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Olugbenle, Adedotun Olumuyiwa. "Adaptive Reuse: Old Building- New Props and Costume- Architectrual Rebirth." Thesis, Virginia Tech, 2017. http://hdl.handle.net/10919/74929.
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Across cities in America and the world old buildings are retired to the fate of demolition. The once glorious piece of architecture are seen as unwanted, eyesores and just not fit for today's needs. This thesis seeks to show that with an adaptive-reuse approach, one can restore the 'lost glory' of such old buildings and even add new undiscovered value to its performance and architectural richness.Master of Architecture
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Chen, Si. "Entrepreneurial Programming Through Partnership: A Case Study of a Multimedia Performance and Interdisciplinary Arts Making by Shadowbox Live and the Columbus Museum of Art." The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1460719553.
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Hughes, Catherine Helen. "Performance for Learning: How emotions play a part." Columbus, Ohio : Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1211932278.
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Sieblist, Kerstin, and Barbara Wiermann. "Zum Ersten, zum Zweiten, zum Dritten." Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2010. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-61234.
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Bei der Auktion „Music and continental books and manuscripts“ in London bei Sotheby’s wurden von der Leipziger Hochschule für Musik und Theater und dem Stadtgeschichtlichen Museum Leipzig zwei seltene Mendelssohn-Autographe erworben. Die Bibliothek der Hochschule für Musik und Theater Leipzig verfügt über eine Sondersammlung zur Geschichte des Hauses, die verschiedene Dokumente zu Mendelssohns Wirken umfasst. Daher passten die angebotenen Objekte in der Auktion in London in den Sammlungskontext der Leipziger Institution.
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Tzibazi, Vasiliki. "Researching primary school children's "museum theatre" experiences." Thesis, University of Leicester, 2006. http://hdl.handle.net/2381/10712.
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As the number of museums that employ theatre as part of their educational provision is increasing there is a need for the articulation of the theoretical framework and an in-depth insight into the children's "museum theatre" experiences. The aim of this empirical research is to examine how primary school children "make meaning" of the form and content of the experience in two forms of "museum theatre": a) a participatory theatrical experience in the heritage site of Clarke Hall and b) first person interpretation events in the Museum of London. Based on the principles of the constructivist qualitative paradigm, the research attempts to offer an insight into how the children understand the content and format of the "museum theatre" experience. The research focuses on the interrelationship between the children's prior-to-the-event agenda and their "museum theatre" experiences and examines the children's experiences as products of relationships between the involved parties: the museum's agenda and the schools' agenda. The constructivist paradigm and the interpretive sociological approach illustrate the epistemological position that underpins the formulation of the research questions and the methodological framework employed. The data generation methods derive from ethnographical research methods and mainly involve interviews, observations and children's drawings. The research attempts to elucidate the parameters that shape the children's "museum theatre" experiences. These include the museum's setting and objects, the children's willingness to suspend disbelief, the interactive/participatory aspects of the experience and the opportunities given to children for reflection and generation of new understandings. The research findings underline the subjectivity of the theatrical experience, as shaped through the various objectives and expectations of the involved parties. They suggest that interplay between the event's format/content and the experience's fictional/real context is evident in the children's interpretation of their "museum theatre" experience.
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Cerigioli, Marcelo Maciel. "Rafael Alberti: leituras do Museu do Prado." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/8/8145/tde-22082012-115640/.
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A presente dissertação analisa os livros sobre o Museu do Prado, A la pintura (1948) e Noche de guerra en el Museo del Prado (1956), ambos do escritor espanhol Rafael Alberti, escritos na Argentina, durante seu longo exílio. A investigação parte da contextualização de Alberti, que nos leva a uma aproximação ao tema, o Museu do Prado, tratado de maneira diferente nas duas obras. Na sequência, é analisado o livro A la pintura e, em seguida, a peça de teatro Noche de guerra en el Museo del Prado.This study analyzes the books about the Prado Museum, A la Pintura (1948) and Noche de guerra en el Museo del Prado (1956), both of spanish writer Rafael Alberti, written in Argentina, during his long exile. The investigation parts from the context of Alberti, that leads to an approach to the subject, the Prado Museum, treated differently in the two books. In the sequence is analyzed the book A la pintura and then the piece of theater Noche de guerra en el Museo del Prado.
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Proença, Ana Paula Coelho de Pina. "A expressão dramática/teatro no 1º ciclo do ensino básico: investigando a mediação cultural coeducativa nas relações museu-escola-comunidade." Doctoral thesis, Universidade de Évora, 2013. http://hdl.handle.net/10174/30160.
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A presente investigação propõe-se explorar o papel da mediação cultural coeducativa especialmente concebida através de dinâmicas de Expressão Dramática/Teatro na relação museu-escola-comunidade. O Estudo assume um paradigma qualitativo interpretativo com uma metodología de investigação-ação. Participaram na investigação o Agrupamento de Escolas Mosteiro e Cávado com uma turma de alunos do 1º ano do 1º CEB e sua professora titular, o Mosteiro de S. Martinho de Tibães, e a investigadora com um papel ativo como mediadora em Expressão Dramática/Teatro. Foram utilizados na recolha de dados os seguintes instrumentos: Entrevistas, Questionários, Diário de Campo reflexivo, Observação participante e Respostas Ilustradas de alunos. Numa primeira fase, procedeu-se ao Diagnóstico através da análise e discussão dos impactos do projeto Museu-Escola-Comunidade (MEC), previamente implementado no território do Estudo, em que a investigadora foi participante, ilustrando as bases de coeducação cultural. Na segunda fase, um novo projeto coeducativo “Há Teatro” permitiu o desenvolvimento do trabalho articulado em parceria entre a investigadora-mediadora, alunos, os profissionais da cultura e da educação. Aplicou-se o Programa SPSS para tratamento dos questionários e os dados qualitativos foram processados através de análise temática de conteúdo de onde emergiram as categorias. Os resultados do Estudo mostram as potencialidades da mediação cultural coeducativa pela Expressão Dramática/Teatro, neste quadro colaborativo e relevam a importância das trajetórias de participação da investigadora como mediadora. As respostas ilustradas dos alunos e os questionários realizados aos pais revelam um desenvolvimento significativo de competências de socialização, criativas e dramáticas, dos alunos, o aumento de conhecimentos da Língua Portuguesa, bem como um melhor conhecimento histórico, e a apropriação de uma consciência ambiental sobre o Património. As entrevistas aos profissionais da educação e da cultura permitem constatar a evolução das relações museu-escola-comunidade; ABSTRACT: “Theatre Education in the First Cycle of Elementary Schooling: researchig the coeducative cultural mediation within the museum-school-community relationship” The present research aims to explore the role of coeducational cultural mediation in the museum-school-community relationship. Dramatic expression and theatre were used to develop the field work . The methodology is based in action-research within a qualitative interpretive paradigm . The research had as partners the Monastery and Cávado Schools Association through a group of 1st elementary school children and their teacher, Museum educators of the Monastery of S. Martinho de Tibães. The researcher had an active role as a Dramatic Expression / Theater specialist performing the mediation role with all partners working directly with children . The data collection instruments used were Interviews, Questionnaires, Reflective Field Diary, Participant Observation and Illustrated Student Responses. In a first phase, the Diagnosis was done through the analysis and discussion of the impacts of the Museum-School-Community (MEC) project, previously implemented in the territory of the Study, in which the researcher participated. This phase allowed to illustrate the foundations of cultural coeducation. During the second phase, a new co-educational project "Há Teatro" (There is Theatre) conducting to a final public presentation by all classe was developed during academic year 2007/2008. This work allowed the articulation with all partners : the researcher in her role of drama teacher and mediator, all class children , the primary school teacher and cultural and education professionals of the Museum. The SPSS Program was applied for the treatment of the questionnaires and the qualitative data were processed through content analysis from which the categories emerged. The results of the Study show the potential of coeducational cultural mediation through Dramatic Expression / Theater, within this collaborative framework and highlight the importance of the trajectories of the researcher as a mediator. The students' illustrated responses and the questionnaires to parents reveal a significant development of children creative and dramatic socialization skills , an increase of the Portuguese language knowledge, as well as a better historical knowledge, and an environmental awareness of Patrimony. Interviews with education and culture professionals show the evolution of museum-school-community relations.
