Relevant bibliographies by topics / Life or Theater?

Contents

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

Academic literature on the topic 'Life or Theater?'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Life or Theater?"

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Veksler, Asya F. "Nadezhda Bromley and Boris Sushkevich: Actors, Directors, Vakhtangov Followers (Materials for a Creative Biography)." Observatory of Culture 17, no. 5 (November 12, 2020): 526–37. http://dx.doi.org/10.25281/2072-3156-2020-17-5-526-537.

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Boris Sushkevich and Nadezhda Bromley (Sushkevich-Bromley) are remarkable theatrical figures, actors and directors whose lot was connected with the bright and dramatic periods of our country’s theatrical life from the beginning to the middle of the 20th century. They devoted a part of their professional life to the 1st Studio of the Moscow Art Theatre (from 1919 — Moscow Art Academic Theatre), which later became a separate theater (Moscow Art Academic Theatre II, 1924—1936). Since the middle of the 1930s, they worked in leading Leningrad theaters — the Leningrad State Academic Drama Theater (Alexandrinsky Theatre) and the New Theater (1933—1953, now the Saint Petersburg Lensoviet Theatre). This article introduces little-studied archival sources of biographical nature related to the work of these outstanding cultural figures.Nadezhda Nikolayevna Bromley was a heiress of the Bromley — Sherwood creative dynasties, which had made a significant contribution to Russian culture. She joined the troupe of the Moscow Art Theater in 1908, performed on the stage of the 1st Studio (1918—1924), was one of the leading actresses of the Moscow Art Academic Theatre II after its separation, participated in its Directing Department being in charge of the literary part. Generously gifted by nature, N. Bromley wrote poems, short stories, novels; her fictional works “From the Notes of the Last God” (1927) and “Gargantua’s Descendant” (1930) earned critical acclaim. Two plays by N. Bromley were staged in the Moscow Art Academic Theatre II. One of them — the full of hyperbole and grotesque “Archangel Michael” — was passionately accepted by E.B. Vakhtangov and A.V. Lunacharsky, though never shown to a wide audience. At the Leningrad State Academic Drama Theater and the New Theater, N. Bromley not only successfully played, but also staged performances based on the works by A.P. Chekhov, A. Tolstoy, M. Gorky, F. Schiller, and W. Shakespeare.Boris Mikhailovich Sushkevich, brought up by the Theater School of the Moscow Art Academic Theatre and in the Vakhtangov tradition of the playing grotesque, is one of the most interesting and original theater directors of his time. His directorial work in the play “The Cricket on the Hearth” based on a Christmas fairy tale by Charles Dickens became the hallmark of the 1st Studio (and later of the Moscow Art Academic Theatre II as well). This play remained in the theatre’s repertoire until January 1936. B. Sushkevich was a recognized theatre teacher — with his help, the Leningrad Theater Institute (now the Russian State Institute of Performing Arts) was established in 1939. Together with N. Bromley, he managed to fill the New Theater with bright creative content and make it a favorite of the Leningrad audience.This research expands the understanding of a number of yet unexplored aspects of the history of theater in our country and recreates the event context of the era.
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Watson, Julia. "Life? or Theatre? (Leben? oder Theater?) by Charlotte Salomon." Biography 42, no. 2 (2019): 438–51. http://dx.doi.org/10.1353/bio.2019.0050.

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Khubulova, Svetlana. "FORMATION OF THE NEW THEATER IN TIMES OF THE REVOLUTION AND CIVIL WAR ON TEREK." History, Archeology and Ethnography of the Caucasus 15, no. 1 (March 19, 2019): 22–27. http://dx.doi.org/10.32653/ch15122-27.

