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Journal articles on the topic 'Live theater'

Author: Grafiati

Published: 25 May 2024

Last updated: 31 July 2025

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1

Zehra, Shamail, Kiran Karamat, and Niza Qureshi. "THEATRE IN THE DIGITAL AGE: CHALLENGES AND AUDIENCE VIEWING EXPERIENCES." Pakistan Journal of Social Research 05, no. 01 (2023): 609–16. http://dx.doi.org/10.52567/pjsr.v5i01.1384.

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A digital native audience may find it more difficult to be captivated by a theatrical performance in the age of technology, yet theater has evolved and survived every technological advancement. The popularity of the plays in Shakespeare's day appears to have been largely dependent on audience behavior, much as it was in the times of Aristophanes and Plautus. In our local Pakistani context, the study investigates whether theater can survive in the present digital media landscape and addresses the key elements that can affect a viewer's decision to see theater in a live setting. A good play, pro

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2

Buckley, Jennifer. "Long “Live” Theater." Theater 46, no. 2 (2016): 35–53. http://dx.doi.org/10.1215/01610775-3547659.

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Dr, Keerty Goyal. "THEATER: A PERFORMING ART OF KNITTING EMOTIONS." International Journal of Human Resource & Industrial Research 3, no. 3 (2016): 73–78. https://doi.org/10.5281/zenodo.10699920.

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<em>Theater being and direct medium operates on human level with its audience. Though theater has always been facing upheavals and difficulties claiming for the audience but finally has a beauty of its own. The accomplishment that an artist and the director expect from the audience is only the curtain falling with a thunderous applause. Theater artists live in a world of their own and are fully passionate about their work. Theater is an art to be felt and experienced. Theater is a live medium of entertainment which engages its audience through creative expression. The artist has the inner pict

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Sprogøe, Charlotte. "Live Experiences in the Theater Gardens of Contemporary Art." Peripeti 19, no. 35 (2022): 97–108. http://dx.doi.org/10.7146/peri.v19i35.130635.

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Theatre has been a model for curatorial experiments throughout the history of experimental exhibitions. This article will look into contemporary experiments with curating exhibition formats that come alive as virtual, ‘lucid dreams’ through the uses of theatrical tropes such as Narrator, Stage, Backdrop – and through the integration of affect, living matter, organic form and worldlike backdrops into the formats, as in the historic Theater Gardens.

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Gamaliel Paulus. "Penerimaan Teknologi Gawai dalam Menonton Pertunjukan Teater Virtual di Era Pandemi Covid 19." Jurnal Netnografi Komunikasi 1, no. 1 (2022): 31–37. http://dx.doi.org/10.59408/netnografi.v1i1.5.

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The COVID-19 pandemic that has hit Indonesia since March 2020, has had a bad impact not only on the economy and health fields, but also in various fields of life. One of those is theater performing arts. The social restrictions imposed by the government have resulted in many theater groups being unable to conduct theatrical performances. People should stay at home more and use various communication technologies to interact with each other. In order to keep the theater performing arts alive, theater workers took the initiative to organize virtual theater where audience can watch theater through

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Ahmadova, Gulkhara. "WORLDLY SIGNIFICANCE OF THEATERS: IREVAN STATE AZERBAIJAN DRAMA THEATER." Scientific Journal of Polonia University 58, no. 3 (2023): 10–14. http://dx.doi.org/10.23856/5801.

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Historically and even now, the literary and cultural environment of Azerbaijan is known both in the East and in the West. As a result of the severe tragedies, deportations, and genocides inflicted on the people of Azerbaijan, scientific and educational institutions, state institutions, museums, natural monuments, and cultural centers created in our country have suffered as much as our people. Theaters were also forced to live the fate of refugees. Today Shusha Musical Drama Theater, Aghdam State Drama Theater, Fuzili State Drama Theater continue their activities in the field of refugees. All t

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Turchi, Laura B., Ann C. Christensen, and Laura B. Turchi. "Teaching Shakespeare: Live Theater Matters." English Journal 108, no. 6 (2019): 103–5. http://dx.doi.org/10.58680/ej201930217.