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Paes, Gustavo Nascimento. "Visitas Teatralizadas em museus: novos meandros para a comunicação museológica." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/103/103131/tde-18102016-155524/.
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Este trabalho apresenta uma discussão sobre comunicação museológica e de que maneira as instituições trabalham a relação entre museu, público e exposição. Considera-se que a comunicação só se estabelece efetivamente quando sua forma e seu conteúdo mediam, simultaneamente, emoção e informação. Assim, a inserção de \"visitas teatralizadas\" em instituições museológicas pode oferecer o conhecimento não só pela informação em si, mas um conhecimento que, segundo Scheiner (2003), parte da informação transformada pela emoção, podendo então ser vivenciada. Do mesmo modo, o museu precisa dominar outras formas de linguagem, outros sistemas de comunicação que não sejam os habituais. A dissertação estuda e promove a compreensão sobre novas formas de estabelecer um diálogo, neste caso, via \"visitas teatralizadas\".This paper presents a discussion on museological communication and how the institutions work the relationship among museum, public and exhibition. It is consider that communication is only established effectively when its form and its content mediates simultaneously emotion and information. Thus, the inclusion of \"guided visits with theater\" in museological institutions can provide knowledge not only for the information itself, but knowledge which, according to Scheiner (2003), part of the information transformed by the emotion and can then be experienced. Similarly, the museum must dominate other forms of language, other communication systems that are not usual. The dissertation studies and promotes the understanding of new ways to establish a dialogue, in this case via \"guided visits with theater\".
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Contier, Raquel Furtado Schenkman. "Do vitral ao pano de vidro. O processo de modernização da arquitetura em São Paulo através da vidraçaria (1903-1969)." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/16/16133/tde-19122014-174236/.
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A dissertação focaliza as transformações do processo de trabalho da arquitetura, ao longo do século XX, detendo-se na análise da produção de duas obras que constituem referências culturais da cidade de São Paulo, analisadas a partir da maneira pela qual, nelas, o vidro ganhou forma: o Teatro Municipal de São Paulo (1903-1911) e o edifício do Museu de Arte de São Paulo (1957-1968). O Teatro Municipal, construído como teatro de ópera no início do século XX pelo escritório de Ramos de Azevedo, no centro da cidade, possui um conjunto de vitrais no corpo de entrada, parte deles importada da Alemanha, parte fabricada em São Paulo, aplicados em esquadrias fabricadas no Liceu de Artes e Ofícios de São Paulo. O Museu de Arte, MASP, cartão postal da cidade, de autoria da arquiteta Lina Bo Bardi, tem seu bloco principal fechado por grandes placas de vidro de seis metros de altura, as primeiras dessa medida fabricada no país, encaixilhadas em montantes metálicos fabricados também nas oficinas do Liceu de Artes e Ofícios de São Paulo. Através da análise de relatórios de obra, correspondências, fotografias e imprensa, em cada período, a pesquisa articula as transformações da produção da arquitetura e dos agentes envolvidos na concepção e construção do objeto arquitetônico, à luz dos processos de modernização da construção civil e do projeto de arquitetura em São Paulo.This dissertation focuses on the changes in the labor processes in architecture throughout the twentieth century, circumscribing the analysis to the way glass was shaped on two referential buildings to the cultural history of São Paulo: the Teatro Municipal de São Paulo (1903-1911), and the building of the Museu de Arte de São Paulo (1957-1968). The Teatro Municipal, built downtown as an opera theater in the beginning of the twentieth century by Ramos de Azevedo`s office, assembles VITRAIS on the entrance, built as much in Germany as in São Paulo, applied on frames produced in the Liceu de Artes e Ofícios de São Paulo. The main volume of Museu de Arte, MASP, the city\'s postal card, designed by the architect Lina Bo Bardi, is shut by big glass plates, measuring six meters high, the first of its size manufactured in Brazil, framed in metal structures also produced in the Liceu de Artes e Ofícios de São Paulo. Through the analysis of the construction\'s rep orts, and of mail, photographies and the press, in each period, our research articulates the changes of the architectural production and the agents involved in the conception and production of the architectural object, in light of the processes of modernization in construction and the architectural design in São Paulo.
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Ford, Christopher Martin. "The theatre-in-museum movement in the British Isles." Thesis, University of Leeds, 1998. http://etheses.whiterose.ac.uk/243/.
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Throughout the 1980's and early 1990's, it became increasingly apparent to interested observers that there was a growing trend towards using theatre in museum settings. The work was varied, ranging from single costumed characters working on galleries to help interpret for visitors items in the collection, to literally hundreds of re-enactors creating entire battle scenarios watched by thousands of visitors. This study considers the ideas and methods behind the various styles of theatre which have emerged in British museums and questions what it is that both theatre and museum professions think they will achieve by enlivening the traditionally silent enclaves of our museums in such a way. The study proposes that we are, in fact, witnessing the emergence of a new form of educational theatre which is context-specific and which embraces the needs of museums and their visitors rather than being concerned solely with theatre as an art form. 'Theatre-in-museum', as it has become known, is a synthesis of theatre as a learning medium and the educational and cultural mission of museums. This kind of theatre echoes, to some extent, aspects of other educational theatre movements including those associated with Brecht, Littlewood, Cheeseman, Heathcote, and Boal. Like many movements,'theatre-in-museum' as emerged out of a period of rapid change and instability, this time in the shifting world of museums which are themselves re-defining their role at the end of the twentieth century. Chapter One presents a thesis about' theatre-in-museum and will include: an analysis of contemporary museology; an analysis of the characteristics of 'theatre-in-museum' as a theatreform; and, the results of a national research project aimed at establishing the extent to which theatre is used in contemporary museums. Chapters Two to Six will feature five case studies explaining contemporary practice in this field. The critical attributes of five styles of theatre-in-museum will be explored along with the principal aims and methodologies associated with each one. A concluding chapter will consider the current state of 'theatre-in-museum' and will propose further action if the work is to flourish in future years.