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Abstract. The article is devoted to the problem of the state of theatre life in the Terek region in 1917-1920, which is little studied in the regional historiography. The author introduces into the scientific circulation a corpus of new archival documents, which makes it possible to reconstruct the main activities of local theaters, to consider the influence of Moscow touring groups on the theatrical repertoire and audience preferences in the Terek region. The author dwelled on the difficulties experienced by theater companies in the difficult conditions of the revolution, the Civil War and the post-war devastation. The analysis of the documents allowed us to identify new forms of theatrical art, including workers, amateur and national theatrical societies, which fit well into the concept of educating the “new” Soviet person. In the conditions of the most fierce ideological battles, theaters were given the task of introducing the broad masses to art, who had previously been far from it and preferred simpler forms of leisure. In this regard, the repertoire of theaters was represented not only by classical works but also by revolutionary plays of mediocre quality. By trial and error, the theater acquired a new repertoire in a new environment, a spectator who was to educate and instill a good taste for highly artistic theatrical productions. The role of M. Bulgakov in the development of the proletarian theater is also interesting: the plays written by him had ideological fullness and in quality were much higher than those that were present in the repertoire of local theaters. Thanks to the writer’s efforts, the Ossetian Youth Studio was founded in Vladikavkaz, which became the basis of the future professional theater.
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Mally, Lynn. "The Rise and Fall of the Soviet Youth Theater TRAM." Slavic Review 51, no. 3 (1992): 411–30. http://dx.doi.org/10.2307/2500052.

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“Young people need their own theater, akin to their own spirit,” wrote the actor Nikolai Kriuchkov in a memoir of his life in the theater in the 1920s and 1930s. While he acknowledged that the Soviet Union had developed a network of professional Komsomol theaters aimed at youth, Kriuchkov charged that in general these theaters simply duplicated the repertoire of conventional stages. But TRAM, an acronym for the Theater of Working-Class Youth (Teatr Rabochei Molodezhi), where Kriuchov got his start, was different. “It had its own topical themes, its own character, and young people went willingly.”
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Kopecký, Jiří, and Lenka Křupková. "The “Slavic spirit” and the opera scene in Olomouc, 1830–1920." Studia Musicologica 58, no. 3-4 (December 2017): 341–61. http://dx.doi.org/10.1556/6.2017.58.3-4.4.

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In 1830, a new theater building was opened in the Olomouc Upper square. The stable theatrical life enriched enormously the cultural life of the city and encouraged the development of publishing activities in the field of music journalism and publishing. The public debates on the artistic value of theater performances, on abilities of particular artists and on other subjects gained new quality after the 1860 October diploma because Czechs living in and around the traditional German town put pressure on theater directors and demanded Czech plays on the stage. The fights for the national repertoire on the stage of the Olomouc Provincial Theater are demonstrated in this essay in two contrary ways: at first, the introduction of Czech dramas into the German scene during the 1860s is discussed, then the intensive promotion of German operas during the 1880s and 1890s when internationally played Slavonic operas were performed in all theaters. The director Carl König (1862–1868) offered a contract to many artists who were able to speak both German and Czech, so he could open an independent subscription for the Czech public. The relatively tolerant atmosphere allowed König’s company to give performances in both languages and connect the Olomouc theatrical life to the Prague Provisional Theater. However, Czech nationalism was getting stronger during the 1870s and provoked competitive and unfriendly reactions on German side. The arguments for refusal of Smetana’s and Tchaikovsky’s operas by the directors of the Olomouc theaters are discussed on the basis of archival sources as well as articles published in contemporary periodicals.
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Grøtta, Marit. "At the Door of the Theater: Kafka’s Oklahama Theater and the Nature Theater Movement." New German Critique 48, no. 1 (February 1, 2021): 103–23. http://dx.doi.org/10.1215/0094033x-8809371.

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Abstract The Nature theater of Oklahama in Der Verschollene is one of Kafka’s most enigmatic inventions, widely known through Walter Benjamin’s and Giorgio Agamben’s reading of it as a theater of gestures. This article explores the intertextual archive of Kafka’s novel, bringing into play an entry hitherto overlooked: the nature theater movement in the early twentieth century, promoted by the conservative Heimatkunstbewegung. Discussing the historical nature theater, on the one hand, and Benjamin’s and Agamben’s theater of gestures, on the other, the article examines the conceptions of life that come into play in the novel (life as career, life as theater, life as gesture) and considers the fate of the protagonist in this light. Seeing the question of inclusion/exclusion as key to Kafka’s novel, the article argues that it exposes the thin line between utopia and dystopia and allows us to reflect on the dangers as well as the possibilities of modernity.
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Петрова and A. Petrova. "Auditorium of the Bolshoi Theater Journey As a Form of Aesthetical Education of Younger Schoolchildren." Primary Education 4, no. 4 (August 17, 2016): 32–34. http://dx.doi.org/10.12737/21359.

