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Willoughby, A. "Video Game Theatre." VCU Scholars Compass, 2011. http://scholarscompass.vcu.edu/etd/2424.
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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.
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Oosthuizen, Hugo M. "Audible architecture - An exploration of the threshold in the public realm as an interactive space." Diss., University of Pretoria, 2012. http://hdl.handle.net/2263/31581.
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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
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Rogers, Thomas John. "Design models for multimedia learning environments based on interactive drama." Thesis, University of Plymouth, 2000. http://hdl.handle.net/10026.1/341.
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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.
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Warren, Stephanie L. "Interactive theatre techniques and focus groups for children : the advantages of playful participation." Honors in the Major Thesis, University of Central Florida, 2010. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1519.
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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
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Ford, Vanessa Anne. "Surviving The Virtual: Crafting A New Form Of Theater For The Digital Age." Thesis, The University of Arizona, 2006. http://hdl.handle.net/10150/193282.
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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.
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Simões, Nenita Gouveia. "Rehearsing reality : an interactive docufragmentary exploration of the Theatre of the Oppressed's engagement with the Brazilian Landless Movement (MST)." Thesis, University of the Arts London, 2007. http://ualresearchonline.arts.ac.uk/5636/.
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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.
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Rodrigues, Rosane Avani. "O teatro de reprise: conceituação e sistematização de uma prática brasileira de sociopsicodrama." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/27/27155/tde-22082013-094012/.
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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.
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Maples, Carol J. "Giving voice the use of interactive theatre as professional development in higher education to reduce alienation of marginalized groups /." Diss., Columbia, Mo. : University of Missouri-Columbia, 2008. http://hdl.handle.net/10355/5506.
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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.
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Borglund, Dawn. "EVELYN OFFSCREEN: AN APPLICATION OF INTERACTIVE PERFORMANCE METHODSIN ALTERNATE REALITY GAMING." Master's thesis, University of Central Florida, 2010. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/3066.
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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
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Ingvarsson, Helgi R. "Opening opera : developing a framework that allows for the interactive creative processes of improvised theatre in the productions of new music-dramas." Thesis, Guildhall School of Music and Drama, 2018. http://openaccess.city.ac.uk/21324/.
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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).
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Smith, Glori H. "Learning English Through Interactive Weblogs: Student Experiences Blogging in the Secondary ESL Classroom." Diss., CLICK HERE for online access, 2009. http://contentdm.lib.byu.edu/ETD/image/etd3000.pdf.
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Broth, Mathias. "Agents secrets : Le public dans la construction interactive de la représentation théâtrale." Doctoral thesis, Uppsala universitet, Romanska institutionen, 2002. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-1400.
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The present study focusses on the theatre audience, and on its’ role in the maintenance of the theatrical situation. Using video-recorded performances of relatively naturalistic, modern dramas, the study examines the behaviour of the audience in relation to the unfolding of stage events. Such behaviour is described through close inspection of the sounds the audience produces, consisting primarily of coughing, throat-clearing, and laughter. The study contributes to the growing body of research surrounding ethnomethodological conversation analysis (CA). CA methods are used to analyse not only an audience’s overt reactions to stage events, but also the actions occurring outside these relatively short-lived phenomena in the context of a theatre performance. It is demonstrated that members of the audience refrain from making « vocal noise » during the verbal interaction of actors, and some of the resources used to achieve this end are described. These include the interpretation of the emerging dialogue, of the relative positioning of actors and of the actors’ use of gesture. Members of the audience are observed making vocal noise around possible completions in the sequence of ongoing stage actions, a placing which seems to make it maximally unobtrusive. Furthermore, the audience’s laughter is described. It is argued that members of the audience negociate collective moments of laughter with each other and with the actors. In doing so, the audience displays a sensitive awareness of the other members of the audience and the performers on stage. It is finally suggested that vocal noise on one hand and laughter on the other are differently placed in relation to an emerging action. This relative placing seems to indicate their producers’ different orientations to these actions, according to which vocal noise is to be hidden and laughter to be taken as an overt reaction.
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Dajani, Deena. "Between the Mediated and the Performed : an empirical contribution to understanding Arabic public spheres." Thesis, Loughborough University, 2010. https://dspace.lboro.ac.uk/2134/7488.
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The notion of a nascent Arabic public sphere vis-à-vis the region s transnational news networks has been at the centre of much debate. However, this debate is met with little empirical grounding as well as a conceptual limitation to discussing political publics. This thesis seeks to contribute to and inform current debates by means of an empirical exploration of Arabic public spheres across the mediated-political realm of news media as well as the performative-cultural sphere of interactive theatre. The Jordanian parliamentary elections of November 2007 offer a framework for the research which is made up of two case studies. The first case study examines the portrayal and representation of Jordanian citizens in the news coverage of the parliamentary elections. Four transnational broadcasters (al-Jazeera, al-Arabiya, al-Hurra and JTV) were monitored during the lead up to and post the elections (over a month s duration) and different modes of participation were identified in the coverage. The second case study explores the ways in which Jordanian citizens participated in interactive theatre performances about the elections across Jordan. The performances were specifically developed to ellicit responses from audiences in the form of discussion as well as role playing (in which the audiences assume the roles of citizens in a town hall meeting). Results from the two case studies revealed significant differences in the ways in which citizens participated, or were portrayed as participating, across the political and cultural spheres. The transnational media portrayed citizens largely as observers of the political process and, less frequently, as commentators on issues of public concern. The mediated public sphere was also found to be gendered and afforded Jordanian women less presence and access to participate. On the other hand, the cultural public sphere afforded citizens spaces to discuss issues of public concern as well as contest dominant and exclusionary narratives within their societies. Jordanian women were also found to negotiate change through the reinterpretation of the symbolic. These findings demonstrate that confining our understanding of Arabic public spheres to the political-mediated marginalises the diverse ways in which citizens do participate, particularly so in the case of women.
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MILLER, SCOTT N. "A Theater for Interaction." University of Cincinnati / OhioLINK, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1085115966.
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Turcza, Brian J. "Reinforcing the Social Spectrum Through Architecture." University of Cincinnati / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1337101107.
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Anderson, Kelly King. "Pretend Play at Home: Creating An Educationally Enriched Environment for Emergent Literacy Among Preschool-Aged Children." Diss., CLICK HERE for online access, 2005. http://contentdm.lib.byu.edu/ETD/image/etd962.pdf.
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Wood, Hannah. "Video game 'Underland', and, thesis 'Playable stories : writing and design methods for negotiating narrative and player agency'." Thesis, University of Exeter, 2016. http://hdl.handle.net/10871/29281.