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Krajewska, Olga. "Theatre of Modern Era : Stage of Equilibrium." University of Cincinnati / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1460653441.
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Brickler, Abigail. "Social Engagements: Facebook, Twitter, and Arts Marketing." University of Akron / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=akron1555949375427389.
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Bandy, Katherine A. "The National World War II Museum - Entertainment Department." ScholarWorks@UNO, 2015. http://scholarworks.uno.edu/aa_rpts/187.
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This report contains the details of internship completed at the National WWII Museum in New Orleans, Louisiana. It will discuss the structure and practices of the Museum’s Entertainment Department through a 480 hour internship. Alongside Victoria Reed, the Director of Entertainment, I assumed the role of Entertainment Production Assistant in June of 2015. I completed this internship with the purpose of earning an Arts Administration degree at the University of New Orleans. The Entertainment Department at the National WWII Museum is but a fraction of what makes this organization a successful attraction in the city of New Orleans and the country. The Museum is a rapidly growing institution and there is much potential to expand past traditional museum exhibits with its Entertainment Department. This report will concentrate on the internship roles and responsibilities, strengths, weaknesses, opportunities, and threats of this specific department. It will also address best practices and recommendations specific to the Entertainment Department.
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Abdulla, Aqeel. "Representations of Muslim women in contemporary British theatre." Thesis, University of Exeter, 2016. http://hdl.handle.net/10871/24354.
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This PhD thesis sets out to study how Muslim women have been depicted in contemporary British plays. I am studying these depictions in eight plays: 1. Deadeye by Amber Lone, first performed in October 2006 at The Door, Birmingham Repertory Theatre. 2. Sweet Cider by Emteaz Hussain, London 2008. 3. Shades by Alia Bano, London 2009. 4. What Fatima Did by Atiha Sen Gupta, London 2009. 5. Sisters by Stephanie Street, Sheffield 2010. 6. Burq Off! by Nadia Manzoor, London 2014. 7. My Name Is ... by Sudha Bhuchar, London 2014 8. East Is East by Ayub Khan-Din, London 2014. I am arguing in my introduction that there is an emerging theory within feminism that I am calling Islamic feminisms, and I am using it as a framework for my analysis of the plays in the thesis. Islamic feminisms draw on, and are influenced by questions of cultural hybridity, second wave Western feminism, and religious ideology. Three key issues emerge from study of the plays: the question of the hijab, the position of women within the Muslim family, and the integration/non-integration of Muslim women in British society. Each chapter develops an extended study of one of these key issues, including a literature review of the social, political, religious, or cultural backgrounds of the issue, and then goes on to analyse a selected number of plays where these issues are either the main or one of the main topics. The analyses look at the play as a cultural event, examining the circumstances surrounding the writing and producing of each play and assessing the possible contribution that the play has made to contemporary debates about these issues. I analyse not just thematic content, but also the ways in which performativity has conveyed messages and initiated or invited dialogues about the issues. My analysis develops an evaluation of the significance of these plays to the cultural debate in the UK around these key issues, and reflects on the contribution of these plays and the development of Muslim feminist plays in the future.
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Moreira, Leonardo Maciel. "O teatro em museus e centros de ciências: uma leitura na perspectiva da alfabetização científica." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/48/48134/tde-04112013-114701/.
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Essa pesquisa tem como objetivo analisar articulações estabelecidas entre o Teatro nos Museus e Centros de Ciência e a alfabetização científica, no intuito de desvelar como peças teatrais do projeto Núcleo de Artes Cênicas da Estação Ciência (NAC), da Universidade de São Paulo, podem favorecer a alfabetização científica. Para isso focalizou-se em problematizar o Teatro enquanto ação de museus e centros de ciências, bem como suas possíveis interações com a exposição. A pesquisa foi realizada na perspectiva da análise qualitativa e foi realizada em duas etapas, um estudo exploratório e um estudo de caso. Os dados foram coletados por meio de questionário, entrevistas e análise de documentos (projeto submetido ao CNPq, texto da peça, filmagem da encenação e relatório técnico). Os resultados encontrados demonstraram que a proposta de alfabetização científica implícita no NAC contempla as dimensões natureza da ciência e da tecnologia e a relação entre ciência, tecnologia, sociedade e meio ambiente. A dimensão conceitos e conhecimentos básicos da ciência e da tecnologia é contemplada em menor intensidade, salvo nos momentos em que o NAC se mobilizou para construir as denominadas aulas espetáculo. Especificamente com respeito ao espetáculo analisado os diversos sistemas cênicos são mobilizados na abordagem das diferentes dimensões da alfabetização científica, contribuindo para a construção de ideias a respeito da ciência e da tecnologia. Com respeito à relação do teatro com outras atividades museais, em especial a exposição, foi verificada uma relação de complementaridade, na qual o teatro assume a característica de, além de abordar a alfabetização científica nas diferentes categorias teóricas definidas nessa pesquisa, auxiliar as outras atividades nos ajustes que fossem necessários. Foi perceptível que a divisão das atribuições entre a encenação e a exposição não é rígida, o fato de uma informação ou aspecto da temática aparecer em uma estratégia não impediu que o mesmo aparecesse na outra.This research aims to analyze relationships between Theater in Science Museums and the scientific literacy, to explicate how the theatre performed on Núcleo de Artes Cênicas (NAC), of the São Paulo University, can promote the scientific literacy. For this focused in problematizing the Theater while action of museums and science centers, as well as their possible interactions with the exhibition. This research was performed in looming of qualitative analysis and was performed in two steps, an exploratory study and a case study. The data were collected by questionnaires, interviews and analysis of documents (project submitted to the CNPq, the dramas text, videotaping of drama and technical report). The results demonstrated that the proposal for scientific literacy implicit in NAC contemplates the dimensions nature of science and technology and the relationship between science, technology, society and environment. The dimension concepts and basic knowledge of science and technology is contemplated in lesser intensity, except in moments in which the NAC mobilized to build the denominated classes spectacle. Specifically with respect to drama analyzed the different scenic systems are deployed in the approach of the different dimensions of scientific literacy, contributing to the construction of ideas about science and technology. With respect to the relationship of theater with other activities important museums, in particular the exhibition, it was verified a relationship of complementarity, in which the theater assumes the characteristic, in addition to addressing the scientific literacy in different theoretical categories defined in this study, the other auxiliary activities in adjustments that were necessary. It was noticeable that the division of tasks between the drama and the exhibition is not rigid, the fact of an information or aspect of the theme appears in a strategy did not prevent the same appeared in another.