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Palmer, David. "Miller’s Food for Thought at Food For Thought Productions: A Talk with Susan Charlotte, 15 July 2021." Arthur Miller Journal 17, no. 1 (2022): 39–43. http://dx.doi.org/10.5325/arthmillj.17.1.0039.

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Dewi, Irma Kusuma, and Farid Farid. "Strategi Komunikasi Pemasaran Radjawali Semarang Cultural Center (RSCC) di Masa Pandemi." Kiwari 2, no. 4 (2023): 578–83. http://dx.doi.org/10.24912/ki.v2i4.27229.

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The Covid-19 pandemic, which has spread to several countries, finally entered and attacked Indonesia in March 2020. The Government's Policy to Enforce Restrictions on Community Activities (PPKM) has made the Radjawali Semarang Cultural Center (RSCC) an art building in The city of Semarang is not free in raising its name. In an increasingly sophisticated and advanced life like today, social media is able to become a place for activities that cannot be carried out during the Covid-19 pandemic. So a Live in Theater event was created which is a collaborative program between building providers, nam

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Gontarski, Stanley. "The theater is always dying." Acta Universitatis Lodziensis. Folia Litteraria Polonica 59, no. 4 (2020): 191–209. http://dx.doi.org/10.18778/1505-9057.59.11.

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The Theater Is always Dying traces the resilience of live theatrical performance in the face of competing performative forms like cinema, television and contemporary streaming services on personal, hand-held devices and focuses on theater’s ability to continue as a significant cultural, community and intellectual force in the face of such competition. To echo Beckett, we might suggest, then, that theater may be at its best at its dying since its extended demise seems self-regenerating. Whether or not you “go out of the theatre more human than when you went in”, as Ariane Mnouchkin suggests, or

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Maryina, Lyudmila, and Elizaveta Kochergina. "New horizons of theatre: Digital practices and their significance for contemporary theatre arts." Managing of Culture 4, no. 1 (2025): 29–36. https://doi.org/10.70202/2949-074x-2025-4-1-29-36.

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Digitalization is changing the contemporary theatre, posing new challenges. The article examines how technologies – from virtual reality to online platforms – are transforming the perception of viewers, creating new performance formats and changing promotion strategies. Particular attention is paid to the role of the viewer, who from a passive observer becomes an active participant, as well as the influence of social networks on the formation of a loyal audience. The transformation of traditional forms, viewer experience and theatrical space under the influence of virtual and augmented reality

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12

Norman, Sally Jane. "Theater and ALife Art: Modeling Open and Closed Systems." Artificial Life 21, no. 3 (2015): 344–53. http://dx.doi.org/10.1162/artl_a_00175.

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The live art of theater remains curiously missing from ALife art history, despite the fact that its very existence is poised on the cusp of the living and the artificial, and on the modeling of life as artefact—what can be called the containment-versus-continuity dilemma. How far one seeks to affirm autonomy of the creative artwork or, in contrast, how far one seeks to affirm its continuity with its supposed real-life contexts is a question that has forever haunted theater, and that has naturally come to haunt ALife and ALife arts. Investigation of the boundary separating observers from modele

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Tronchin, Lamberto, Antonella Bevilacqua, and Ruoran Yan. "Acoustic Characterization and Quality Assessment of Cremona’s Ponchielli Theater." Applied Sciences 13, no. 6 (2023): 4057. http://dx.doi.org/10.3390/app13064057.

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The Ponchielli theater of Cremona was built in 1808 after a fire destroyed the old wooden structure. The interior, the architecture and the shape of the plan layout are reminiscent of the Teatro alla Scala, Milan, a masterpiece by the architect Piermarini, albeit on a smaller scale. The four orders of balconies crowned by the top gallery are typical features of a 19th Century Italian Opera theater. Acoustic measurements have been undertaken across the stalls and in some selected boxes according to ISO 3382. The main acoustic parameters resulting from the measurements have been used for the aco

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Iacobuţe, Ramona-Petronela. "The Theater And The Pandemic: The Theater In A Zoom Or Facebook Window." Theatrical Colloquia 10, no. 2 (2020): 133–37. http://dx.doi.org/10.2478/tco-2020-0026.