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Creative Project Abstract: The creative project of this thesis is a script prototype for Underland, a crime drama video game and digital playable story that demonstrates writing and design methods for negotiating narrative and player agency. The story is set in October 2006 and players are investigative psychologists given access to a secure police server and tasked with analysing evidence related to two linked murders that have resulted in the arrest of journalist Silvi Moore. The aim is to uncover what happened and why by analysing Silvi’s flat, calendar of events, emails, texts, photos, voicemail, call log, 999 call, a map of the city of Plymouth and a crime scene. It is a combination of story exploration game and digital epistolary fiction that is structured via an authored fabula and dynamic syuzhet and uses the Internal-Exploratory and Internal-Ontological interactive modes to negotiate narrative and player agency. Its use of this structure and these modes shows how playable stories are uniquely positioned to deliver self-directed and empathetic emotional immersion simultaneously. The story is told in a mixture of enacted, embedded, evoked, environmental and epistolary narrative, the combination of which contributes new knowledge on how writers can use mystery, suspense and dramatic irony in playable stories. The interactive script prototype is accessible at underlandgame.com and is a means to represent how the final game is intended to be experienced by players. Thesis Abstract: This thesis considers writing and design methods for playable stories that negotiate narrative and player agency. By approaching the topic through the lens of creative writing practice, it seeks to fill a gap in the literature related to the execution of interactive and narrative devices as a practitioner. Chapter 1 defines the key terms for understanding the field and surveys the academic and theoretical debate to identify the challenges and opportunities for writers and creators. In this it departs from the dominant vision of the future of digital playable stories as the ‘holodeck,’ a simulated reality players can enter and manipulate and that shapes around them as story protagonists. Building on narratological theory it contributes a new term—the dynamic syuzhet—to express an alternate negotiation of narrative and player agency within current technological realities. Three further terms—the authored fabula, fixed syuzhet and improvised fabula—are also contributed as means to compare and contrast the narrative structures and affordances available to writers of live, digital and live-digital hybrid work. Chapter 2 conducts a qualitative analysis of digital, live and live-digital playable stories, released 2010–2016, and combines this with insights gained from primary interviews with their writers and creators to identify the techniques at work and their implications for narrative and player agency. This analysis contributes new knowledge to writing and design approaches in four interactive modes—Internal-Ontological, Internal-Exploratory, External-Ontological and External-Exploratory—that impact on where players are positioned in the work and how the experiential narrative unfolds. Chapter 3 shows how the knowledge developed through academic research informed the creation of a new playable story, Underland; as well as how the creative practice informed the academic research. Underland provides a means to demonstrate how making players protagonists of the experience, rather than of the story, enables the coupling of self-directed and empathetic emotional immersion in a way uniquely available to digital playable stories. It further shows how this negotiation of narrative and player agency can use a combination of enacted, embedded, evoked, environmental and epistolary narrative to employ dramatic irony in a new way. These findings demonstrate ways playable stories can be written and designed to deliver the ‘traditional’ pleasure of narrative and the ‘newer’ pleasure of player agency without sacrificing either.
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Kagolobya, Richard. "Symbolic interaction and intercultural theatre performance dynamics in Uganda : the case of Makerere Universitys Intercultural Theatre Collaborations." Thesis, Stellenbosch : Stellenbosch University, 2014. http://hdl.handle.net/10019.1/96034.
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Thesis (PhD)--Stellenbosch University, 2014.<br>ENGLISH ABSTRACT: This dissertation investigates and examines the dynamics of intercultural theatre practice. Existing scholarship on interculturalism in theatre praxis regards intercultural theatre as a site for bridging cultures and cross-cultural performance traditions, and for investigating the performance of power between the collaborating parties, learning, cultural imperialism, cultural translation and hybridity, among other features. However, much of the existing literature does not offer a historical perspective allowing one to understand the dynamics of contemporary North-South collaborations. Moreover, most studies do not adequately weave the experiences of the participants in such collaborations into their analyses. This study contributes to filling that research gap.
This research specifically seeks to investigate and examine the dynamics of intercultural theatre collaborations in Uganda, taking Makerere University‘s Department of Performing Arts and Film‘s intercultural theatre activities in recent years as case studies. The inquiry was mainly driven by the impetus to explore the North-South intercultural theatre dynamics and to examine the socio-cultural, socio-political, socio-economic features and other notions that were manifested in these intercultural theatre collaborations and performances.
In order to pursue the above line of inquiry I used a multiple case study design by examining three cases: the Stanford-Makerere, New York-Makerere and the Norwegian College of Dance-Makerere collaborations. The multi-case study model was reinforced by the use of personal interviews, direct observation, focus group discussions, document analysis and emails of inquiry in order to solicit the views of individuals who had participated in the above collaborations. Theoretically, the study is hinged on a multiplicity of concepts and discourses: symbolic interaction, intercultural communication, theatre studies, postcolonial studies, international education and the discourse on globalisation.
In the analysis of the different cases it was discovered that the issue of economic inequality in the contribution towards the funding of the collaborations, among the different modes of power performativity manifested in the collaboration processes, sometimes leads to an imbalance in the decision-making process. Consequently, the power imbalance contributes to the North-South intercultural theatre collaborations‘ unending crisis of identification with imperialism.
The study further shows that there are cultural, linguistic, pedagogical, structural and socio-psychological aspects of difference that are negotiated during the course of the collaborations.
It was found that the process of navigating the socio-cultural differences provides the participants with an experiential learning environment of living with/within and appreciating cultural differences, thus providing a bridge across the socio-cultural divide. The cultural bridge in theatrical terms, however, leads to the generation of theatrical hybridity and fusion, which again brings into play the debate on intercultural performance authenticity/inauthenticity in theatre discourse.
Also, based on the view that intercultural theatre collaborations are microcosms of multifaceted global intercultural interactions, it was seen that the socio-cultural differences that are negotiated through the intercultural theatre collaborations can give one a microcosmic platform for critiquing the grand concept of the ―global village‖ and the associated notion of ―world cultural homogenisation‖. Since this study uses a novel multidisciplinary approach in the analysis of intercultural theatre phenomena, I believe it will contribute to critical theatre studies in Uganda and elsewhere. The findings will also hopefully contribute towards the assessment of intercultural theatre collaborations at Makerere University in order to improve them. The study will also advance the view that intercultural theatre‘s aesthetic and experiential processes can help in interpreting and understanding our respective multicultural environments. Broadly, it will contribute to the discourse on intercultural communication, performance and cultural studies.<br>AFRIKAANSE OPSOMMING: Hierdie proefskrif ondersoek die dinamika van interkulturele teaterpraktyk. Bestaande navorsing oor interkulturaliteit in die teaterpraktyk beskou interkulturele teater as ‘n forum vir die oorbrugging van kultuurgrense en interkulturele opvoeringstradisies, en vir die ondersoek na aangeleenthede soos die uitvoering van mag tussen die deelnemende partye, leer, kulturele imperialisme, kulturele vertaling en hibriditeit. Die bestaande literatuur bied egter grotendeels nie ‘n historiese perspektief waaruit die dinamika van kontemporêre Noord-na-Suid-samewerkings verstaan kan word nie. Verder verweef die meeste ondersoeke nie die ervarings van die deelnemers aan sulke samewerkings bevredigend in hul analises nie. Hierdie ondersoek dra by tot die vul van daardie navorsingsgaping.
Hierdie navorsing poog spesifiek om die dinamika van interkulturele teatersamewerkings in Uganda te ondersoek deur van onlangse interkulturele teateraktiwiteite aan die Departement Uitvoerende Kuns en Film aan die Makerere Universiteit gebruik te maak as gevallestudies. Die beweegrede vir die ondersoek is hoofsaaklik die verkenning van die dinamika van interkulturele Noord-na-Suid-teatersamewerking en ‘n ondersoek na die sosio-kulturele, sosio-politiese en sosio-ekonomiese kenmerke en ander opvattinge wat in hierdie interkulturele teatersamewerkings en -opvoerings gemanifesteer het.
Om hierdie ondersoek te onderneem, het ek drie gevalle in ‘n meervoudigegevallestudie-ontwerp bestudeer: die samewerkings tussen onderskeidelik Stanford en Makerere, New York en Makerere, en die Norwegian College of Dance en Makerere. Die meervoudigegevalle-ontwerp is versterk deur die gebruik van persoonlike onderhoude, direkte waarneming, fokusgroepgesprekke, dokumentanalise en e-posnavrae in ‘n poging om die opvattings van individue wat aan die bogenoemde samewerkings deelgeneem het, te verkry. Teoreties is die studie gefundeer in ‘n veelvoud konsepte en diskoerse: simboliese interaksie, interkulturele kommunikasie, teaterstudies, postkoloniale studies, internasionale opvoedkunde en die diskoers oor globalisering.
In die analise van die verskillende gevalle is bevind dat die kwessie van ekonomiese ongelykheid in bydraes tot die befondsing van samewerkings, onder die verskillende modusse van magsperformatiwiteit wat in die samewerkingsprosesse gemanifesteer het, soms ‘n wanbalans in die besluitnemingsproses tot gevolg het. Gevolglik dra hierdie magswanbalans by tot die nimmereindigende krisis van identifikasie met imperialisme waaronder interkulturele Noord-na-Suid-teatersamewerkings gebuk gaan.
Die ondersoek toon verder dat daar kulturele, linguistiese, pedagogiese, strukturele en sosio-psigologiese verskille is wat oorkom moet word vir suksesvolle samewerkings om plaas te vind.