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The article discusses the educational potential of the excursions in the auditorium of the Bolshoi Theatre for introduction to younger students the peculiarities of architecture, interior design of the theater building, initiation to understanding the creative life of the theater group. The aim of the tour is the aesthetic education of children, development of their imagination and the ability to co-creation, conscious perception of theatrical art.
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Budaeva, T. B. "Svetlana A. Serova on Life, Science and Chinese Traditional Theater." Journal of the Institute of Oriental Studies RAS, no. 1 (11) (2020): 186–97. http://dx.doi.org/10.31696/2618-7302-2020-1-186-197.

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The names of specialists in Russian Sinology associated with independent research area are rare. This short list includes Svetlana A. Serova, a sinologist, theater historian, and theater expert, who devoted her academic endeavor to Chinese traditional theater. Deep historical roots of the Chinese theater, specifics in the simultaneous coexistence of dozens of its regional varieties, completely different from Western aesthetic views, stage embodiment and perceptions of this theatrical art — these are just some of the common features inherent in the genre of traditional theater. In Svetlana A. Serova’s seven monographs Chinese theater consistently appeared in its most diverse forms. Among them are genres of Beijing musical drama Jingju and Kunshan drama Kunqu (both became popular nationwide), acting skills and stage art, creative views of playwrights who influenced the development of Chinese theater as a whole, historical retrospectives up to the ancient ritual origins of the theater, parallels with Western theater, etc. It is obvious, that even the most objective and impartial scientific work is the result of not only professionalism, but also the personality of the scientist, his worldview. But when we deal with such a subtle and ephemeral matter as art, the author involuntarily steps at the avant scène, being forced to pass all the material through himself. Therefore, our interest in a researcher of such magnitude as Svetlana A. Serova is dictated not by a common interest, but rather by a need to understand her life values, providing additional opportunity to obtain more holistic view of her heritage.
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Prokopovych, L. V. "Socio-philosophical analysis of the visualization of cultural identity in the “theater” of everyday life." Науково-теоретичний альманах "Грані" 22, no. 1 (March 26, 2019): 57–67. http://dx.doi.org/10.15421/17198.

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The purpose of the study is to identify the specific features and socio-philosophical foundations of the visualization of cultural identity in the “theater” of everyday life. The research methodology is based on: 1) the theory of the image, which evolves from the perception of the image as a simple sign to the understanding that in some cases it can become a symbol (with broad interpretational possibilities); 2) method of sociocultural analysis in the framework of concept of theatricality of sociocommunicative manifestations of culture. The effectiveness of the concept of theatricality of sociocommunicative manifestations of culture is due to the fact that it allows you to “collect” at one point performative, medial, iconic, semiotic and other concepts of philosophical understanding of social processes and phenomena. This approach showed the need for a new look at the dramatization of life, where not only “the whole world is the theater, and the people in it are actors”, but also every person is a “theater”. A look at the modern world as a combination of individual, personal “theaters” (the scientific novelty of the research) made it possible to identify the special functions of costume and jewelry in the scenography of these “theaters”. These functions are manifested in situations that require a person to create a certain image. Then the costume and jewelry become: 1) an active component of the sociocommunicative space, as mediums of information of a certain nature; 2) a form of self-presentation; 3) a way to visualize cultural identity. It is shown that the causes of the emergence of cultural phenomena of fashion and theatricalization of life are the same: in both cases, the desire of people to “try on” different roles is realized. This correlates with the possibility of simultaneously determining several identities for one person, which means not a loss of identity or the replacement of one’s own identity (imposed), but the search for additional personal identities. Costume and jewelry provide ample opportunities for such personal creative experiments with identity/roles in the “theater” of everyday life. Characteristic features of the modern “theater” of everyday life, as well as the cultural situation in general, are dynamism, frequent changes of form and states. Therefore, the change of images (which is easily accomplished by changing jewelry and accessories) contributes to this sociocultural game.
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Fokin, Aleksandr. "Ilya Surguchev's theater in the history of Russian foreign theater." KANT Social Sciences & Humanities, no. 3 (July 2020): 40–51. http://dx.doi.org/10.24923/2305-8757.2020-3.5.

