning needs analysis and subject matter development; 9 development of a structural model for the MLE; 9 information structure, navigation and interface design; scripting, design and development of media materials for the development of interactive drama; formative evaluation. The subject area chosen for the design project is that of pregnancy and childbirth. The primary reasons for this choice was a desire to address the issues of design for informal learning experiences (that do not fit in the remit of institutional curricula) and an interest in finding ways to represent the social and interpersonal dimension to learning. Such learning processes have been described as 'humanistic learning' for the purposes of this research project. To help fulfil these goals, it was decided to work with playwright Simon Turley to develop a number of interactive drama scenes. Not only did this enable some of the more sensitive and personal issues of pregnancy to be addressed, but it also gave an opportunity to explore the world of drama, film and theatre as a means to create interactive learning experiences. The research has shown the benefits of interdisciplinary design practice, produced a framework of the theoretical issues that inform designers, and developed an approach to the design of MLEs for humanistic learning applications. These elements have been brought together to form the conceptual design model.

This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.<br>Bachelors<br>Nursing<br>Nursing

This thesis proposes a new genre of theater that combines participatory and interactive narratives with virtual reality technologies and traditional theatrical elements to create a form that is capable of responding to the growing desire for interactive entertainment mediums. A series of participatory narrative events, including traditional theater productions, interactive narrative/drama and role-playing games, are analyzed for their potentialities and limitations. These elements are then used to respond to scholarly writings concerning the problems of participatory narrative forms. From this analysis conclusions are drawn about the necessary elements needed to create this new genre of theater, termed interactive virtual theater, or IVT. The elements are then synthesized into a hypothetical picture of what the IVT of the future might look like.

This thesis explores the Theatre of the Oppressed's practices at the point of interaction with peasants of Brazil's Landless Movement. It uses the interactive docufragmentary entitled Rehearsing Reality to explore the social and political role of art, and to ask whether particular applications of theatre and film can be used to understand and possibly transform points of view and raise consciousness about contemporary issues in the world. The Theatre of the Oppressed created by Augusto Boal comprises a series of interactive games, exercises and other theatrical methods developed with the purpose of using these drama techniques as a subjective medium contributing both to question and search alternatives for personal and social problems. Amongst its theatrical methods is Forum Theatre, the main practice adopted by Brazil's Landless Movement. This technique breaks with the conventions of the traditional language of theatre. Its main aim is to transform passive audiences into active participants of a theatrical scene. This thesis argues that Forum Theatre is an open medium that offers people the chance to participate democratically in the theatrical space in order to suggest and rehearse new ideas to be applied into their lives. In order to explore how these theatrical experiences work in practice this thesis includes a central element entitled Rehearsing Reality, which is specifically designed to adapt some of the main features from Forum Theatre to film language. Its aim is to activate viewers to interact with the film process. This thesis also explores the historical developments of the Theatre of the Oppressed with major emphasis on Forum Theatre and its practices amongst members of Brazil's Landless Movement living in camps and settlements in the hinterland of Sergipe State, North-East of Brazil. The structure of the thesis is divided into five parts: Chapter One analyses the relevant literature on the subject; Chapter Two provides a reflective account of the filming period; Chapter Three offers an overview of Boal' s life and the development of the Theatre of the Oppressed methods; Chapter Four briefly looks at the history and development of the Brazilian Landless Movement and provides a practical analysis of the experiences of Theatre of the Oppressed amongst the Landless Movement and Chapter Five analyses the creative process of making the docufragmentary Rehearsing Reality. The Conclusion suggests that the social and political aspect of art can significantly contribute to the process of comprehension and transformation of the world.