Daar is bevind dat die hantering van sosio-kulturele verskille die deelnemers van ‘n eksperimentele leeromgewing voorsien vir die belewing en waardering van kultuurverskille, waardeur die sosio-kulturele skeiding oorbrug word. Die kulturele brug lei egter, in toneelmatige terme, na die ontwikkeling van toneelmatige hibriditeit en versmelting, wat weer die debat oor die outentisiteit al dan nie van interkulturele opvoerings in die teaterdiskoers aktiveer.
Verder is daar, gebaseer op die siening dat interkulturele teatersamewerkings mikrokosmosse van veelvlakkige globale interkulturele interaksie is, bevind dat die sosio-kulturele verskille wat deur interkulturele teatersamewerkings oorkom word, ‘n mikrokosmiese platform kan voorsien vir die kritisering van die begrip van die sogenaamde ―wêrelddorpie‖ en verwante nosies van wêreldwye kulturele homogenisering. Aangesien hierdie ondersoek ‘n nuwe multidissiplinêre benadering tot die analise van interkulturele teaterverskynsels gebruik, glo ek dit sal bydra tot die teaterkritiek in Uganda en elders. Die bevindinge sal hopelik bydra tot die assessering van interkulturele teatersamewerkings aan Makerere Universiteit om hulle te verbeter. Die ondersoek sal ook die siening voortdra dat interkulturele teater se estetiese en ervaringsprosesse kan help met die interpretasie en verstaan van ons onderskeie multikulturele omgewings. Breedweg sal dit bydra tot die diskoers oor interkulturele kommunikasie, opvoering en kultuurstudie.
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Sharp, Timothy Keith Jr. "Examining the Interaction Between the University Interscholastic League One-Act Play Contest and Texas Theatre Curriculum." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1404909300.
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Grossman, Anna Libbie. "Identity Unknown: A Study and Performance of Interactive Rock Opera." Ohio University Honors Tutorial College / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1340296546.
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Laurel, Brenda. "Toward the design of a computer-based interactive fantasy system /." The Ohio State University, 1986. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487265143146814.
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Sanchez, Svensson Marcus. "Configuring awareness : work, interaction and collaboration in operating theatres." Thesis, King's College London (University of London), 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.417385.
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Keeling, Tom. "Architecture and Human Event: a Theatre for the Consortium." Thesis, Virginia Tech, 1999. http://hdl.handle.net/10919/45206.
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Architecture is an interaction, a marriage between human event, human need, human spirit and built form. Architects range along the line of this interaction from those that embrace the complexity of humanity and struggle with form to those that embrace only form and cause humanity to struggle with the results.
Is it possible to stand in the center of the creative tension of this struggle, embracing and recognizing the power of built form to support, shelter, enliven, confront, uplift and even bring transformation, healing and poetic transcendence to the human event and therefore to life while simultaneously embracing the rich complexity, contradiction and paradox of human event which informs and interacts with the place of happening; to recognize and wed the power of both.
This thesis is an exploration which questions the relationship of human event and the architectural response to that event. Perhaps it may serve to stimulate discussion of the vital bond between human beings and the places they design for themselves to inhabit.<br>Master of Architecture
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Taylor, Millie. "Music in theatre : towards a methodology for examining the interaction of music and drama in theatre works of the twentieth century." Thesis, University of Exeter, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.324736.
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Sunardi, Mathias I. "Expressive Motion Synthesis for Robot Actors in Robot Theatre." PDXScholar, 2010. https://pdxscholar.library.pdx.edu/open_access_etds/720.
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Lately, personal and entertainment robotics are becoming more and more common. In this thesis, the application of entertainment robots in the context of a Robot Theatre is studied. Specifically, the thesis focuses on the synthesis of expressive movements or animations for the robot performers (Robot Actors). The novel paradigm emerged from computer animation is to represent the motion data as a set of signals. Thus, preprogrammed motion data can be quickly modified using common signal processing techniques such as multiresolution filtering and spectral analysis. However, manual adjustments of the filtering and spectral methods parameters, and good artistic skills are still required to obtain the desired expressions in the resulting animation. Music contains timing, timbre and rhythm information which humans can translate into affect, and express the affect through movement dynamics, such as in dancing. Music data is then assumed to contain affective information which can be expressed in the movements of a robot. In this thesis, music data is used as input signal to generate motion data (Dance) and to modify a sequence of pre-programmed motion data (Scenario) for a custom-made Lynxmotion robot and a KHR-1 robot, respectively. The music data in MIDI format is parsed for timing and melodic information, which are then mapped to joint angle values. Surveys were done to validate the usefulness and contribution of music signals to add expressiveness to the movements of a robot for the Robot Theatre application.
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Herrera, Alexander. "Circular Kancha: Theatres of Social Interaction in the North Highlands of Perú." Pontificia Universidad Católica del Perú, 2012. http://repositorio.pucp.edu.pe/index/handle/123456789/113595.
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This paper addresses the active and changing role of circular kancha, public buildings organized around an open central court, common to the northern highlands of Perú. It discusses the distribution and chronology of this type of monument based on regional and local scale investigations in the central Los Conchucos region as well as the Callejón de Huaylas Valley. The focus on their landscape setting and the structure of the internal space, linked to the analysis of pottery samples recovered from excavations at Gotushjirka (San Nicolás district, Carlos Fermín Fitzcarrald province, Ancash Region), revealed that these are spaces built to create a dramatic sense of liminality, closely tied to mortuary practices. The remodelling of circular kancha following an orthogonal plan, detected at two sites in the Cordillera Blanca —Kishwar (Yanama district, Yungay province) and Keushu (Yungay district and province)— raise questions on the interaction of different sociohistorical trajectories at subregional level.<br>Este trabajo aborda el papel activo y cambiante de las kancha de planta circular, estructuras públicas organizadas en torno a un patio abierto y que son comunes en la sierra norcentral del Perú. Se discuten la distribución y cronología de este tipo de monumentos a partir de las investigaciones a escala regional y local en la región de Los Conchucos y la parte media del Callejón de Huaylas. El enfoque en su emplazamiento en el paisaje y la estructura del espacio interno, ligado al análisis de los restos de cerámica hallados en las excavaciones realizadas en el sitio de Gotushjirka (distrito de San Nicolás, provincia de Carlos Fermín Fitzcarrald, región Áncash), revela que se trata de espacios diseñados para crear un impresionante sentido de “liminalidad”, estrechamente vinculado con prácticas mortuorias. La remodelación de kancha circulares según un plano ortogonal, detectada en dos sitios de la Cordillera Blanca —Kishwar (distrito deYanama, provincia de Yungay) y Keushu (distrito y provincia de Yungay)— suscita interrogantes acerca de trayectorias sociohistóricas disímiles a nivel subregional.
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Villanueva, Rebaza Kelly Sofía. "Del formato cinematográfico al televisivo: El caso del arquetipo del héroe postclásico en las películas de terror y suspenso." Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2020. http://hdl.handle.net/10757/653185.
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El presente trabajo de investigación consiste en el análisis del arquetipo del héroe postclásico en las películas y series de terror/thriller para la creación de una adaptación.
Se busca describir las características que posee este arquetipo de personaje en tramas del género de terror / thriller. Así mismo, exponer cuales son las variables que cada formato posee: cine y televisión para poder realizar una adaptación.
La investigación tiene como base la metodología cualitativa, debido a que se busca entender y exponer los procesos que conlleva el poder crear adaptaciones de un formato a otro. Además, las técnicas utilizadas son las de análisis de casos, ya que al ser un tema de enfoque audiovisual se centrará en analizar los códigos visuales y sonoros que se han empleado en este tipo de adaptaciones.<br>This research work consists of the analysis of the postclassic hero archetype in horror/ thriller movies and series for the creation of an adaptation.
The aim is to describe the characteristics of this character archetype in plots of the horror/thriller genre. Likewise, expose which are the variables that each format has: film and television in order to carry out an adaptation.