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Pruitt, John. "British drama museums : history, heritage, and nation in collections of dramatic literature, 1647-1814 /." View abstract, 2005. http://wwwlib.umi.com/dissertations/fullcit/3203336.
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Roth, Harriet. "Der Anfang der Museumslehre in Deutschland : das Traktat "Inscriptiones vel Tituli Theatri Amplissimi" von Samuel Quiccheberg : Lateinisch-Deutsch /." Berlin : Akademie Verlag, 2000. http://catalogue.bnf.fr/ark:/12148/cb39970743t.
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Alhajri, Khalifah Rashed. "A scenographer's perspective on Arabic theatre and Arab-Muslim identity." Thesis, University of Leeds, 2007. http://etheses.whiterose.ac.uk/793/.
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This study explores the issue of Arab-Muslim identity from the viewpoint of a Kuwaiti visual artist and scenographer who is also an academic and teacher. It focuses on the history and current condition of the Arabic theatre and on the nature and qualities of Islamic art and architecture. The thesis consists of an introduction, six central chapters and a conclusion. Chapter one is a general introduction presenting the context, genesis and approach of the study and a number of questions pertinent to the researcher. It reviews the main sources used and outlines the organisation of the chapters. Chapter two investigates the relationship between ritual and drama, with particular attention to the Athenian Dionysia, the Cambridge Ritualists and their influence, the ta'ziyah, and ritual theatre and the avant garde in the twentieth century. Chapter three is concerned with the definition and typology of Islamic art and architecture, and with contesting views of the nature of this art. It goes on to discuss forms of Islamic ornament and the development of mosque architecture. Chapter four examines the various arguments around the contentious issue of the apparent lack of an indigenous Arabic theatre tradition. It then traces the history of Arabic theatre from its medieval origins to the advent of European-influenced forms in the nineteenth century. Chapter five first discusses the origin, development and significance of the ta'ziyah. It then examines recent attempts to present this unique phenomenon outside its cultural context, and considers the arguments concerning the validity of such experiments. Chapter six is concerned with the development of modern Arabic drama from 1847 to the present day. Focusing particularly on three twentieth-century playwrights whose work was chosen for the practice part of this thesis, and ends with an examination of the current state of the Arabic theatre. Chapter seven concentrates on scenography and its place in today's Arabic theatre. It comprises a number of parts and includes autobiographical material such as an account of the experience of a ta'ziyah performance in Syria, as well as, selected comments by individuals connected with the Kuwaiti theatre and extracts from a radio discussion. It concludes with a presentation of the practice work carried out as part of the study. Chapter eight draws together the themes, discussions and arguments of the cultural chapters, considers these in the light of the current condition of the Arabic theatre, and suggests possible ways in which that theatre might be revived.
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Kipker, Sarah. "Teater i det museala rummet : En jämförande analys av arbetet med dramapedagogiska metoder i England och Sverige." Thesis, Uppsala universitet, Institutionen för ABM, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-388778.
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Theatres and museums share many similarities with each other. Therefore, it can be beneficial for museums to use the potential that performance and museum theatre can provide. The aim of this analysis is to gain a better understanding for museums’ reasons to use drama as an educational method and the different forms of drama that are being used. The following research is a comparative analysis of the use of the theatrical play “The Wider Earth” at London’s Natural History Museum as an educational tool and the active use of creative drama in Swedish museums. The main source material consists of qualitative textual data, collected by means of semi-structured interviews with staff members of all participating museums. For an additional perspective, an interview was conducted with one of the theatrical play’s visitors and my own observations of the play were considered. The theoretical frame for this analysis consists of performance theory, Susan Bennett’s model of theatre audience’s experience and Dorothy Heathcote’s and Gavin Bolton’s view on drama as a learning medium. The empirical source material was analysed by means of content analysis. The results show that more could have been done to incorporate “The Wider Earth” into the museum’s educational program to achieve a better visitor experience. The Swedish museums that are part of this research use different forms of creative drama, but the overarching goal is to combine memorable experiences with education. The main conclusion to this research is that the museum visitor plays a considerable part in every form of creative drama in the museum space because the holistic experience is created by visitor and museum together. This is a two years master’s thesis in Museum and Cultural Heritage Studies.
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Mahali, Alude. "A Museum of Bottled Sentiments: the ‘beautiful pain syndrome’ in twenty-first century Black South African theatre making." Doctoral thesis, University of Cape Town, 2014. http://hdl.handle.net/11427/13350.
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Includes bibliographical references.This study is about contemporary black theatre makers and theatre making in the 'now moment'; this moment of recovery and gradual transition after the fall of apartheid in South Africa. The 'now moment', for these theatre makers, is characterized by a deliberate journey inward, in a struggle towards self-determination. The 'now moment' is the impulse prompting the 'beautiful pain syndrome', and through performances of uncomfortable attachments and rites of passage, generates and dwells in the syndrome. Uncomfortable attachments are unsettlement and anxiety wrought by the difficulty of the 'now moment'. These manifest in the work of Black South African-based contemporary theatre makers, Mandla Mbothwe, Awelani Moyo, Mamela Nyamza and Asanda Phewa, within the duality of the 'beautiful pain syndrome'. The 'beautiful pain syndrome' is a cultural dis-ease revealed by the individual theatre makers through the aesthetic interpretation, or beautiful consideration of inherently painful material – a condition or predicament that best contains and yet attempts to unpack this shifting impulse of the 'now' moment. The works around which this study revolves, namely Mbothwe's Ingcwaba lendoda lise cankwe ndlela (the grave of the man is next to the road) (2009), Moyo's Huroyi Hwang – De/Re Composition (2007), Nyamza's Hatched (2009) and Phewa's A Face Like Mine (2008) are rites of passage works, representing a passage or transition from one phase of life to another, which occurs on multiple levels. Through guiding thinking tools, which include intuition, my own positioning, observation and comparative and cultural performance analysis, the four selected works are described, probed and, interrogated; with their purposes and poetics investigated and articulated in different ways. The study does not complete the assignment of unpacking the four works but continues to wonder and worry at them, while investigating a particular aesthetic of dis-ease through the artistic assemblage of symbolic categories. These rites of passage works reflect or echo the transitions in the country's shifting identity, along with the identities of the individuals who inhabit it.
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Beek, Gregor van der [Verfasser]. "Kulturfinanzen. : Ein volkswirtschaftlicher Beitrag zur Reform der öffentlichen Museen und Theater in Deutschland. / Gregor van der Beek." Berlin : Duncker & Humblot, 2015. http://d-nb.info/1238317855/34.