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AbstractThe year 2020 is a difficult one for all of us: employees, employers, economic or cultural operators, event organizers, parents and children, artists and spectators. Nothing is as we knew it. The classroom, the performance hall, the office, all moved to our living room, and new technologies have shown us once again that we can no longer live without them in the 21st century, that they can save us in situations that at first sight have no solution. The emotion, the closeness, the direct contact from the rehearsals and from the performance hall have become a rarity for those who work in

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Benhamida, Leyla, Slimane Larabi, and Oussama Metatla. "Hapstick-Figure: Investigating the Design of a Haptic Representation of Human Gestures from Theater Performances for Blind and Visually-Impaired People." Proceedings of the ACM on Human-Computer Interaction 8, ISS (2024): 649–73. http://dx.doi.org/10.1145/3698152.

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Theaters serve as platforms that transport audiences into diverse worlds, offering a collective enjoyment of live performances and a shared cultural experience. However, theater performances have strong visual components, such as physical props and actors’ movements and gestures, which are inaccessible to visually impaired and blind audience members and thus can exclude them from such shared social experiences. We conducted formative interviews with eight blind and visually impaired people about their experiences with barriers to theater performance gestures. We then present Hapstick-Figure, a

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Greene, Jay P., Heidi H. Erickson, Angela R. Watson, and Molly I. Beck. "The Play’s the Thing: Experimentally Examining the Social and Cognitive Effects of School Field Trips to Live Theater Performances." Educational Researcher 47, no. 4 (2018): 246–54. http://dx.doi.org/10.3102/0013189x18761034.

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Field trips to see theater performances are a long-standing educational practice; however, there is little systematic evidence demonstrating educational benefits. This article describes the results of five random assignment experiments spanning 2 years where school groups were assigned by lottery to attend a live theater performance or, for some groups, watch a movie version of the same story. We find significant educational benefits from seeing live theater, including higher levels of tolerance, social perspective taking, and stronger command of the plot and vocabulary of those plays. Student

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Stoehr, Taylor. "Angels and Devils: Live Theater and Dead." Antioch Review 60, no. 2 (2002): 185. http://dx.doi.org/10.2307/4614309.

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Pramayoza, Dede. "From sacred ritual to theatrical protest: interdisciplinary spectrum of theater studies in Indonesia." Perseitas 11 (December 13, 2023): 447–74. http://dx.doi.org/10.21501/23461780.4644.

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This paper approaches the spectrum of theater studies in Indonesia in an interdisciplinary manner, encompassing both descriptive and normative perspectives. From a descriptive standpoint, the spectrum is shaped by various ways of attributing meaning to theater as an entity. In a normative approach, various disciplines offer perspectives that contribute to creating a spectrum of meaning for theater in relation to the life of Indonesian society. Through a literature review, the research identifies at least three approaches to constructing theater studies in Indonesia: synchronic, diachronic and,

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Sandahl, Carrie. "From the Streets to the Stage: Disability and the Performing Arts." PMLA/Publications of the Modern Language Association of America 120, no. 2 (2005): 620–25. http://dx.doi.org/10.1632/s0030812900168014.

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Despite its newness, disability-theater studies is an incredibly rich area of inquiry that is exploding in artistic practice and scholarship. The university is a particularly suitable site for a meeting of disability and the theater; after all, we theater scholars think of our classrooms and productions as laboratories not only for showcasing knowledge but for producing, rehearsing, and revising it. As the theater scholar Jill Dolan points out, live performance, especially in the liberal arts setting, has the unique power to test, on bodies willing to try them, academic theories that are other

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Niculescu, Irina. "Theatre, my life journey." Móin-Móin - Revista de Estudos sobre Teatro de Formas Animadas 1, no. 31 (2025): 173–85. https://doi.org/10.5965/2595034701312025173.