The research is based on qualitative methodology, because it seeks to understand and expose the processes involved in creating adaptations from one format to another. In addition, the techniques used are those of case analysis, since being an audiovisual approach, it will focus on analyzing the visual and sound codes that have been used in this type of adaptation.<br>Trabajo de investigación
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Georgiou, Michalis. ""Digital Theatre" and "Cyber Theatre" in Drama Education at School : A study of 2 performance projects at a High-school in Eberswalde, Germany." Thesis, Linnéuniversitetet, Institutionen för kulturvetenskaper (KV), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-105834.
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The aim of this study is to highlight: 1. how the introduction of new technologies in Drama Education at school can renew the context in which performance projects take place and 2. how the constraints imposed by a pandemic, such as those caused by COVID-19, can be overcome through cybertheatre. The phenomenological method is used to analyze a digital and a cyberperformance project, as theatre is an event that takes place between its creators and its spectators. With the use of digital tools in school performances a new experience emerges for students and spectators, as the "living" actor is combined with "non-human" actors. Besides, the cyberperformance provides a solution to a real problem in the midst of a pandemic crisis, as the spectators participate remotely from the comfort of their own home. In terms of interactivity, by giving the spectator the opportunity to use some information or to choose the action of the play, the performances become more interesting, while theatre is being highlighted, as an event that differs from other media such as T.V. or cinema. Finally, the dialogue that can be produced in a chat-forum in cyberperformance works as a reflection to it.
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Medlin, Allison Kay Molnar Joseph J. "Bargain theater a dramaturgical analysis of a flea market /." Auburn, Ala, 2008. http://repo.lib.auburn.edu/EtdRoot/2008/SUMMER/Sociology/Thesis/Medlin_Allison_2.pdf.
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Andrews, Daniel. "Employing branching comics to design, visualise and evaluate interactive stories." Thesis, University of Birmingham, 2015. http://etheses.bham.ac.uk//id/eprint/5759/.
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This thesis presents the case for adopting comics in the design, visualisation and evaluation of interactive stories. The potential for comics to be employed in the representation of interactive story-driven material has been identified in previous work. However, there is a lack of theory or evidence upon which an informed approach can be based. Consequently, this thesis contributes a process for employing branching comics to design and visualise interactive stories informed by previous approaches to stories, interactive stories and visualisations. It is argued that comics have several advantages over previous methods of designing interactive stories due to their inherent structural compatibility with visualising hierarchies of abstraction of story content. A series of studies are conducted to demonstrate how comics can be employed to visualise abstraction levels, and how branching comics can be employed to evaluate interactive stories. Qualitative and quantitative methods related to both user experience and comprehension are employed, which demonstrate the advantages in the use of comics to explore a range of different phenomena related to creating, interpreting and using interactive stories.
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Friederichs-Büttner, Gesa [Verfasser], Rainer [Akademischer Betreuer] Malaka, and Patrick [Akademischer Betreuer] Olivier. "An Explorative Approach to Interaction Design in Mixed-Reality Performances / Gesa Friederichs-Büttner. Gutachter: Rainer Malaka ; Patrick Olivier. Betreuer: Rainer Malaka." Bremen : Staats- und Universitätsbibliothek Bremen, 2014. http://d-nb.info/1072226138/34.
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Toole, Michael T. "TELEMETRY IN THEATER MISSILE DEFENSE DEVELOPMENT." International Foundation for Telemetering, 1994. http://hdl.handle.net/10150/608551.
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International Telemetering Conference Proceedings / October 17-20, 1994 / Town & Country Hotel and Conference Center, San Diego, California<br>Since the Gulf War, there has been significant interest in Theater Missile Defense
(TMD) resulting in funding growth from tens of millions of dollars at the time of the
Gulf War to $1.7 Billion in 1994. The Ballistic Missile Defense Organization
(BMDO) has developed a Theater Missile Defense test and evaluation program that
will assess technological feasibility and the degree to which system functionality and
performance meet technical and operational requirements. The complexity of the
TMD program necessitates a comprehensive test program which includes flight
testing, ground testing, and modeling and simulation. This article will provide and
overview the requirements and capabilities needed to satisfy these requirements. The
data processing, and telemetry communities will play a major role in providing the
expertise to support the development of the nation’s future Theater Missile Defense
capabilities.
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Knapton, Benjamin. "Activating simultaneity in performance : exploring Robert Lepage's working principles in the making of Gaijin." Queensland University of Technology, 2008. http://eprints.qut.edu.au/16583/.
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In this research I have explored the performance making process of world renowned director Robert Lepage. This exploration informed my own process, creating an original performance called GAIJIN, where my roles included producer / director / designer and co-writer. The practice-led research strategy employed in this research has allowed me to navigate the sometimes slippery slope of connecting various performance discourses with the pragmatics of the performance making process. The reason for this research is my strong interest in the director’s role and my affinity with the practice of Robert Lepage. My observation of the performance making process of Robert Lepage prompted the creation of a conceptual framework informed by Hans-Thies Lehmann’s work Postdramatic Theatre. These theoretical concerns were then further investigated in the creation of my own show. This research process has uncovered a performance making process that foregrounds the working principles of simultaneity and synaesthesia, which together offer a changed conception of the performance text in live performance. Simultaneity is a space of chaotic interaction where many resources are used to build a perpetually evolving performance text. Synaesthesia is the type of navigation required – an engagement consisting of interrelated sense-impressions that uniquely connect the performance makers with the abundance of content and stimulus; they search for poetic connections and harmonious movement between the resources. This engagement relies on intuitive playmaking where the artists must exhibit restraint and reserve to privilege the interaction of resources and observe the emerging performance. This process has the potential to create a performance that is built by referential layers of theatrical signifiers and impressions.
This research offers an insight into the practices of Robert Lepage as well as a lens through which to view other unique devising processes. It also offers a performance making language that is worthy of consideration by all performance makers, from directors to performers. The significance of this process is its inherent qualities of innovation produced by all manner of art forms and resources interacting in a unique performance making space.
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Samini, Ali. "Large scale audience interaction with a Kinect sensor." Thesis, Linköpings universitet, Institutionen för teknik och naturvetenskap, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-75520.
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We present investigation and designing of a system that interacts with big audience, sitting in a dimmed theater environment. The goal is to automatically detect audiences and some of their actions. Test results indicate that because of low light condition we can’t rely on RGB camera footage in a dimmed environment. We use Microsoft Kinect Sensor to collect data from environment. Kinect is designed to be used with Microsoft Xbox 360 for gaming purposes. It has both RGB and Infrared depth camera. Change in amount of visible light doesn’t affect data from depth camera. Kinect is not a strong camera so it has limitations that we should deal with. Viewing angles of both cameras and depth range of Infrared camera are limited. Viewing angles of depth camera are 43° vertical and 57° horizontal. Most accurate range of depth camera is 1 meter to 4 meters from camera. Non-infrared reflective surfaces cause gaps in depth data. We evaluate possibility of using Kinect camera in a large environment with big audience. “Dome 3D theater” in Norrkoping Visualization Center C, is selected as environment to investigate and test the system. We ran some tests to find the best place and best height for camera to have most coverage. Our system works with optimized image processing algorithms that use 3D depth data instead of regular RGB or Grayscale image. We use “libfreenect”, Open Kinect library to get Kinect sensor up and running. C++ and OpenGL are used as programing languages and graphics interface, respectively. Open GLUT (OpenGL Utility Toolkit) is used for system’s user interface. It was not possible to use Dome environment for every test during the programming period so we recorded some depth footage and used for later tests. While evaluating the possibility of using Kinect in Dome environment, we realized that implementing a voting system would make a good demonstration and test application. Our system counts votes after audiences raise their hands to vote for something.
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Mouraret, Lauriane. "Interlocution et style tragique à l'âge classique : Théophile de Viau, Rotrou, Corneille et Racine." Thesis, Université Grenoble Alpes, 2020. http://www.theses.fr/2020GRALL030.