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Taalas, Mervi A. "Four essays on efficiency and productivity of cultural institutions : empirical analyses of orchestras, theatres and museums." Thesis, University of Warwick, 1999. http://wrap.warwick.ac.uk/4363/.
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This thesis builds on the research tradition of Cultural Economics, particularly of its empirical strand. The thesis includes four articles that each analyse empirically a different facet of production of cultural services. Together they contribute to the two main themes of the thesis: features of production technology and applicability of different empirical methods in analysing production of cultural services. The four articles proceed in "chronological" order. The first article deals with problems shared by the subsequent studies - measurement of inputs, output(s) and quality of production - and employs neo-classical single-output cost functions and Structural Equation Modeling approach together with a cross-sectional data set of museums. The second article follows the earliest strand of cultural economics and examines, in a context of Baumol's cost disease, the assumption of stagnant productivity growth. The analysis utilises two index number approaches, Törngvist Approximated and Generalised Divisia Indices, and a panel data set of orchestras. The third article looks at the scale properties of production as well as tests the assumption of allocative efficiency by using non-linear single-output cost functions with a panel data set of theatres. The fourth article focuses on cost-efficiency of museums and utilises non-parametric Free Disposal Hull method and a cross-sectional data set of museums. The main findings of the thesis indicate, first, that production technologies of museums, orchestras and theatres vary substantially. The production technology of museums is shown, in a single-output setting, to exhibit homotheticity and homogeneity with respect to output as well as substantial increasing/decreasing scale economies, depending on the output measure. Analysis in a multiple output context reveals that on average a quarter of museums are cost-inefficient and private museums are more likely to be inefficient than the publicly owned ones. The production technologies of orchestras and theatres are alike with respect to single-output production as well as non-homotheticity and nonhomogeneity of production technology. They differ as to the scale properties - orchestras exhibit diseconomies while theatres are characterised by scale economies - as well as relative usage of labour input. Production in orchestras is characterised by stagnant productivity that is a result of scale effect cancelling out technical change. Theatres are shown to be moderately allocatively inefficient. As to the methodology, the thesis suggests that particularities of cultural institutions have to be taken into account. These particularities involve problems related to measurement of inputs, output(s) and quality of production, definition of production technology as well as problems arising form data. Methods employed in price-quantity space, allowing in-efficiencies of production and not imposing a priori assumptions on production technology are argued to be most applicable ones.
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Marchi, Tavares de Melo Isabela. "Threading Art: the dynamics of costume design and costume studies." VCU Scholars Compass, 2014. http://scholarscompass.vcu.edu/etd/3380.
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The main objective of this research is to demonstrate the strong relationship between design and history in the process of studying and creating costumes for theatre. Costumes are considered an important area in the study of material culture, which has been given more visibility within academia. Over the past few decades, the number of museums and universities with collections dedicated exclusively to costumes and textiles has noticeably increased, recognizing them as works of art worthy of being preserved. Considering costumes’ ability to document time and space, and to visually tell stories, many theatre departments have implemented methods to organize their costume collections in order to make them available as a design resource for students and professionals. As Theatre VCU strives for the quality of their educational practices, and with the increase recognition given to design students and faculty, I have proposed a system to archive costumes, renderings and other material, reflecting the excellence of students’ work, and comprehends a design resource for future reference and research.
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Leonelli, Carolina. "Lina Bo Bardi : [experiências] entre arquitetura, artes plásticas e teatro." Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/16/16133/tde-16042012-113440/.
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A dissertação aborda as relações entre arquitetura, artes plásticas e teatro da forma como estas aparecem na obra da arquiteta Lina Bo Bardi. Partindo do estudo das arquiteturas cênicas projetadas entre 1960 e 1985, bem como da trajetória dos diretores e grupos teatrais nelas envolvidos, procuramos identificar os procedimentos projetuais acionados pela arquiteta, assim como as relações estabelecidas com o conjunto de sua obra, investigando possíveis articulações com o panorama artístico nacional e internacional. A investigação em torno da dimensão urbana tomada por algumas das montagens teatrais estudadas, bem como da relação destas com o projeto museográfico e atividades dos museus aos quais a arquiteta esteve ligada (especialmente o Museu de Arte de São Paulo, o Museu de Arte Modena da Bahia e o Museu de Arte Popular do Unhão) nos levou a tecer uma série de possíveis relações entre os campos da arquitetura, das artes plásticas e do teatro, abrindo a possibilidade de reflexão sobre os procedimentos projetuais adotados e sobre as perspectivas vislumbradas para a arquitetura no sentido do que Lina chamou de uma \"re-proposição não perfeccionista do racionalismo\".The dissertation correlates architeture, fine arts and theatre and how these subjects arise in Lina Bo Bardi´s work. Starting from the study of the scenical projects created between 1960 and 1985 and broaching the director´s and theatrical groups involved on it, this treatise tries to identify the projectual proceedings applied by the architect, as well as the relations established with her work and investigating possible links with with the nacional and international artistic panorama. The analysis of the urban dimension reached by some of the studied plays as well as its approach with the project and the activities developed at the museums to which Lina was related (especially to the São Paulo Art Museum - MASP, to the Bahia´s Modern Art Museum and to the Unhão Popular Art Museum) takes us to possible relations between architecture, fine arts and theatre. It also takes us to possible reflexions on the projectual preceedings adopted and the descried perspectives for architecture, or to what Lina called as a \"re-proposition non perfectionist of the rationalism\".
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Austin, Marne Leigh. "Nomadic Subjectivity and Muslim Women: A Critical Ethnography of Identities, Cultures, and Discourses." Bowling Green State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1371657565.
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Gendrich, Cynthia M. "Persona, performance, and comedy : patterns of success and accommodation in the lives and works of Mary Ann Vincent and Louisa Lane Drew /." free to MU campus, to others for purchase, 1997. http://wwwlib.umi.com/cr/mo/fullcit?p9842584.
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Rozvoralová, Michaela. "Konzumerizmus v kultuře." Master's thesis, Vysoká škola ekonomická v Praze, 2012. http://www.nusl.cz/ntk/nusl-198870.
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Master's thesis deals with consumerism in culture. Thesis analyzes cultural institutions and the way they are influenced by consumer society and the requirements of the general public -- the masses. The first part defines the term of culture, consumerism and consumer society. Next part discuss Culture in meaning of Art and permeation of consumerism into the selected domain of culture -- theaters, cultural centers and museums (art galleries). The final part of thesis demonstrates the influence of spectators and visitors to the specific selected representatives of Brno's cultural scene. The survey was conducted through interviews with representatives of Reduta Theater, theater for children Polárka Theater, Cultural Center Semilasso and Wannieck Gallery, currently renamed Richard Adam Gallery.