A autora conceitua e sistematiza a metodologia brasileira de sociopsicodrama Teatro de Reprise, criada em 1993 pelo Grupo Reprise, do qual era integrante. Diferencia a prática de seu método inspirador, o Playback Theatre (1975) americano, criado por Jonathan Fox, principalmente pelo acento na grupalidade, apresentando-a como facilitadora/mediadora de interação e aprendizagem para público adulto. Para tanto, define seus fundamentos baseado na abordagem sociopsicodramática de Jacob L. Moreno (1889-1974), na qual há um \"homem moreniano\" aludido, que possui um alto grau de espontaneidade, que cria sempre e que se orienta para a busca de uma utopia de saúde mental e social, que escape da doença social da cristalização e das conservas culturais. O trabalho descreve as inovações práticas e teóricas brasileiras do sociopsicodrama, especialmente quanto às noções de coconsciente, coinconsciente e de campo télico, e mostra as especificidades da modalidade Teatro de Reprise como uma intersecção entre o individual e o coletivo pela ressonância estética de seus ego-atores e ego-músicos. A partir dessa fundamentação, a autora constrói a conceituação e as diversas etapas do Teatro de Reprise, e exemplifica o impacto da transformação/aprendizagem grupal, resultante da utilização do método em organizações, políticas públicas, instituições etc. Além disso, uma intervenção demonstrativa com o uso do Teatro de Reprise e com um grande grupo, no espaço de um centro cultural em São Paulo, é relatada e processada pela leitura do fenômeno, no viés da sociodinâmica grupal.<br>The author defines and systematizes the Brazilian methodology of socio-psychodrama: Reprise Theatre, created in 1993 by the Reprise Group, of which she was a member. She distinguishes the practice from its motivational method, the American Playback Theatre (1975), created by Jonathan Fox, mainly due to the emphasis on groupality, presenting it as facilitator/mediator of interaction and learning for adult audiences. In order to do so, she defines its foundations based on the sociopsychodramatic approach of Jacob L. Moreno (1889-1974), in which there is a \"Morenian man\" alluded to, who has a high degree of spontaneity, who always creates and who is oriented towards the search for a utopia of mental and social health, who gets away from the social disease of crystallization and from the cultural preserves. This paper describes the Brazilian practical and theoretical innovations on sociopsychodrama, especially regarding the notions of co-conscious and co-unconscious states and of telic field. It shows the particularities of the modality Reprise Theatre as an intersection between the individual and the collective, by the aesthetic resonance of its ego-actors and ego-musicians. From this grounding, the author builds up the concepts and the various stages of the Reprise Theatre and exemplifies the impact of the group transformation/learning, resulting from the use of the method in organizations, public policies, institutions, etc. In addition, a demonstrative intervention with the use of the Reprise Theatre and with a large group in the space of a cultural center in São Paulo is reported and processed by reading the phenomenon, in bias of the group sociodynamics.

Thesis (Ed. D.)--University of Missouri-Columbia, 2008.<br>The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on June 9, 2009) Vita. Includes bibliographical references.

For my thesis project for the Masters of Fine Art in Film and Digital Media, I designed and produced Evelyn Offscreen, an alternate reality game (ARG) that was facilitated by interactive performance. The goal was to create an interactive experience that allowed several players to collaboratively create story across numerous media within the field of alternate reality gaming. The approach used in Evelyn Offscreen was intended to provide a degree of creative freedom to the players that has not been demonstrated in other ARG experiences and to use digital media to capture information about the relative effectiveness of the different techniques that were employed. During the month of October 2009, Evelyn Offscreen invited players to participate in an overarching story as characters. The game existed simultaneously through several media platforms such as Ning, twitter, and blogger as well as scenes located in Central Florida where players could embody their character in a real world setting. The results revealed insights into techniques for massive collaboration of story and player reactions to this hybrid form of alternate reality gaming and interactive performance.<br>M.F.A.<br>School of Film and Digital Media<br>Arts and Humanities<br>Film and Digital Media MFA

Opening Opera explores creative collaboration and dramatic improvisation in new music-dramas. Looking towards the art of improvised theatre, the aim is to achieve a dramatic process in opera which facilitates a flexible kind of dramaturgy, enabling singers and directors to lead and inform certain creative processes that are normally in the hands of the operatic composer and/or librettist alone. By developing particular unorthodox scoring methods, along with specific rehearsal schedule considerations that support these flexible processes, the composer attempts to create not improvised opera, but what could be called an open opera, where the compositional focus is working with a free vocal line with active accompaniment. This framework is one in which the composer provides the parameters and material for dramatic and compositional flexibility, and then 'takes a step back' during a collaborative and improvisational process, whilst retaining sufficient leadership and creative authority to realise the overarching structure satisfactorily. In order to develop said unorthodox scoring methods and processes, the creative team explored and informed structural, dramatic, technical and musical aspects of new material, utilising the performers' specialised training and experience in an interactive creative process. This exploration brought up questions such as: how to allow an open process such as this one while still attempting to retain overarching artistic control; what are the parameters that the composer will need to determine (i.e. keep 'closed'); and what are the parameters that he must allow to be spontaneous, improvised or open? By opening up the process in this way, interesting genre specific problems were exposed that are more often than not left implicit rather than explicit by creators of opera. This exploration reveals knowledge beneficial to tutors, composers, librettists, singers, conductors and directors of music-dramas. This inquiry is primarily grounded in several methods extracted and modified from improvised theatre, opera, and open-scored compositions of the mid-20th century. The musical and qualitative data discussed in this commentary emerged during the preparation, writing and production of the author's original music-drama studies. Studies include excerpts from two chamber operas; A Glacier's Requiem (2013) (or "Bráð" in the original Icelandic), and Évariste (2014); a short monodrama study, Solitude 1 (2015); and a chamber opera presented in its entirety, After the Fall (2017).