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Drama is defined as the main phenomenon of Ilya Surguchev's creative biography. ON this basis, the main chronology of his life and work during the period of emigration is presented. Biographical and historical-functional methods of literary research are used. The plays of the 1910s and 1940s, their themes and problems are characterized. An overview of the main premiere performances based on Surguchev's plays in theaters in Russia and Europe is presented. Questions of I.D. Surguchev's poetics of drama are raised; the prevailing genres, plots, themes, and stylistic dominants are highlighted. The role of Surguchev in the history of the theater of the Russian abroad is determined.
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Dissertations / Theses on the topic "Life or Theater?"

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Enriquez, Andres Ray. "Acting as a life : "What am I doing?"." Thesis, University of Iowa, 2012. https://ir.uiowa.edu/etd/3290.

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Nason, Ryan. "Life in the Pits: A Trumpeter’s Life in New York’s Musical Theater." Thesis, University of Oregon, 2018. http://hdl.handle.net/1794/23798.

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Pit musicians have fallen through the cracks of musical theater scholarship. In all my research, I have yet to come across any sources that thoroughly examine musical theater from the perspective of the musicians who perform in its orchestras day in and day out. Thus, this thesis documents Richard (Dick) R. Smith's life as a professional musician living and working--in vaudeville and on Broadway--in midcentury New York City. Smith might be relatively unknown, but he played a significant role in a variety of musical contexts. By understanding his life, we gain valuable insight into histories that have only focused on the experiences and achievements of actors, bandleaders, composers, orchestrators, and conductors, among others. Examining Smith's experiences also help us understand something about the hundreds, if not thousands, of similarly anonymous pit musicians whose talents and hard work made New York City's vibrant musical life possible.
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Najar, Daronkolae Esmaeil. "Pam Gems: Rethinking Her Life and the Impact of Her Plays on British Stage." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1523487108676837.

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Bayer, Mark. "Queen Anne's men and the commercial life of London's neighborhood economies /." The Ohio State University, 2002. http://rave.ohiolink.edu/etdc/view?acc_num=osu1486402957195914.

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Jeffries, Sean A. "LIFE ON THE LINE: AN ANALYSIS OF THE LIGHTING DESIGN FOR A CHORUS LINE." Kent State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=kent1334244672.

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Griff, Adam M. (Adam Michael) 1974. "Open space : theater and public life on the Central Artery." Thesis, Massachusetts Institute of Technology, 2003. http://hdl.handle.net/1721.1/29299.

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Thesis (M.Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 2003.
Includes bibliographical references (p. 89).
In the light of changes to the composition of society and the emergence of new technologies, conventional understandings of public space and inherited spatial forms no longer apply. Yet, for all the pessimism about whether these spaces will continue to exist, people still flock to places where they can be together. At the heart of this urge lies a crucial understanding of the modern city. Instead of being a closed community the modern city is cosmopolitan, a place for the gathering and living together of strangers. The city is the place where one goes to know people different from one self. Consequently, the city's reason for being is to socialize- for information, for business, for the development of the self. Like any place for socializing, it has its roots in pleasure. Located on the North End parcels of the central artery, my thesis project employs those programs that emerged right as this new understanding of the city dawned -- hotels, clubs, coffee shops, public promenades, restaurants, theaters, and pubs- to create spaces for socializing within the city. Social interaction is discursive, based on communicating, instead of being a visual relationship. The goal of the design is to create those moments where individuals can approach each other instead of being passive spectators to one another. Despite its lightheartedness, socializing and pleasure are serious because they set the terms on which different people can communicate and relate to one another, which ultimately is the basis for any democratic politics.
by Adam M. Griff.
M.Arch.
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Kattner-Ulrich, Elizabeth [Verfasser]. "The early life and works of George Balanchine (1913 - 1928) / Elizabeth Kattner-Ulrich." Berlin : Freie Universität Berlin, 2010. http://d-nb.info/1024743748/34.