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The article is an autobiographical account by a theater artist who sees herself as a “theatrical nomad.” She recounts her journey from childhood in Romania, influenced by puppet theater, to her studies in Prague, where she deepened her connection with animated forms of theater. Back in Romania, she performed during the communist regime, using metaphors to bypass censorship. Later, she traveled to the United States and other countries with her performances and, for love, eventually moved to the U.S. and then to Geneva. Throughout the text, she reflects on her artistic vocation, the social impac

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Speckenbach, Jan, and Thomas Irmer. "In Interview: On the Development of Video in the Theatre." New Theatre Quarterly 38, no. 3 (2022): 234–41. http://dx.doi.org/10.1017/s0266464x22000161.

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German film artist Jan Speckenbach ingeniously contributed to the development of live video on the stage, and this discussion focuses on his education, as well his as experimental collaborations with director Frank Castorf at the Volksbühne Berlin, starting in 2000. Speckenbach’s background in film and media studies facilitated his explorations of uncharted territory in the theatre, going from a set of fixed cameras on the stage to the use of a camera crew with live-editing for augmented images as part of the whole directing concept and process. His first-hand insights into how actors have int

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22

Waszkiel, Halina. "The Puppet Theatre in Poland." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 51, no. 51 (2018): 164–79. http://dx.doi.org/10.34064/khnum1-51.09.

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Background, problems and innovations of the study. The modern Puppet Theater in Poland is a phenomenon that is very difficult for definition and it opposes its own identification itself. Problems here start at the stage of fundamental definitions already. In English, the case is simpler: “doll” means a doll, a toy, and “puppet” is a theatrical puppet, as well as in French functions “poup&#233;e” and “marionette” respectively. In Polish, one word serves both semantic concepts, and it is the reason that most identify the theater of puppets with theater for children, that is a big mistake. Wa

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EDN, Mary Ann Trupe, Jon Scott, et al. "The Round Table: Introducing Students to Live Theater." English Journal 83, no. 1 (1994): 75. http://dx.doi.org/10.2307/820965.

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Wright, Craig. "Live Theater and the Limits of Human Freedom." Topoi 30, no. 2 (2011): 145–49. http://dx.doi.org/10.1007/s11245-011-9102-y.

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Purnomo, Heny. "Reinterpretasi Teater Tradisi Dalam Perspektif Patronase." Terob : Jurnal Pengkajian dan Penciptaan Seni 13, no. 1 (2022): 33–45. http://dx.doi.org/10.20111/terob.v13i1.8.

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Traditional art theatre that is owned and attached to a community can be used to understand the culture of a society. This is true because traditional arts and theater reflect the personality and way of life of the broader community. Traditional theatrical productions that are held live and move from one location to another (tobong) are becoming increasingly rare and are currently on the verge of extinction. Additionally, every performance is always in competition with other arts that have been transformed by other technological media television. Many forms of presentation produced using stage

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Brosa Rodríguez, Antoni. "Las compañías teatrales españolas en internet." Triangle, no. 10 (May 21, 2020): 1. http://dx.doi.org/10.17345/triangle10.1-98.

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In this work, the Internet presence of Spanish theater companies will be analyzed by studying a corpus of own data. The internet concept is very broad. The great advances in this eld have developed many new functions. Although the fundamental and essential purpose of the Internet is communication, the real technological change begins with computerization and the ability to process, manipulate and control vast amounts of data. This change does not lie only in the methodology in communicating, but involves a deep change that aects the life of society in general. Internet is a virtual space where

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Dritan, BORIÇI. "Close up theater - an innovation in stage art studies." Polis 21, no. 2022 (2022): 128–37. https://doi.org/10.5281/zenodo.7557218.