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La, Follette Tavia. "Sites of Passage: Art as Action in Egypt and the US-- Creating an Autoethnography Through Performance Writing, Revolution, and Social Practice." Antioch University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=antioch1365450771.
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Kalinina, Ekaterina. "Mediated Post-Soviet Nostalgia." Doctoral thesis, Södertörns högskola, Medie- och kommunikationsvetenskap, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-24576.
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Post-Soviet nostalgia, generally understood as a sentimental longing forthe Soviet past, has penetrated deep into many branches of Russian popular culture in the post-1989 period. The present study investigates how the Soviet past has been mediated in the period between 1991 and 2012 as one element of a prominent structure of feeling in present-day Russian culture. The Soviet past is represented through different mediating arenas – cultural domains and communicative platforms in which meanings are created and circulated. The mediating arenas examined in this study include television, the Internet, fashion, restaurants, museums and theatre. The study of these arenas has identified common ingredients which are elements of a structure of feeling of the period in question. At the same time, the research shows that the representations of the past vary with the nature of the medium and the genre. The analysis of mediations of the Soviet past in Russian contemporary culture reveals that there has been a change in the representations of the Soviet past during the past twenty years, which roughly correspond to the two decades marked by the presidencies of Boris Yeltsin in the 1990s and of Vladimir Putin in the 2000s (including Dmitrii Medvedev's term, 2008–2012). The critical and reflective component that was present in representations of the Soviet past in the 1990s has slowly faded away, making room first for more commercial and then for political exploitations of the past. Building on Svetlana Boym's conceptual framework of reflective and restorative nostalgia, the present study provides an illustration of how reflective nostalgia is being gradually supplanted by restorative nostalgia. Academic research has provided many definitions of nostalgia, from strictly medical explanations to more psychological and socio-cultural perspectives. The present study offers examples of how nostalgia functions as a label in ascribing political and cultural identities to oneself and to others, creating confusion about the term and about what and who can rightly be called nostalgic.
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Gimenez, Catalán Juan Pedro. "Exploring opportunities of complex LED colour mix systems for lighting in the art. Fine colour tuning a painting." Thesis, KTH, Ljusdesign, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-280015.
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Museums and the performing arts have very specific lighting requirements, not only in the technical aspects of their presentation, but also in regard to the communication and interpretation of artistic concepts. Thus, the design intent might have many different perspectives whereas the idea of being “neutral” is more complex to define. One of the critical aspects for the visual experience of art is colour, a subjective experience that can be conceptually approached from many perspectives, from science to the artistic realm. This study starts by setting a theoretical framework in colour human vision, colour theory and colourimetry; and how this can be applied to lighting design concepts for exhibitions. The experimental part of this work explores some of the opportunities of complex LED colour mix systems in working with fine colour tuning and metamers. This investigation focusses on both the creation of the light stimuli and on how these lighting conditions can influence the perception and interpretation of a painting. In spite of its subjectivity, the perception of the art is contextualized with the colour theory background provided, the quantitative measurements performed and the results of an online survey. Additionally, the artist is interviewed in an attempt to gather views from the origin of the artwork to the viewer interpretation. This work might be useful to those with interest in the opportunities that quality LED technology, specifically colour mixing, offer for lighting design in exhibition and theatre environment. In fact, the complexity of exhibition lighting provides a perfect environment for research and experimentation, where improving the viewer experience is becoming an essential factor for museology.
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Sá, Cecilia Gomes de. "Setor cultural de Brasília : contradições no centro da cidade." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2014. http://hdl.handle.net/10183/101894.
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A seguinte pesquisa trata das origens e projetos arquitetônicos do Setor Cultural de Brasília e busca compreender os antagonismos e similitudes existentes entre o Plano Piloto realizado por Lucio Costa e as diversas propostas elaboradas por Oscar Niemeyer e outros arquitetos para o local, algumas das quais construídas e consolidadas. A Esplanada dos Ministérios em Brasília é o ponto mais representativo do urbanismo e arquitetura da cidade e após cinquenta e três anos da inauguração da capital o Setor Cultural é o único trecho da Esplanada ainda não executado plenamente. Essa situação associada ao tombamento do conjunto urbanístico de Brasília em 1991 e à portaria 314/92 que estabelece exclusividade de intervenção aos dois arquitetos autores de Brasília fortalece a preocupação entre arquitetos, cidadãos e Estado em conciliar os propósitos de Costa e Niemeyer. Apesar da referência afirmativa de ambos sobre o modelo progressista na idealização do plano urbanístico e ainda um consenso e maturação dos conceitos e críticas ao urbanismo moderno, associados a uma postura respeitosa dos arquitetos em relação aos precedentes arquitetônicos, há contradições explícitas entre projetos executados de Oscar Niemeyer e o plano-‐piloto levando até hoje a diversos projetos inconclusos e à polêmicas discussões sobre o Setor. A compreensão do desenvolvimento desse processo resulta da análise crítica dos projetos concebidos confrontados ao Plano Piloto de Lucio Costa e seus precedentes históricos, além da organização do inventário de projetos para o setor.This research deals with the origins and architectural projects of the Cultural Sector of Brasília and pursues to understand the antagonisms and similarities between the Pilot Plan conducted by Lucio Costa and the various proposals made by the architect Oscar Niemeyer and other architects to the site, many of them built and consolidated. The Esplanade of Ministries in Brasilia is the most representative site of the urbanism and architecture of the city and fifty-‐three years after the foundation of the capital, the Cultural Sector is the only part of the Esplanade that has not yet completely implemented. This situation associated with the legally protection of the urban site of Brasilia sanctioned in 1991 and the decree number 314/92 establishing exclusivity of architectural intervention to the two authors of Brasilia signs the concern among architects, citizens and government to conciliate the purposes of Costa and Niemeyer. Despite the positive reference of both architects about progressive urbanism model in the idealization of the urban plan of Brasília and even a consensus and maturation of concepts and critiques of modern urbanism, associated with a respectful attitude towards the architectural precedents, there are explicit contradictions between projects executed by Oscar Niemeyer and the pilot plan designed by Lucio Costa that leave until today many unfinished projects and controversial discussions about the sector. The understanding of this process development results in the critical analysis of architectural projects confronted to the Pilot Plan of Lucio Costa and its historical precedents, beyond the inventory organization of the Cultural Sector projects.
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Howell, Amy Beth. "Line, Space and Plane." Kent State University / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=kent1259177315.
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Júnior, Jair Sanches Molina. "Cinema ao vivo e experiências audiovisuais em tempo real." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/27/27161/tde-07112017-152733/.