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Vaieland, Natalie Marie. "Shadow, Gender, Transference: Alfred Wolfsohn in Charlotte Salomon's Life? or Theater?" BYU ScholarsArchive, 2016. https://scholarsarchive.byu.edu/etd/6433.

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Charlotte Salomon's Life? or Theater? is a complex compilation of painting, musical notations, autobiography, cinematic layouts, and literary text. Salomon scholars have neglected a crucial element of Life? or Theater?, which is the significant influence of Salomon's friend, Alfred Wolfsohn. This thesis fills this void by examining the correlation between stylistic influences in Salomon's work and by exploring Wolfsohn's theoretical practices. Using a framework informed by Jungian psychology and Wolfsohn's extensive music theory, this thesis argues that Salomon portrayed her own story via Wolfsohn's philosophy of catharsis. As trauma became a reoccurring theme in Salomon's life, painting and creation became her purification and the means by which she recovered her own sanity. To expound the importance of Salomon's emotional expulsion in Life? or Theater?, this thesis considers her biography, traumatic life events, and her formal art training at the Vereinigte Staatsschulen für Freie und Angewandte Kunst. The combination of her chaotic life events, her training as a visual artist, and her inclusion of musical and theatrical elements emphasize her ability to efficiently call upon the most effective and expressive artistic style for her catharsis. In its synthesis, Salomon's Life? or Theater? becomes a Gesamtkunstwerk that is the pinnacle of German Expressionism. Lastly, this thesis will look to the relationship and influence of Wolfsohn. Arguing that Wolfsohn's influence was more than encouraging Salomon to paint, this thesis will draw connections between Wolfsohn's theories and Salomon's approach to Life? or Theater?. In arguing for the importance of Wolfsohn's theories, and by understanding her work as catharsis via Gesamtkunstwerk, this thesis has contributed new ways of understanding Salomon's complex work, Life? or Theater?, as more than an illustrated autobiography.
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Raby, Peter Humfrey. "'Life at the full' : the idea of the natural in English and French theatre, 1815-1848." Thesis, Royal Holloway, University of London, 1985. http://repository.royalholloway.ac.uk/items/692532ab-fb94-46aa-a56d-cf2d972586a3/1/.

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The study investigates the development of theatre in England and France between 1815 and 1848, concentrating on a number of attempts to create a serious and poetic dramatic experience which reflected the artistic concerns of the time. It examines the general state of theatre and drama in London and Paris, and takes particular note of the reactions of one country's critics to the productions of the other. The central issue discussed is the idea of the natural, especially in terms of acting style and mise en scene. The study analyses some of the efforts of authors and producers to reconcile the demands and potential of Romantic dramaturgy with the expectations of the audience. The crucial problem may be described, in Bulwer Lytton's terms, as the attempt to fuse the simple and the magnificent, or, alternatively, the natural and the theatrical. The study outlines the organization, repertory, mise en scene and acting style in England and France at the start of the period (Chapters 1 and 2). It discusses the difficulties confronting the English Romantics as potential dramatists, with particular attention to Marino Faliero (Chapter 3). Chapter 4 describes the 1827-28 visit to Paris of the Theâtre-Anglais, specifically the impact of Shakespeare productions upon French critical consciousness. The effect of that impact is discussed with reference to selected productions of French Romantic drama (Chapter 5). Chapter 6 outlines the incidence and influence of French theatrical practice in London, emphasising the natural acting style of the comediens and the high quality of mise en scene. Chapter 7 describes the growth in England of the idea of the unified production, and assesses the importance of Macready as a producer. In Chapter 8, the difficulty of achieving a satisfactory balance between the style of acting and the increasinglyelaborate physical context is examined, and it is argued that the idea of the natural was more capable of realisation in musical drama, especially ballet.
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Burden, Josephine E. "Living life to the full a qualitative study of community theatre, older people, and the construction of leisure /." Connect to this title online, 1997. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20050914.125729/.