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<strong>Abstract</strong> In this article we will try to offer a new perspective on the theater, and we will try to include the theater in other spaces to create artistic values, including digital technology. Since its beginning, the theater space has been a place to see, to watch, to present, to perceive, to understand. So, in a basic sense, theater has been and is a first pathway. At the core of the theatrical experience – as Peter Brook suggests – is the act of watching and being watched. Throughout the history of Western culture, the theater has been a primitive dance circle, a

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Hussein, Dr Falah Kadhum. "The Evolution of Theatrical Arts: How Techniques Shape Contemporary Theater." International Journal of Social Science Exceptional Research 4, no. 3 (2025): 174–85. https://doi.org/10.54660/ijsser.2025.4.3.174-185.

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Introduction: The evolution of theatrical arts is continuous, reflecting the shift of styles, techniques, and technologies. Starting from the ancient practices, ending with modern-day innovations, and this research reveals how traditional methods have grown into contemporary forms of theater and vice versa, how modern developments are changing the field. Aim: This research will trace the evolution of such techniques, examine their modern effects on the theater scene, and give coverage to how contemporary innovations transform the theatrically creative. Methodology: The applied qualitative rese

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Bell, John. "The Bread and Puppet Theatre in Nicaragua, 1987." New Theatre Quarterly 5, no. 17 (1989): 8–22. http://dx.doi.org/10.1017/s0266464x0001530x.

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PETER SCHUMANN's Bread and Puppet Theatre began 25 years ago as a new way of making modern theatre, and as Schumann sees it, still is. As he recently stated, “there are two aspects to this newness: (1) the proposal for a much bigger, wider space for the arts to exist in than the space that the arts occupy now – a way for painting, music, sculpture, and language to exist together and in response to the questions of the time in which they live; and (2) the puppet theatre aspect: puppet theatre not as a special branch of theatre but as a challenge to theatre, as a concrete proposal for the overco

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Meinecke, Drew. "The Paradise Theater (1941‐1951): African American Movie Palaces and the 1943 Racial Uprising in Detroit." Film Matters 13, no. 1 (2022): 83–95. http://dx.doi.org/10.1386/fm_00206_1.

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This article reveals how the Paradise Theater culturally and socially impacted the lives of the surrounding Black population in Detroit between 1941 and 1951. Firstly, this article examines the programming of the Paradise Theater—especially its live performers/exhibitionists—and specifically highlights the significance of the Paradise Theater’s all-Black stage show policy. Secondly, this article demonstrates how factors such as the Detroit Uprising of 1943 caused the Paradise Theater to transition from a mixed-race house to a primarily Black space. Finally, this article discusses the many phil

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Alanis Gallegos, Eunice Susana. "Performatividades del “teatro en vivo” a través de redes sociales en tiempos de pandemia." Investigación Teatral. Revista de artes escénicas y performatividad 12, no. 20 (2021): 28–49. http://dx.doi.org/10.25009/it.v12i20.2686.

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A partir del cierre de los teatros como medida preventiva por la pandemia de COVID-19, la comunidad teatral utilizó la tecnología de plataformas y redes sociales para crear y comunicarse con su público. ¿Qué tan cercanas estaban estas prácticas al teatro? En este trabajo se analizó el discurso detrás de tuits con las palabras “teatro en vivo” emitidos en abril y mayo de 2020. Los resultados invitan a reflexionar sobre dos espacios intermedios entre el teatro y el registro audiovisual; en estos espacios ubicamos la performatividad del lenguaje y los actos performáticos que acontecían de manera

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KAZAKOVA, A. Yu. "«Live visit» frame: cinema and theater in youth leisure." SOCIAL SCIENCES AND HUMANITIES. DOMESTIC AND FOREIGN LITERATURE. SERIES 11: SOCIOLOGY, no. 1 (2022): 56–75. http://dx.doi.org/10.31249/rsoc/2022.01.05.

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Fuoco, Ester. "Dream by the Royal Shakespeare Company: a dystopian experience of live performance, between avatars and virtual reality." Altre Modernità, no. 28 (November 30, 2022): 351–62. http://dx.doi.org/10.54103/2035-7680/19184.