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Refletir sobre as experiências com imagens e sons em tempo real é pensar em uma ampla gama de possibilidades e experiências pela humanidade, desde os tempos mais remotos. Pelo fato dessas experiências audiovisuais em tempo real serem numerosas no tempo e no espaço, e já amplamente citada em diferentes estudos, esta apresentação tem por objetivo realizar um recorte mais restrito às experiências audiovisuais em tempo real no campo cinematográfico contemporâneo: uma arte, meio e processo em expansão que culmina na existência de um fenômeno semiótico, realizado principalmente através de modos experimentais com a presença do(s) autor(es) concebendo a experiência audiovisual, conjuntamente ao aparato tecnológico e ao público, todos participantes da criação e exibição da obra audiovisual no mesmo tempo em que ela ocorre, em transmissão direta para a tela de cinema, monitores, telas digitais ou espaços arquitetônicos. Com base em obras audiovisuais realizadas entre 2007 a 2017 desenvolveremos uma reflexão e análise das poéticas e técnicas das experiências audiovisuais em tempo real, de maneira a compreender com um olhar mais atento as possibilidades criativas e contribuir com a reflexão sobre estes formatos do audiovisual contemporâneo, cujos meios e processos estão em contínua expansão de suas fronteiras. Em estética do cinema, esta pesquisa segue em continuidade aos estudos e práticas do cinema experimental e em sua vértice ao cinema expandido.Reflecting about real-time imagery and sounds experiences is thinking about a wide range of possibilities and experiences for humanity, from the earliest times. Because the real-time audiovisual experiences are numerous in time and space, and already widely quoted in different studies, this presentation aims to make a more restricted cut-off to real-time audiovisual experiences in the contemporary cinematographic field: an art, medium and an expanding process that culminates in the existence of a semiotic phenomenon, performed mainly through experimental modes with the presence of the author(s) directing the audiovisual experience in real-time, together with the technological apparatus, the cast, and the public, all participants in the creation and exhibition of the audiovisual work at the same time as it occurs, in direct transmission to the cinema screen, monitors, digital screens or architectural spaces. Based on audiovisual works carried out between 2007 and 2017 we will develop a reflection and analysis of the poetics and techniques of audiovisual experiences in real-time, in order to understand with a closer look the creatives possibilities in live cinema and contribute with reflection on these forms of the contemporary audiovisual, whose means and processes are in continuous expansion of its borders. In aesthetics of the cinema, this research follows in continuity to the studies and practices of the experimental cinema, and in its vertex to the expanded cinema.
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Quinney, Charlotte Louise. "(DIS)ARTICULATING THE FRONTIER BODY: ARTIFACTS, APPENDAGES, AND SPECTRES IN THE DISCOURSE OF THE AMERICAN WEST." Bowling Green State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1308525892.
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Jones, Jared. "Winging It: Human Flight in the Long Eighteenth Century." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1565963832584991.
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Dilag, Bayani C. "Access issues associated with U.S. Military presence in Thailand and the Philippines /." Thesis, Monterey, Calif. : Springfield, Va. : Naval Postgraduate School ; Available from National Technical Information Service, 2005. http://library.nps.navy.mil/uhtbin/hyperion/05Mar%5FDilag.pdf.
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Thesis (M.A. in National Security Affairs)--Naval Postgraduate School, March 2005. Thesis (M.S. in)--Naval Postgraduate School, March 2005.Thesis Advisor(s): Aurel S. Croissant. Thesis Advisor(s). Includes bibliographical references (p. 83-101). Includes bibliographical references. Also available online.
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Harrell, Gabriel. "Exodus, a Museum of Between: Directing an Original Staging of Object Journalism, Oral Testimony and Early Italian Opera." 2020. https://scholarworks.umass.edu/masters_theses_2/970.
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This written thesis documents how I, accompanied by a team of talented colleagues, conceived of, planned, and began the process of staging Exodus, a museum of between. I begin with an introduction to the theory and influences that shaped the work in its earliest stages. I go on to discuss the major themes of the work, chiefly an excavation of the idea of belonging, and posit a model of theater making modeled on a kaleidoscope, a model that aims to serve as a device through which to see one of our oldest stories with new eyes. I discuss the three lenses through which Exodus will examine the topic of belonging: a museum exhibition comprised of artifacts of mass migration, the first-hand oral testimony of those whose lives have been immediately effected by events of mass migration and a staging of Monteverdi’s opera L’Orfeo I also discuss the role that chance procedure would have played in establishing the tempo and narrative. I then reflect on the impacts of the COVID-19 pandemic that derailed the production of Exodus and suggest alterations to the project that I would make in the event that production should be recommenced in a post pandemic future. While it is difficult to include much assessment of a project that was still in its early stages when aborted, I finish with a critique of the work that had been accomplished and offer a few thoughts on how I view the work now, in light of the work done and global developments.
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Genshaft, Lindsay Michelle. "Bridging theatre and visual art : the role of an applied theatre practitioner in a fine art museum." Thesis, 2011. http://hdl.handle.net/2152/ETD-UT-2011-05-3485.
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This thesis document details the theoretical and practical implications of using theatrical techniques and drama-based instruction in the visual art museum setting. Presented are four diverse museum theatre programs created and implemented at The Blanton Museum of Art at the University of Texas at Austin. These programs support the argument that drama-based instruction and theatrical techniques can help deepen and/or complicate the notion of visitor engagement in a visual art museum. The theoretical underpinnings of museum theatre are investigated by examining elements of applied theatre and museum learning and the progressive education theory which shapes their practice. The belief is put forth that creative participation in museum education is essential for personal and critical connection with visual art. Theatre is a dynamic and powerful tool to support this creative participation. Findings include recommendations for utilizing museum theatre programming implemented by an applied theatre practitioner as it promotes the use of critical thinking and problem-solving skills, engages the senses, and stimulates meaningful dialogue.text
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Ye, Jhih-Wei, and 葉志偉. "The Border of Role Playing Between Theater And Museum－《Henry IV》Performance Report." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/dkyu9x.
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碩士國立臺北藝術大學
劇場藝術研究所碩士班
98
The performance work report is based on the process of directing Pirandello''s play ”Henry IV” to make us explore how to evolve into the “duality” of the human behavior ”role playing” in Museum/Theatre in people''s spirit condition of History/Reality crisscross. I review the conclusion and make a self-criticism for the directing thoughts /skills I''ve learned since university by trying to research and practice Pirandello''s creative idea. The title ”The Border of Role Playing Between Theater and Museum” means that the double spacing/narrating means used by the author in the performance include not only “Theatre” but also the characteristics of role playing in “Museum”. It’s not to be directed to an academic research of management/cultural or historical relics/education about Museology. The thesis is divided into five chapters: The first chapter focuses on reviewing every phase of education for my directing skill; the second chapter presents the summary of Pirandello’s life and writings, and does some thinking about “Henry IV”. The third chapter analyzes the theme, characters, structure and history information, then refines into the source material for directing from “Henry IV”. The forth chapter describes the work record and observation from preparation to performance in the step of rehearsal. The fifth chapter portraits the opinions from audience and makes a self-reflection after performance, finally summarizes how I grew up from directing this play.