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Books on the topic "Life or Theater?"

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Lahr, John. Life-show: How to see theater in life and life in theater. New York: Limelight Editions, 1989.

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Yancey, Diane. Life in the Elizabethan theater. San Diego, CA: Lucent Books, 1997.

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Kulick, Brian. The Secret Life of Theater. Abingdon, Oxon ; New York, NY : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9780429445255.

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Kharkrang, Roland. Theatre, art and life. New Delhi: Omsons Publications, 1994.

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Bautzener Theater Geschichten. Berlin: Theater der Zeit, 2013.

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Theatre and everyday life: Ethics of performance. London: Routledge, 1995.

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Theatre semiotics: Signs of life. Bloomington: Indiana University Press, 1990.

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Annie, McGregor, ed. Theatre in your life. 2nd ed. Boston, MA: Wadsworth Cengage Learning, 2012.

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Akihiko, Senda. Metamorphoses in contemporary Japanese theatre, life-size and more-than-life-size. Tokyo, Japan: Japan Foundation, Office for the Japanese Studies Center, 1986.

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Read, Alan. Theatre and everyday life: An ethics of performance. London: Routledge, 1993.

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Book chapters on the topic "Life or Theater?"

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Kulick, Brian. "Borges and theater." In The Secret Life of Theater, 15–16. Abingdon, Oxon ; New York, NY : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9780429445255-5.

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Kulick, Brian. "What we can know about the origins of theater, which is always less than we would like, and yet not grounds for despair." In The Secret Life of Theater, 3–5. Abingdon, Oxon ; New York, NY : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9780429445255-1.

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Kulick, Brian. "Anatomy of failure." In The Secret Life of Theater, 51–54. Abingdon, Oxon ; New York, NY : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9780429445255-10.

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Kulick, Brian. "Recapitulation #1: or toward the what of theater." In The Secret Life of Theater, 55–58. Abingdon, Oxon ; New York, NY : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9780429445255-11.

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Kulick, Brian. "Welcome to the Museum of Ek-Stasis." In The Secret Life of Theater, 61–63. Abingdon, Oxon ; New York, NY : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9780429445255-12.

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Kulick, Brian. "Exhibit one: Agamemnon redux." In The Secret Life of Theater, 64–70. Abingdon, Oxon ; New York, NY : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9780429445255-13.

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Kulick, Brian. "Exhibit two: Abraham and Isaac." In The Secret Life of Theater, 71–78. Abingdon, Oxon ; New York, NY : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9780429445255-14.

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Kulick, Brian. "Exhibit three: Romeo and Juliet." In The Secret Life of Theater, 79–84. Abingdon, Oxon ; New York, NY : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9780429445255-15.

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Kulick, Brian. "Exhibit four: The Winter’s Tale." In The Secret Life of Theater, 85–91. Abingdon, Oxon ; New York, NY : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9780429445255-16.

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Kulick, Brian. "Exhibit five: Tartuffe." In The Secret Life of Theater, 92–96. Abingdon, Oxon ; New York, NY : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9780429445255-17.

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Conference papers on the topic "Life or Theater?"

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Oosthuizen, Patrick H. "A Numerical Study of the Effect of Inlet Vent Position and Size on the Velocity and Temperature Distributions in a Smaller Naturally Ventilated Theater in Canada." In ASME 2014 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2014. http://dx.doi.org/10.1115/imece2014-36781.