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If, by definition, the performing event could not do without the co-presence in space and time of spectators and actors (Brook 21), history has shown us how profound reflections on the possibility of shifting the fundamental axes of theater have nevertheless come about. The increasingly substantial presence of video within performances, even if filmed in real-time, is one example that has called into question the fundamental concept of hic et nunc. The creation of performances for a single spectator has altered the anthropological binomial community/ritual in addition to the "non-human" entity

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KATRAK, KETU H. "‘Stripping Women of Their Wombs’: Active Witnessing of Performances of Violence." Theatre Research International 39, no. 1 (2014): 31–46. http://dx.doi.org/10.1017/s0307883313000539.

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This essay creates a theoretical frame interweaving Jill Dolan's concept of ‘finding hope at the theatre’ with Michel Foucault's concepts of ‘biopower’ and ‘biopolitics’ to argue that spectators’ affective responses to performed violence in live theatre include hope and imagining social change. I draw upon my own active witnessing of theatrical performances of two works –Ruinedby Pulitzer Prize-winning African-American Lynn Nottage, andEncounterby the Indian-American Navarasa Dance Theater Company. Along with Dolan and Foucault, I draw upon affect scholarship by James Thompson and Patricia T.

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Jia, Tingya. "Cross-cultural dialogue and identity formation in performing arts: engaging diverse audiences in small theatres and live venues." Advances in Humanities Research 12, no. 2 (2025): None. https://doi.org/10.54254/2753-7080/2025.23847.

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In the social environment dominated by multicultural integration and digital media, small and medium-sized theaters have gradually become an important field for intercultural dialogue and identity construction. This study selected five small theaters in Sydney, Toronto, and Berlin as samples and explored the influence mechanism of performance content and space design on cultural knowledge through performance records, field observations, and in-depth interviews with 150 audience members. The study found that plays that integrate local cultural narratives with universal themes such as family sep

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Djaha, Siti Susanti Mallida. "THE EMERGENCE OF NEW MEDIUM." Notion: Journal of Linguistics, Literature and Culture 1, no. 1 (2019): 21. http://dx.doi.org/10.12928/notion.v1i1.712.

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This study aims at finding the development of new medium of drama in English literary history. From the very first emergence of drama, the plays that have been written were performed in the theater and in many kinds of theater were appears to represent some ideas from the society. As time passing by, these kind of theater had a kind of transformation to be the new medium that we called motion picture. This motion picture began with the silent movie, then it became the talking picture, and it was improved to be the cinema. In its development until today, which we had been known as the movie. Th

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Damrhung, Pornrat. "Cultivating the Garden of Theater Culture: A New Perspective on Traditional Theater in Thailand." MANUSYA 2, no. 2 (1999): 29–60. http://dx.doi.org/10.1163/26659077-00202003.

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After questioning the conventional distinction between traditional and modem theater in Asia, this essay suggests that it may be more fruitful to view today’s live theater traditions as part of a garden of theater culture that includes both native and imported elements and both deep-rooted and recently transplanted traditions. The remainder of the essay amplifies this perspective using examples from Thailand’s theater traditions during the last century and a half. This prepares the way to consider the strengths and weaknesses of traditional theater staged in Thailand during the last decade or

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Zuhri, Syaifudin, and Kholik Kholik. "Pembelajaran Pementasan Teater dengan Metode Role Playing Berbasis Project Learning Bagi Mahasiswa Tbi IAI Al-Qolam." Jurnal Pembelajaran Sastra 3, no. 2 (2023): 83–94. http://dx.doi.org/10.51543/hiskimalang.v3i02.52.