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Grâce à l’exploration détaillée de la langue employée par Théophile de Viau, Rotrou, Corneille et Racine dans leurs tragédies, cette réflexion sur le dialogue confronte les résultats de l’approche proprement linguistique (syntaxe, pragmatique, sémantique…) et ceux de l’analyse rhétorique. La thèse s’attache à montrer comment le passage brutal au tutoiement (ou à l’inverse au vouvoiement) peut soutenir l’effet de sublime (au sens de Longin, redécouvert par Boileau), comment tel usage de l’apposition nominale (notamment en position frontale) peut soutenir l’effet pathétique d’une réplique ou d’un extrait (on parcourt à ce sujet toute la gamme des pathè décrite par Aristote) ou consolider l’image de soi (ethos) que l’on souhaite imposer par le discours. Elle vise à démontrer à quel point les constructions interlocutives portent l’action tragique aussi bien que les enjeux oratoires du dialogue. Cette vaste enquête, fondée sur le savoir linguistique le plus précis comme sur l’approche philologique de la rhétorique développée par l’équipe RARE, permet une réflexion d’ordre épistémologique : il y a là matière à questionner les rapports entre stylistique et rhétorique, disciplines tantôt conçues comme antagonistes (par exemple chez Spitzer), tantôt comme complémentaires. Certains termes (l’emphase, l’apostrophe…) recouvrent aussi bien des notions rhétoriques que des réalités syntaxiques : il semble donc important de repérer d’éventuels transferts, pas toujours linéaires ou unidirectionnels, de décrire les effets de discordance ou au contraire de superposition entre ces disciplines<br>Using a detailed exploration of the language used by Théophile de Viau, Rotrou, Corneille and Racine in their tragedies, this study of dramatic dialogue confronts the results of a linguistic approach (syntactical, pragmatic, semantic…) with those of rhetorical analysis. The thesis strives to show how the brutal transition to tutoiement (or, in the opposite case, to vouvoiement) can sustain the sublime effect (used in the sense of Longin, rediscovered by Boileau) and how such use of the nominal apposition (especially in the frontal position) can sustain the pathos of a reply or of an extract (for that point we cover all the ranges of the pathè described by Aristotle) or consolidate the self-image (ethos) ones wishes to enforce with the speech. It aims to demonstrate how interlocutive structures carry both the action of tragedy as well as the oratorical aspects of dialogue. This broad investigation, based on the most precise linguistic knowledge as well as on the philological approach to rhetoric developed by the RARE team, enables a sort of epistemological thinking: there is a way to interrogate the relations between stylistics and rhetoric, subjects sometimes considered as antagonistic (for instance in Spitzer’s work), sometimes as complementary. Some specific terms (emphasis, apostrophe…) overlay rhetorical notions as well as syntactical realities: therefore, it seems important to spot some prospective transitions, which are not always linear or unidirectional, to describe the effects of unconformity or, alternatively, of layerings between these disciplines
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CÉZAR, Kátia Soraya Teixeira. "Leitura, claquete ação: a função professor na formação do aluno leitor." Universidade Federal de Campina Grande, 2015. http://dspace.sti.ufcg.edu.br:8080/jspui/handle/riufcg/187.
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Previous issue date: 2015-08-30<br>A presente pesquisa, de natureza exploratória, descritiva e aplicada, teve como
principal objetivo observar e avaliar a competência leitora dos alunos do Ensino Médio
do Colégio da Polícia Militar Alfredo Viana. A partir das concepções de leituras que
orientam os professores, buscamos concepções teórico-práticas no ensino da leitura.
Para efetivarmos este propósito, trabalhamos com as teorias da Linguística Textual
(LT), Teoria da Enunciação e Análise do Discurso (AD) como subsídios para o
professor conhecê-las e a partir de então, elaborarmos estratégias de leituras distintas,
em especial, dos romances. Nossa meta foi apresentar leitura como prática sócio
interacionista, dialógica, histórica, cultural e social e que representa um processo lento
e que depreende tempo para finalidade última, que seja uma prática do conhecimento
intelectual e autoria. Para tanto nos respaldamos nos trabalhos de ORLANDI
(1978,2012), KOCH (2011.2012,2013), KLEIMAN (2011,2012,2013), TFOUNI
(2010), CORACINI (2005), INDURSKY (2010), YUNES (2005), MARCUSCHI
(2010), entre tantos outros que nos inspiraram no papel do leitor ativo, de natureza
interativa por meio da mobilização dos sentidos do texto, do diálogo e de interdiscursos
que perpassam o texto e constitui o processo de leitura. As estratégias de leitura
iniciaram-se em sala de aula, com atividades e oficinas denominados espetáculos da
leitura, seminários, teatro, esquetes e curtas metragens. Desta forma conduzimos
nossos alunos à escrita com finalidade de produção de teatro e cinema, no qual os
alunos elaboram os roteiros a partir dos romances para atuarem. Avaliando a situação
inicial e final das turmas sob orientação dos professores embasados nas teorias,
consideramos que as proposições contribuíram para práticas de leituras como uma
atividade social e interacional, com vistas a superação de práticas de leituras
insuficientes no contexto escolar, visto que houve avanço com um bom percentual de
leitores/alunos.<br>This research, exploratory, descriptive and applied, aimed to observe and evaluate the
reading competence of students of the Police College High School Military Alfredo Viana.
From the conceptions of readings that guide teachers, we seek theoretical and practical
concepts in reading instruction. Efetivarmos for this purpose, we work with theories of
linguistics Textual (LT), Theory of Enunciation and Discourse Analysis (AD) as
subsidies for the teacher to know them and from then on, elaborate strategies of
different readings, in particular the novels. Our goal was to present reading as a practice
partner interactional, dialogical, historical, cultural and social, and that is a slow process and
that appears from time to ultimate goal, which is a practice of intellectual authorship and
knowledge. For both we support the work of ORLANDI (1978.2012), KOCH
(2011.2012,2013), KLEIMAN (2011,2012,2013),
TFOUNI (2010), Coracini (2005), Indursky (2010), YUNES (2005) Marcuschi (2010),
among many others that inspired us in the role of active player, interactive nature
through the mobilization of the text directions, dialogue and interdiscursos that underlie the
text and is the reading process. The reading strategies started in the classroom with activities
and workshops called reading shows, seminars, theater, skits and short films. In this way
we conduct our students with the written purpose of theater and film production, in which
students draw up roadmaps from novels to act. Assessing the initial situation and end of
classes under the guidance of teachers grounded in theories, we believe that the proposals
contributed to reading practices as a social and interactional activity with a view to
overcoming practices of insufficient readings in the school context, since there has been
progress with a good percentage of readers / students.
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Björkman, Linnea, and Linn Söder. "Identifying the fundamentals of improvisation in the service encounter." Thesis, Karlstads universitet, Handelshögskolan, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-47934.
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The aim of this thesis is to bring understanding of what constitutes improvisation in the service encounter. The study adopts a qualitative approach using hidden observations to categorize different types of improvisation in the service encounter. The improvisation themes discovered within the service encounter were experience, impulsiveness, theatrical, personality and emotionality. All of these are factors that influence improvisation. This study offers original contributions by explaining the fundamentals of improvisation in the service encounter. These fundamentals establish a framework and gives a clearer definition of what the concept improvisation implies.
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Skaff, Carole. "L’expression langagière et dramaturgique du silence dans l’œuvre théâtrale de Jean Giraudoux." Thesis, Paris 3, 2011. http://www.theses.fr/2011PA030154/document.
Full textAbstract:
Le théâtre parle. Le silence est son langage. Dans l’univers dramatique de Jean Giraudoux, lelangage du silence acquiert une valeur considérable et dans le texte et dans la représentation. Ilapparaît comme un des systèmes les plus perfectionnés de l’art et de l’interaction dramatique.La recherche offre une perspective interdisciplinaire : littéraire, linguistique, et dramaturgiquemettant en valeur le texte et l’ensemble du travail scénographique.Le silence s’avère une musique textuelle et une création scénique qui établissent la situationd’énonciation dans l’art dramaturgique de Giraudoux<br>The theatre is alive and silence is its’ language. In Giraudoux’s dramatic art world, the languageof silence gets a remarkable value in the lyrics and in the play. It looks like one of the mostperfect system of art and dramatic interaction.The study gives us a multi angle perspective: literary, linguistic and dramatic art, highlightingthe script and the whole stage setting.The silence alike a musical script and the scenes creation, set up the style in the dramatic art ofGiraudoux
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Nicklin, Hannah. "First person theatre : how performative tactics and frameworks (re)emerging in the digital age are forming a new personal-as-political." Thesis, Loughborough University, 2014. https://dspace.lboro.ac.uk/2134/14579.