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Many smaller churches and similar buildings in Canada have been converted into small theaters. Such theatres are often not fitted with an air-conditioning system. For performances in the fall these theaters sometimes rely on buoyancy driven natural ventilation to moderate the indoor air temperature. Such ventilation systems usually involve near floor inlet vents and a roof level air discharge system. A preliminary numerical study of the effect of inlet vent position and size on the performance of such a system has been undertaken. A simple model of a typical theater building of the type considered has been used. The heat generated by the audience has been represented by a uniform heat flux distributed over the audience area. Inlet vents have been assumed to be located low on the side walls of the theater and the air-flow leaving the theatre has been assumed to be through vents at the top of a chimney system. The flow has been assumed to be steady and symmetrical about the vertical center-line through the building. The Boussinesq approach has been adopted. The standard k-epsilon turbulence model has been used. The solution has been obtained using the commercial CFD solver ANSYS FLUENT©.
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Tosa, Naoko. "Theater, movie with A-life---Romeo & Juliet in Hades as A-life based cinema." In the sixth ACM international conference. New York, New York, USA: ACM Press, 1998. http://dx.doi.org/10.1145/306774.306781.

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Bol'shakov, YA O. "Pre-revolutionary theater life in the Vologda province: coverage in the press." In Scientific dialogue: Questions of philosophy, sociology, history, political science. ЦНК МОАН, 2020. http://dx.doi.org/10.18411/spc-01-02-2020-04.

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Moliner, Lidón, Arecia Aguirre, Andrea Francisco, and Laura Poch. "WORKING AFFECTIVE SEXUAL DIVERSITY AT THE CLASSROOM THROUGH LIFE STORIES AND TESTIMONY THEATER." In International Conference on Education and New Learning Technologies. IATED, 2016. http://dx.doi.org/10.21125/edulearn.2016.0841.

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Shumakova, Svitlana. "THE THEATER OF MODERNITY: THE FUSIONS BETWEEN ART AND LIFE, EXPERIMENTS ON FORM AND CONTENT." In DÉBATS SCIENTIFIQUES ET ORIENTATIONS PROSPECTIVES DU DÉVELOPPEMENT SCIENTIFIQUE. European Scientific Platform, 2021. http://dx.doi.org/10.36074/logos-05.02.2021.v6.45.

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Woodward, Jay, and Michelle Kwok. "CREATING A VIRTUAL STUDY ABROAD EXPERIENCE TO RUSSIA." In International Conference on Education and New Developments. inScience Press, 2021. http://dx.doi.org/10.36315/2021end141.

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COVID-19 has drastically altered our world. Though travel is halted, global education does not have to stop. We used this time to reconceive the notion of study abroad and designed a study abroad program that could be facilitated virtually and enhanced with face-to-face classroom interaction. We were inspired to embark on this journey for several reasons. First, the realities of the pandemic create risks associated with international travel. Second, international experiences need to be more accessible–more students should be able to participate in global education, even if they do not have the means or ability to do so. We present our design considerations in building and implementing this virtual study abroad program. As part of the design, we partnered with VEXA (Virtual Experiences Abroad), a Moscow-based company that built the online interface and facilitated the interactions between our students and Russian citizens, including visits to a Russian Orthodox Church, the Bolshoi Ballet theater, and elementary and middle schools. We also brought elements of Russian culture to life through face-to-face experiences including a live cooking session with a Russian chef, discussions with a Russian Orthodox priest, and a ballet lesson with a company member of the Bolshoi theatre. These types of experiences facilitated group discussions and social interaction opportunities, crucial for establishing relationships. Overall, our main goal was to reconceive the traditional notion of study abroad while garnering results that would match the transformational gains that global education provides.
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Ormanlı, Okan. "Relationship Between Movie Theaters and Audience During the Pandemic: “Beyoğlu 1989 E-Bulletin” as an Example." In COMMUNICATION AND TECHNOLOGY CONGRESS. ISTANBUL AYDIN UNIVERSITY, 2021. http://dx.doi.org/10.17932/ctcspc.21/ctc21.028.