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One of the competencies that must be possessed by students of the Indonesian Language Education Study Program, especially at IAI Al-Qolam, is that students are able to perform theater performances. The curriculum of the Indonesian Language and Literature Education study program also requires students to take Theater Performance courses in the fifth semester. The competency will be mastered by students if they are able to performe based on project learning using the role playing method. Project learning will provide a real stage experience, they will be able to apply various theories related to

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Cho, Seong-Woong. "Stendhal and Literary Ambition." Hankuk University of Foreign Studies Literature Studies 89 (February 28, 2023): 27–53. http://dx.doi.org/10.22344/fls.2023.89.27.

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Stendhal, who is well known as art critic and romantic and realist novelist, was fascinated by the theater and often engaged in writing theatrical works without succeeding. His early vocation was to live in Paris by making comedies like Molière. He strengthened himself in critical reading and philosophical studying of the English, Italian and Spanish theatre. He took important theatrical works and developed them into his own immortal theatrical works. Selmours, Les deux Hommes and Letellier were advanced but were not finished. He failed to be a comic playwright because of his too much literary

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Kuharski, Allen J. "Incubating Incubators." Theater 54, no. 2 (2024): 17–29. http://dx.doi.org/10.1215/01610775-11127586.

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Allen Kuharski provides a critical summary and expanded framing of the first neh Institute on transmitting and archiving devised physical ensemble theater in American higher education. Kuharski delineates the goals, structure, and planning of the twelve-day gathering of fifty academics, teaching artists, editors, and archivists hosted by him and Quinn Bauriedel of Philadelphia’s Pig Iron Theater Company. The institute’s goal was to provide a platform for longer-term discussions of the historical, theoretical, and critical teaching of devised physical ensemble theater given the proliferation of

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Diallo, Abdoulaye, Jean Braitewaite, George Mamboleo, Ashwini Tiwari, and Manisha Sharma. "Improving Latino/a American students’ attitudes toward persons with disabilities and use of live theater." Australian Journal of Rehabilitation Counselling 25, no. 1 (2019): 25–35. http://dx.doi.org/10.1017/jrc.2019.2.

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AbstractThis study investigated the efficacy of a live theater performance intervention for enhancing the attitudes of pre-service rehabilitation students toward people with disabilities. A convenience sample of 54 undergraduate students of Latino/a descent (females = 33 and males = 21), age range 18 - 24 completed a pre-post design attitude change intervention. Data were collected on the students’ attitudes toward persons with disabilities, using the scale of attitudes towards disabled persons, and gladness, using a liker scale. Multivariate analysis of covariance was used to analyze the data

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Ushkarev, A. A. "Digital Theater. Conceptualization the phenomenon." Art & Culture Studies, no. 2 (June 2023): 58–91. http://dx.doi.org/10.51678/2226-0072-2023-2-58-91.

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An overview of the main trends in understanding the digital forms of theatre existence is made on the basis of scientific publications of recent years in Europe and the United States. It demonstrates the breadth of the subject field and author’s approaches, and the diversity of theoretical concepts and methods of studying digital hypostases of theatrical life. There are no immutable truths or taboos in the social sciences today, and interpretations of empirical facts are often polemical, depending on the author’s beliefs and attitude to social justice and inequality — social, racial, gender —

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Certo and Brinda. "Bringing Literature to Life for Urban Adolescents: Artistic, Dramatic Instruction and Live Theater." Journal of Aesthetic Education 45, no. 3 (2011): 22. http://dx.doi.org/10.5406/jaesteduc.45.3.0022.

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Patsunov, Valeriy, Nina Gusakova, and Tetiana Hubrii. "Improvisation Role in Theatrical Creativity." Bulletin of Kyiv National University of Culture and Arts. Series in Stage Art 2, no. 2 (2019): 194–204. https://doi.org/10.31866/2616-759x.2.2.2019.186658.