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This study sets out to explore first person theatre as a means of opening the individual to the problems of contemporary capitalism and its increasing pervasion of the personal in an era of embeddedness enabled by networked pervasive technology. Firstly setting out key definitions and a theoretical analysis of the problems of being in the digital age in chapter 1, and then setting this against the history of interaction in performance in chapter 2. The study then goes on (in chapters 3-5) to investigate three key aspects of first person performance as personal-as-political; sound and the city, play and games, and interactive theatre. In the final chapter, The Umbrella Project develops a piece of first person theatre as practice, a method of investigation that is vital to a thesis that discusses politics, late capitalism, and the means to resist the message-sending of private interests as fundamentally only to be understood in practice. For this reason, too, chapters 3, 4 and 5 are supported by key case studies discussing other first person theatre practice. By placing the participant at the centre of the world-constituting process of theatre in the hot space between what is and what if this study suggests that first person theatre is able to open the contemporary individual to an inbetween where they might re-see, reflect and react to what is. To imagine and, if wished, act upon a what if. In an age of the disrupted near and far, the vanishing of the interface, of the false rhetoric of choice of personalisation , and the often false rhetoric of agency at the end of the era of broadcast, first person theatre offers the subject a route to individual agency, an understanding of the urban environment as construct, and to their relationship with the subjective other something which this thesis suggests is a personal-as-political practice to rival the Spectacle of late capitalism.
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Axelsson, Bodil. "Meningsfulla förflutenheter : Traditionalisering och teatralisering i en klosterruin." Doctoral thesis, Linköpings universitet, Tema Kommunikation, 2003. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-34990.
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The major objective of this thesis is to study the processes of traditionalisation that are being enacted in relation to both the external and internal production of the play "The Power and the Glory" that has been performed in Alvastra Abbey ruin since 1988. During three weeks in July the ruins and their environs are transformed into a rehearsal area, and a live stage, with lay actors performing different roles, a supporting staff and an audience. The thesis asks questions about how the staging of the play is impacted by a politics of culture, why this particular site or topography can be read as a story about a nation, what mediating connections there are between the yearly productions and, finally, how the rehearsals activate and reproduce the accumulated memory of the play and the place. The thesis connects with discussions on how "space" is charged with symbolic and cultural meanings, the use of history and cultural heritage, and story-telling. These approaches are combined with analysis of how participants in interaction use multiple resources (talk, spatial organisation, gestures, gazes, movements and postures) to invokethe spatial aspects of the play as well as to put the story of the play in place. The methodological approach of the thesis combines fieldwork (personal observations, videotaping and audio-recordings) with analysis of written material, press cuttings, archival material, and books and illustrations about the area and its history. In conclusion, this dissertation makes visible how Alvastra Abbey is associated with imagined cultural, political and social entities such as a nation, a province, and a local community. "The Power and the Glory", it appears, constitutes one agent among others in a long term meaning making process. One point made in this book is that although the story of the play is legitimised through references to a past that already has become meaningful in earlier processes of traditionalisation, the work of the Association of Alvastra Chronicle Play and the rehearsal process also creates a traditionalisation process of its own.
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Atkinson, Megan E. "Move, Interact, and Connect Personally Barter Theatre’s Project REAL Gets Implicit In Order To Learn." Digital Commons @ East Tennessee State University, 2015. https://dc.etsu.edu/etd/2510.
Full textAbstract:
Body movement, hands-on activity, embodiment, social interaction, emotions, and self-reflection allow teaching artists of Barter’s Theatre’s Project REAL to conduct a lesson with an implicit learning experience as the focus. Barter Theatre’s Project REAL exists as a theatre for education program that collaborates with regular classroom teachers on delivering the curriculum through specific theatre exercises in order to connect the material personally to the students’ lives. Theatre tools provide a human experience that enhances learning for the student by use of kinesthetic movement, social learning, emotions and interpersonal skills. To understand the effects of Barter Theatre’s Project REAL, the director and teaching artists collected interviews with teachers, administrators, and students. Teaching artists also conducted pre and post assessments and end of the semester surveys with classes. This study aims to give insight to the results of Project REAL’s pedagogy as well as the strengths and weaknesses of the program.
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Riverti, Camille. "La farce verbale quechua. Une ethnographe en pays burlesque et érotique." Thesis, Paris, EHESS, 2019. http://www.theses.fr/2019EHES0023.
Full textAbstract:
La thèse s’attache à esquisser les contours de la farce verbale quechua, telle qu’elle est pratiquée dans les Andes centrales du Pérou, par les membres de la communauté de San Juan de Dios. De prime abord, l’objet semble extrêmement classique. Dialogue rituel explorant l’alliance burlesque, il correspond au concept anthropologique de « parenté à plaisanterie ». Mais la façon dont nous l’abordons est inédite. Cible de l’humour verbal érotique, nous avons activement participé aux farces. Forts de cette position interactionnelle, nous avons mis en place les outils de l’anthropologie linguistique en enregistrant in situ, en transcrivant et en interprétant les textes avec nos collaborateurs. La thèse propose ainsi une lecture nouvelle de la « parenté à plaisanterie » à partir d’une position interne au phénomène prêtant une oreille attentive à ce qui est dit et à la façon dont c’est dit. Dans cette perspective, la farce quechua offre un matériau fécond à l’étude des rapports entre les sexes et ce, tant à l’échelle de la participation, des métadiscours que de l’interaction. De part leur cadre participationnel, les performances rendent compte d’un régime d’affinité par défaut dans lequel est compris l’étranger (en l’occurrence, l’ethnographe). C’est pourquoi les farces se trouvent au cœur d’une polémique métalinguistique brûlante interrogeant le rapport entre la parole érotique et l’action sexuelle. Soupçonnées d’être sexuellement performatives, les farces constituent - c’est notre thèse - des parodies de routines verbales d’alliance. Transformant en même temps que reproduisant, elles sont à même de montrer la façon différenciée dont les hommes et les femmes travaillent le rapport à l’autre sexe sur le plan humoristique. En somme, la farce, théâtre hétérotopique de la différence sexuelle, ouvre un espace réflexif au sein duquel la société joue, par le biais de personnages et du miroir de l’étranger, à s’imiter, à se détourner, à se regarder et à réfléchir sur elle-même<br>This study sketches the contours of the Quechua verbal farce, as practiced in the Peruvian central Andes, by the members of the San Juan de Dios community. At first glance, this object seems extremely classical. As a ritual dialogue exploring burlesque alliances, it corresponds to the anthropological concept of “joking relationships". But our approach is unprecedented. Target of erotic verbal humor, we actively participated in the farces. Drawing on this interactional position, we have implemented the tools of linguistic anthropology by recording in situ, transcribing and interpreting the texts with our interlocutors. The thesis thus proposes a new reading of “joking relationships” from within the phenomenon, listening carefully to what is said and how it is said. In this perspective, the Quechua farce offers fertile material for the study of relationships between sexes at the level of participation, meta-discourse and interaction. Through their participation frame, performances account for a default affinity regime in which the stranger (in this case, the ethnographer) is included. In this way the farces are at the heart of a burning metalinguistic controversy questioning the relationship between erotic speech and sexual action. Suspected of being sexually performative, farces are, we argue, parodies of verbal affinity routines. Transforming as well as reproducing, they are able to show the differentiated ways in which women and men deal with the other sex in a humorous way. In short, the farce, heterotopic theatre of sexual difference, opens up a reflexive space in which the society plays, both through the characters and the mirror of the stranger, imitating and diverting itself, observing and reflecting on itself
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Deniger, Marcy M. (Marcy Marble). "An Ethnographic Study of the Use of Puppetry with a Children's Group." Thesis, University of North Texas, 1990. https://digital.library.unt.edu/ark:/67531/metadc331542/.