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Covid-19, a disease that transformed into a pandemic at the beginning of 2020, caused catastrophic results in the world and Turkey. There have been some restrictions on trade, education, tourism, and art. Daily life was not interrupted but some services and events that they have not primary functions (for some people) like “art” were on the verge of stopping and carried to the digital platforms. In this context, some corporations opened their archives and sometimes actual events to the public free of charge or for a certain amount of money. Art, which has always had “healing”, “mediating” and “unifying” effects, was consumed by the billions of people through digital devices. Considering art is both a sector and an industry, the unexpected phenomenon of Covid-19, which is a kind of crisis that occurs one in a hundred years and takes longer than expected, led to the temporary or permanent closure of some art and culture institutions. Due to these results, some supportive programs have been organized by official or non-official institutions to solve financial problems. In Turkey, all the movie theaters closed down on the 16th of March 2020 by the Ministry of Internal Affairs. Some halls opened in July and August, however, because of lack of audience and of the increasing number of patients they have closed down again in November. 2019 was a bad year for the sector yet 2020 was even worse with the decline of the audience by the ratio of %90. Before the pandemic, there were some problems in terms of halls. In this context, some movie theaters tried to find solutions not to lose the audience and find financial support. Beyoğlu Movie Theater that began operating in 1989, had some financial problems before the pandemic. The managers of the hall created a project called “Beyoğlu 1989”, which was a kind of electronic bulletin, and started sending e-mails to the subscribers. This project, which was implemented for the first time in Turkey, has reached the 57th issue and 800 subscribers today and has turned into a kind of weekly electronic-digital cinema newspaper that is also promoted on the Instagram account of the Beyoğlu cinema with 45 thousand followers. The broadcast also follows the cinema agenda and undertakes the task of a written-visual archive. In conclusion, a movie theater that started operating in the analog age, today use all the possibilities and utilities of the digital age and also with the help of its owners and followers, creates a communication ecology to prevent the shutdown. The aim of this article is to examine an electronic bulletin (also a film magazine) “1989”, which is first in Turkey, with the qualitative method.
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Falsetti, Marco, and Pina Ciotoli. "Introverted and knotted spaces within modern and contemporary urban fabrics: passages, gallerias and covered squares." In 24th ISUF 2017 - City and Territory in the Globalization Age. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/isuf2017.2017.5913.

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The scenic plaza mayor shares with the theater organisms some formative characters, since they both derive from a transformation, by knotting, of pre-existing buildings and fabrics. This architectural transformation is generated, at the beginning, by a change in the modalities of using public space. As for the corral de comedias, the process is due to the sedentarization of the theatrical practice, which abandons the itinerant dimension of the street to move inside the buildings (such as private homes and palaces). The original corral de comedias was in fact set up inside an open place that could be covered, and this feature became permanent over time, creating a new building type. Similarly, since the sixteenth century, squares became the fundamental location of Spanish civic life as well as they hosted all sorts of political, religious and festive representations, but also the venue of executions. For this purpose, namely to allow people to watch such events, the squares were transformed, by raising temporary walls and walkways. In some cases, like Tembleque and San Carlos del Valle, they began to realize permanent continuous balconies, with solutions that seem to have followed the same morphological evolution of corrales de comedias. In both cases it was necessary to unify different elements (buildings or rooms) and connect them to each other, through a process of “knotting”, in order to create a new organism. Over time the physiognomy of the spaces, originally open, assumed the permanent characters of a new type, closed and similar to the courtyard of a “palazzo”.
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Simpson, James. "Live and Life in Virtual Theatre: Adapting traditional theatre processes to engage creatives in digital immersive technologies." In Proceedings of EVA London 2021. BCS Learning & Development, 2021. http://dx.doi.org/10.14236/ewic/eva2021.17.

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Wilt, Dirk Vander, and Morwaread Mary Farbood. "Automating Audio Description for Live Theater." In AM'19: Audio Mostly. New York, NY, USA: ACM, 2019. http://dx.doi.org/10.1145/3356590.3356603.

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Reports on the topic "Life or Theater?"

1

Theatre can bring research findings to life for a wide range of audiences. National Institute for Health Research, December 2020. http://dx.doi.org/10.3310/alert_43190.

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