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The purpose of the article is to reveal the methodological potential of the improvisation art in theatrical creativity, as well as to identify its varieties at the present stage of the art development. The methodology of the research is to apply analytical-conceptual, comparative (relative) and art-study approaches to the analysis of improvisational methods of theatrical creativity in modern theater, their forms and varieties. Scientific novelty of the research consists in generalization of improvisational methods of work both in modern professional theatrical art and

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Riley, Ruth, Johanna Spiers, and Viv Gordon. "PreScribed (A Life Written for Me): A Theatrical Qualitative Research-Based Performance Script Informed by General Practitioners’ Experiences of Emotional Distress." International Journal of Qualitative Methods 20 (January 1, 2021): 160940692199918. http://dx.doi.org/10.1177/1609406921999188.

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This paper includes the script from a research-informed, theater-based production titled PreScribed (A Life Written for Me), which depicts the life of a distressed General Practitioner (GP) who is on the verge of breaking down and burning out. The authors provide context for the collaboration between artist and researchers and report on the creative methodological process involved in the co-production of the script, where research findings were imaginatively transformed into live theater. The researchers provide their reflections on the process and value of artistic collaboration and use of th

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Ermolova, Karina Andreevna. "Metaphorical use of the lexeme "theater" in the publicistic style of the modern Russian language." Litera, no. 4 (April 2025): 372–84. https://doi.org/10.25136/2409-8698.2025.4.73948.

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The aim of the paper is to investigate the main mechanisms of metaphorization of the lexeme "theater", which are expressed in the meaning of linguistic units and in the speech utterance. The article explores the features of metaphorical use of the lexeme "theater" in the journalistic style, this issue is considered through the prism of figurative means characteristic of the Russian language. The topic of this study is relevant, because modern philologists pay special attention to the issue of metaphorical interpretation of the Russian language lexicon and study the features of linguistic repre

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Martin, Eric, and Claudio Battaglini. "Health Status of Live Theater Actors: A Systematic Literature Review." Medical Problems of Performing Artists 34, no. 2 (2019): 108–17. http://dx.doi.org/10.21091/mppa.2019.2010.

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OBJECTIVE: Actors constitute an at-risk population based on the physical burden demanded from their profession, different health behaviors, and poor economic and health insurance status. The purpose of this systematic literature review was to search for evidence of the health and fitness of theater actors. METHODS: Pubmed, EBSCO (CINAHL and SPORTdiscus), the database of the Performing Arts Medicine Association, the Journal of Physical Education, Recreation, and Dance, and Medical Problems of Performing Artists were searched. Included studies had data extracted and were scored for methodologica

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Salmimaa, Marja, Jyrki Kimmel, Tero Jokela, et al. "Live delivery of neurosurgical operating theater experience in virtual reality." Journal of the Society for Information Display 26, no. 2 (2018): 98–104. http://dx.doi.org/10.1002/jsid.636.

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Ostolska, Magdalena. "Pedagogy of live speech." Studia z Teorii Wychowania XV, no. 2 (47) (2024): 249–63. http://dx.doi.org/10.5604/01.3001.0054.6580.

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The theme of the presented work is the pedagogical impact of theatrical activities on their participants, focusing on their ability to use live speech and satisfy the psychological needs of individuals in the 21st century. The author argues that a broader utilization of theater in education, especially at higher levels, could bring multifaceted benefits. The work emphasizes the role of conscious direct communication and the shared physical presence of the message sender and receiver. This natural interpersonal situation is increasingly being replaced by mediated contacts. While they expand the

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Voronova, Tatiana. "Opera by Lev Kolodub "The Poet" as a Vector of the Director's Actualization of the Kobzar’s Image in Modern Ukrainian Realities." Ukrainian musicology 47 (October 21, 2021): 28–38. http://dx.doi.org/10.31318/0130-5298.2021.47.256716.

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Creative and ideological prerequisites of the director's appeals to L. Kolodub's opera "The Poet" are considered. The reasons for the need for a new scientific and creative understanding of opera in the sociocultural realities of a modern Ukraine are clarified. The scientific novelty of the research is determined, which consists of the original conceptual vision of updating the performance in accordance with the requirements of the present on the basis of synthesis of achievements of scientific thought and creative heritage of iconic figures of Ukraine and abroad. The purpose of the research i

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