Full textAbstract:
This study utilized an ethnographic methodology to examine and describe the various aspects and processes occurring in a children's group as the members created their own puppets and accompanying puppet plays. Individual and interactive behavior patterns were isolated and analyzed as a means of gaining an in depth understanding of the puppetry process. The puppetry process, in turn, was viewed in terms of information it provided regarding the individual members and the group process. The facilitative and non-facilitative aspects of the procedure were delineated. The adult leader met with a group of six boys, in grades four and five, for 12 one-hour sessions in which they made puppets and then created puppet plays around issues that they had articulated as problems. The group sessions were videotaped and transcribed. The transcriptions were coded in an effort to extensively analyze the puppetry process and the group process, and the ways in which the two processes interacted. An independent observer/rater was utilized in order to provide some validity for the researcher's reported results. The puppet-making task appeared to offer an opportunity for individuals to begin to come together in a common, but individual task. Characteristic styles and individual personality dynamics were evidenced. General response to the task was enthusiastic, with varying degrees of satisfaction expressed regarding their finished products. The play-creating and performing process met with less success than the puppet-making. While the group members appeared to be generally amenable to contributing ideas for the puppet plays, the process met with far more resistance in the cooperative task of putting their ideas into a finished product. The group discussion and interaction that occurred around these tasks provided a vehicle by which to view levels of interpersonal skills and the group's overall stage of development. The puppets the children created appeared to act as metaphors in expressing the group members' views of themselves and in enabling the symbolic representation of some of their central concerns. The plays they created paralleled the process that actually took place in the group. The subject matter and content of the puppets and plays provided information and evidence as to how each member approached and solved problems. The discrepancies in the ways in which the researcher and the independent observer/rater viewed the positive and negative social/emotional interactions of the group members, coupled with the small number of subjects included in this study preclude generalizing to other groups of children at this time. Further studies, with additional groups of children, utilizing parametric statistics are called for before any such generalizations can be made.
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Larsson, Carina. "Pedagogiskt drama i socialt arbete - Kreativa metoder för att behandla etiska frågor i socialt arbete." Thesis, Malmö universitet, Fakulteten för hälsa och samhälle (HS), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-25238.
Full textAbstract:
Syftet med denna studie var att undersöka hur pedagogiska dramametoder kan användas i socialt arbete för att öka reflektion i den professionelles arbetsliv. Vidare undersöktes huruvida verksamheter som arbetar med pedagogiska dramametoder bidrar till att uppmärksamma och stötta utsatta och marginaliserade grupper i samhället. Informanter från olika verksamheter i södra Skåne presenterade i sex halvstrukturerade intervjuer olika kreativa arbetsmetoder som de använder sig av. Informanterna arbetar bland annat på uppdrag av statliga och kommunala verksamheter, men även med egna fristående produktioner för att bearbeta olika etiska frågor i samhället. Då dramapedagogiska metoder har visat sig bidra till djupgående och aktiva reflektioner är resultatet att dessa metoder kan användas som gynnsamma komplement och alternativ till traditionell handledning. Vidare har olika pedagogiska dramametoder visat sig bidra till att synliggöra marginaliserade människor och öka empowerment. De nedskärningar som görs i kulturbudgeten påverkar således inte bara kulturlivet i sig utan i förlängningen även samhället och det sociala arbetet. De kreativa metoderna skulle kunna nyttjas i mycket större skala, då de har genuin potential för socialt förändringsarbete.<br>The purpose of this study was to investigate how educational drama methods can be used in social work to increase reflection in the professional’s work life. Furthermore, it was studied whether organizations that work with educational drama methods contribute to supporting vulnerable and marginalized groups in society. I made six semi-structured interviews with informants from different organizations in southern Sweden that presented different creative working methods that they use. The informants work, among other organizations, on behalf of governmental and municipal organizations, but also with their own independent productions to process various ethical issues in society. Since educational drama methods have proven to contribute to in-depth and active reflections, the result is that these methods are favorable complements and alternatives to traditional supervision. Furthermore, various methods that the informants work with have proven to contribute to increased empowerment of marginalized individuals and they have also given them a chance to get their voices heard. The cuts made in the cultural budget therefore not only affect the cultural life itself but likewise the society and social work. The creative methods could be used on a much larger scale, as they have genuine potential to affect change in our society.
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Soto, Aisha M. "Through the Eyes of the Homeless." ScholarWorks@UNO, 2014. http://scholarworks.uno.edu/td/1946.
Full textAbstract:
When reviewing the entire project from start to completion, I can honestly say, Through the Eyes of the Homeless is a play about ten women and their plight. It illustrates their dealings with everyday issues of hurt, disappointment, abuse, love, and hope. I believe the true impact of this play is the undeniable prayer for help and hope within each monologue. Despite the horrors that are unveiled and released through hidden secrets, the undertone of betterment is truly resonating. My own expectation for this play is simply to strike awareness and understanding in the eyes of the people. It is my objective to have each audience member leave the show with a completely different perspective on homelessness. Homelessness seems to be one of those taboo societal problems the world chooses to turn away from because of lack of awareness. I believe it is fear of the unknown that keeps us blind, deaf, and dumb about certain issues. After all is said and done, I am simply asking anyone who reads this play, watches it, or hears it to listen to each voice carefully and the message it conveys.
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Henriques, Sara Cristina Cunha Martins de Almeida. "Teatro com marionetas: um jogo liminar de possibilidades." Master's thesis, Universidade de Évora, 2021. http://hdl.handle.net/10174/29100.
Full textAbstract:
O presente relatório tem como objeto de reflexão o processo criativo de um
espetáculo de teatro com marionetas, multidisciplinar que teve por mote as palavras:
Teatro Vida Distorção. Transitando entre o tradicional e o contemporâneo, num jogo
liminar de possibilidades, opera no cruzamento de linguagens. Reflete sobre um processo
criativo que tem por base a partilha, nas seguintes áreas: trabalho de atriz, marionetista,
texto, música, imagem, movimento, vídeo e a relação de proximidade com o público. As
opções tomadas e horizontes abrangidos são analisados e considerados, tendo em conta o
processo a partir de um ponto “zero”, em que o texto e as demais áreas emergiram da
escuta e da interação circular dos elementos O primeiro capítulo contextualiza em
específico e relaciona os pontos de partida para o projeto, enquanto que o segundo relata
e reflete sobre os mesmos; Theatre with puppets: A liminal game of possibilities
Abstract:
The purpose of this report is to reflect on the creative process of a theater show with
puppets, a multidisciplinary one whose motto was: theater Life Distortion. Transiting
between the traditional and the contemporary, in a preliminary game of possibilities, it
operates at the crossing of languages. It reflects on a creative process that is based on
sharing, in the following areas: work of actress, puppeteer, text, music, image, movement,
video and the close relationship with the public. The options taken and the horizons
covered are analyzed and considered, taking into account the process from a “zero” point,
in which the text and the other areas emerged from the listening and circular interaction
of the elements. The first chapter contextualizes and specifically relates the starting points
for the project, while the second reports and reflects on them.
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Garcia, Anne-Laetitia. "Maria Callas en acte : étude historique et rhétorique d'une actio opératique." Paris 3, 2008. http://www.theses.fr/2008PA030107.
Full textAbstract:
Entre 1947 et 1965, Maria Callas développe à l’opéra non seulement un chant hors norme qui réactive une ancienne technique, le bel canto, mais aussi un art dramatique consommé. L’essence théâtrale du genre opératique jaillit à nouveau sur son plateau : le corps actant s’unit au corps chantant, le voir s’unit à l’entendre. L’étude des cinq mises en scène de Luchino Visconti et des jeux de correspondances établis par le metteur en scène, points de départ de notre réflexion, ouvre des axes permettant de saisir la réception contemporaine et d’appréhender l’efficacité d’hier. D’une généalogie des monstres sacrés et des techniques actoriales à la problématique de l’Ut Pictura Theatrum, des confrontations analogiques avec différentes références des arts scéniques, des beaux-arts et du cinéma ouvrent des perspectives d’analyse et mettent à jour des notions esthétiques fondamentales. Ainsi, la technè rhétorique se révèle un outil précieux pour comprendre la construction de ce corps en acte, particulièrement avec la notion d’actio (mise en voix et en corps d’un discours), au cœur de l’art de l’orateur, de la construction et de la théorisation de jeu tragique à l’âge classique. Dans le questionnement des arts mimétiques qu’une telle étude implique, les notions de sublime et d’amplificatio s’imposent aussi pour déchiffrer une action scénique dilatée, véhémente et stylisée<br>Between 1947 and 1965, Maria Callas developed not only an unconventional style of operatic singing while reviving the bygone technique of bel canto, but also her consummate dramatic skills. With her, the dramatic essence of the operatic genre sprang forth anew on the stage : the acting body combined with the singing body, ‘seeing’ combined with ‘hearing’. The study of Luchino Visconti’s five operatic productions and of the correspondence effects he contrived as a director – the starting points of our analysis – opens up new paths which enable us to comprehend both today’s reception and yesterday’s efficacy. From a genealogy of public idols and acting techniques to the problematics of the Ut Pictura Theatrum, analogical confrontations with various references from the performing arts, the fine arts and the cinema, reveal prospects for analysis and bring to light fundamental aesthetic notions. Thus, the rhetorical technè turns out to be an invaluable tool so as to understand the construction of this acting body, especially with the notion of actio – the rendering of speech through the voice and the body – at the core of the orator’s art, of the construction and theorization of tragic acting in the classical age. Through the questioning of the mimetic arts involved by such a study, the notions of the sublime and amplificatio are also essential to the decoding of an expanded, vehement and stylized theatrical (/performing) action
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Pinheiro, Adalberto Vitor Raiol. "Contribuições dos jogos teatrais para o ensino de língua estrangeira (italiano)." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/8/8148/tde-06112014-161616/.
Full textAbstract:
A presente dissertação tem como objetivo propor uma reflexão sobre as contribuições que a prática de jogos teatrais pode trazer para o aprendizado de língua estrangeira (italiano). A hipótese de nossa pesquisa é que a realização de jogos teatrais a partir de modelos de ação (KOUDELA, 1991, 1996), práticas muito comuns à pedagogia do teatro, possa criar novas oportunidades/situações de aprendizagem e potencializar o processo de ensino-aprendizagem de línguas na perspectiva da abordagem comunicativa. Para isso, utilizamos como base as fichas de jogos propostos por Spolin (2001), as quais foram ampliadas e contextualizadas para o contexto de línguas. Quanto aos aspectos teóricos, procuramos apresentar o conceito de jogo, o sistema de jogos da norte-americana Viola Spolin, reflexões sobre protocolo e modelo de ação. Procuramos ainda, relacionar esses conceitos, inerentes à pedagogia do Teatro, à hierarquia de abordagens, métodos e técnicas (ANTHONY, 1963; RICHARDS & RODGERS, 1986), à aprendizagem colaborativa de línguas (FIGUEIREDO, 2003), ao ensino comunicativo (ALMEIDA FILHO 1993, 2012; RICHARDS, 2006) e à pedagogia Pós-Método (KUMARAVADIVELU, 1994, 2003). A experiência que fundamentou nosso trabalho foi realizada com alunos e professores de língua italiana, no mês de julho de 2012, em um curso de difusão cultural da Faculdade de Filosofia, Letras e Ciências Humanas da Universidade de São Paulo ministrado pelo próprio pesquisador. Como metodologia da pesquisa, servimo-nos da análise de dados qualitativos obtidos através do visionamento das aulas gravadas, da aplicação de questionário inicial e final e produção de protocolos realizados pelos participantes (KOUDELA, 1996, 2001). A análise dos dados sinaliza para as seguintes contribuições dos jogos teatrais para a sala de comunicativa, tais como: desenvolvimento da autonomia de alunos e professores em relação ao processo ensino-aprendizagem, uso integrado das habilidades comunicativas, facilitação da interação negociada e construção de ambientes autênticos de interação oral durante o processo de ensino-aprendizagem de línguas<br>The present study intends to propose a reflection about the contributions the practice of theater games may bring to the learning of a foreign language (Italian). The hypothesis of our research is that the theater games achievement from action models (KOUDELA, 1991, 1996), fairly common practice to the pedagogy of theater, can create new opportunities/learning situations and potentiate the teaching-learning of language process in the communicative approach perspective. To this purpose, we use the records of games proposed by Spolin (2001) as basis, which were extended and contextualized to the context of languages related to the language teaching. Regarding theoretical aspects, we try to present the game concept, the game system of the North American Viola Spolin, reflections about protocol and action model. We also seek to relate these concepts inherent to the theater pedagogy, the hierarchy of approaches, methods and tecniques (ANTHONY, 1963; RICHARDS & RODGERS, 1986), the collaborative language learning (FIGUEIREDO, 2003), the communicative teaching (ALMEIDA FILHO 1993, 2012; RICHARDS, 2006) and the Post-Method pedagogy (KUMARAVADIVELU, 1994, 2003). The experience which grounded our study was conducted with students and teachers of the Italian language, in July of 2012, in a course called Cultural Diffusion ministered by the own researcher performed by University of Philosophy, Letters and Human Sciences of São Paulo. As a research methodology, we serve of the qualitative data analysis obtained by the viewing of recorded lectures and implementing of initial and final questionnaire and protocols production performed by participants (KOUDELA, 1996, 2001). The data analysis points to the following theater games contributions to the communicative room, such as: development of students and teachers autonomy in relation the teaching-learning process, integrated use of communication skills, facilitation of interaction / negotiation and construction of authentic environments of oral interaction during the teaching-learning process of languages
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Guine-Boucheron, Eliette. "La compétence interculturelle chez le comédien." Phd thesis, Université d'Avignon, 2011. http://tel.archives-ouvertes.fr/tel-00735844.
Full textAbstract:
La thèse se propose d'étudier les conduites de certains professionnels du théâtre dans leur dimension interculturelle. Une observation de type qualitatif a été menée auprès d'une compagnie de théâtre occitan et d'un lieu de diffusion offrant une programmation méditerranéenne, tout deux situés à Montpellier. Une troisième structure théâtrale, installée en Région Provence-Alpes-Côte d'Azur, a complété l'enquête : cette compagnie crée des spectacles à partir d'échanges avec la Palestine. Une étude des conventions de ces entreprises théâtrales démontre un rapport à l'Autre privilégié. Cette parcelle du monde du théâtre élabore et expérimente une compétence de la frontière dans sa volonté d'échanges culturels. Cette compétence conforte le statut particulier du comédien comme citoyen suscitant l'''éveil''. L'analyse du financement de ces structures a permis en outre de préciser les positionnements et actions des différents partenaires publics. La place et la fonction de telles pratiques ont été confrontées à l'émergence d'une politique culturelle européenne
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Liljeberg, Johan, and Anton Bjäreborn. "Hur kan fysisk teater integreras i Virtual Reality för att främja kroppsligt berättande?" Thesis, Blekinge Tekniska Högskola, Institutionen för teknik och estetik, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-21845.
Full textAbstract:
Artikeln behandlar blandningen av fysisk teater och Virtual Reality(VR) och ämnar att besvara vilka fördelar kroppsligt berättande kan generera ur en digital miljö. Sammanhangen och kopplingarna leder till en diskussion hur VR som medieform kan liknas vid en teatermask som främjar kroppslig berättande. Artikeln tar också upp hur kroppen är viktig i både VR och teater samt hur gestaltningen Get Your Act Together översätter den fysiska världen till en digital plats. Avslutningsvis presenteras ett sammanhang mellan VR och teater vilket leder till en diskussion om VR:ens roll som medie i teatersammanhang.<br>This article deals with the mixture of physical theater and Virtual Reality(VR) and aims to answer what benefits physical storytelling can generate from a digital environment. The context and the connections leads to a discussion of how VR as a media form can be compared to a theatrical mask that promotes physical storytelling. The article also addresses how the body is important in both VR and theater and how the design “Get Your Act Together” translates the physical world into a digital place. Finally, a connection between VR and theater is presented, which leads to a discussion about VR's role as a medium in a theater context.