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CHEN, YEN-LING, and 陳衍伶. "Visitor Studies of Using Digital Media in Museum Exhibitions: With the SOS Theater at the National Museum of Natural Science as an Example." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/52331498729903782648.
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CHEN, FEI-YI, and 陳非易. "The Analysis of Crisis Communication Strategy of Art Venues: A Case Study of Crisis in Southern Branch of The National Palace Museum and National Taichung Theater." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/25ykmd.
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碩士國立臺北藝術大學
藝術行政與管理研究所
105
When the government, companies or other organizations including art organizations face the crises, the media comments influence their image and reputation. This study discusses the disputes on the Southern Branch of The National Palace Museum (NPMSB) and National Taichung Theater after the opening operation. Based on rhetorical perspective, this study employs Benoit’s Image Repair Strategies as the theoretical frameworks and Media effectiveness proposed by Wu, Yi- Chen to analyze the crisis response. The finding shows that NPMSB is disturbed by political issues. They canot clarify the problem due to the wrong strategies, so the media denounces. As for National Taichung Theater, they do not respond actively immediately; thus, the occasion of using strategies is not effective. This study finds that NPMSB and National Taichung Theater are in different incidents, and both of them do not monitor the possible crises in advance. They can not respond to key issues when the crises happen, and this leads to negative media comments. Also, it shows that the crisis and issue management in art organizations still need to be strengthened.
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何佳樺. "Museum Theatre: A Case Study on the National Palace Museum." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/04640885426472228228.
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碩士國立臺灣師範大學
表演藝術研究所
100
Other than the purpose of recourse accumulation, knowledge building and transmission, and culture heritage, a modern museum can even be a wide-field cultural theatre. By enjoying diverse and delicate performing arts delivered by a modern museum, the audience can not only have great memories, but also get pleasure experiences from the cultural relics given by the museum. Moreover, making museum settings to be a leisure oriented entertainment complex is a new and inevitable tendency. It seems that a new look to the museum will be given, i.e., Taiwan has been transferring towards the post-museum era. What’s more, a museum theatre is both a cross-cultural field and a useful tool for literary arts promotions. When the multiculturalism and the capitalism get involved in the museum operation, the boundary between the object and subject positions will be broken up; a diverse museum theatre promoted by innovative ways will think outside the box, and eventually bring a new start for success. This study was conducted based on the evolution of the National Palace Museum by analyzing its current status, existing impacts, future trends towards the museum theatre development, and potential barriers it may confront in the future. By taking advantage of three research methods—literature review, case study research, and in-depth interview. This study aimed at 1) examining the organization strategies as well as the business process of the museum theatre in order to evaluate its operation mode, 2) checking if the theatre operation can effectively improve the visiting rate of the museum, and 3) evaluating the current role and future positioning of the museum theatre to see if it can make a difference to the museum. All findings including both positive and negative points will be used as references for the future museum operation. This study summarized that: 1) the execution of a”top-down” policy promotion can improve the administrative efficiency, 2) marketing strategies will not be clearly made if lacking of a well-defined target audience, 3) the museum theatre can be considered as an expansion of art fields for the museum, and 4) the fundraising and sponsorship can improve the financial stability of the museum. Finally, this study further made some informative suggestions for future research: 1) establish a target audience database as a basis for future developmental strategies, 2) expand the museum functions through diverse art forms, 3) reinforce the marketing promotions by holding all kinds of events, 4) cooperate effectively with the staff in the theatre, museum, and educational professionals together, 5) apply a professional business operation mode to ensure maximum efficiency of flexible management, and 6) actively seek strategic alliances and effective resource sharing mechanisms.
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Eakle, Allan Jonathan. "Literacy in the art museum a theatre of values /." 2005. http://purl.galileo.usg.edu/uga%5Fetd/eakle%5Fallan%5Fj%5F200505%5Fphd.
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Wang, Hsiang-Wen, and 王湘雯. "Historical Empathy：History Education of the Museum Theatres." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/48003302113261068732.
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碩士國立臺北藝術大學
博物館研究所碩士班
102
There are rich resources and collections in the history museum. The visitors’ experiences of learning history in the museums are different from schools through exhibitions and educational programs. However, it’s hard for children to understand questions like “how the objects were used in the past? ” and “What’s the meaning of the collection to the people in the past?” by exhibition labels. Recently, more museums intend to make history “alive” and encourage interactive learning by “Museum Theatre”. What children learn and experience in the museum theatre is going to be explored by this research. The case studies selelcted are “That Year during the Battle of Hobe” by the Tamsui Historical Museum and “The legend of Quataong” by the National Museum of Taiwan History. By applying the methods of participant observation and questionnaire, the research aims to investigate elementary school students’ “museum theatre experience”. First, the research findings show that museum theatre can bring the past closer to its audience, make the silent collections alive and the history easier to understand. In addition, museum theatre can be a public forum. Visitors engaged in the museum theatre can express their views and realize others’ opinions on the same topic. Lastly, visitors can explore the variety and flexibility of historical interpretation through the dialectical process, so called “historical empathy”. According to the research results, six suggestions are proposed to curators and theatre companies. First, due to short span of children’s attention, the total time of museum theatre should be no more than 45-60 minutes. Secondly, the contents of script should conform with the learning abilities of target audiences. Thirdly, museum could bulid a theatre designed for performances and museum theaters. Fourthly, if the script is about war history, the interpretation should be multiple in perspectives in terms of different ethnicic groups, to avoid the militants or bias view of history. Fifthly, the ways of interaction should be free for children to express their opinions and avoid group pressure. Sixthly, after the performance, there should be some discussion activities to lead children rethink about the issues, and connect it to the exhibits. Seventhly, due to the limited budget and to increase its impact, volunteers or staff can be recruited for shorter 10-15 minute performances in relation to the themes of the permanent exhibitions.
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Su, Yi-Cheng, and 蘇怡錚. "Research of Museum Based on Goffman’s Dramaturgy Theory: A Case Study of Taiyuan Asian Puppet Theatre Museum." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/852252.
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碩士國立臺灣師範大學
社會教育學系
106
The purpose of this study was to investigate the behavior and interaction of audience and museum staff in the museum based on Goffman's dramaturgy theory. The method used in this paper is known as observational method and interview method. This study took Taiyuan Asian Puppet Theatre Museum as a case. The research object includes audience and the staff of museum. The findings of the research have led to the conclusion that in the same space, the definition of a region will change by the user’s behavior and time. Besides, audience and the staff of museum not just are performer but also are spectator, and they interact with each other. Moreover, Goffman's dramaturgy theory didn’t mention the situation that the region can be defined as front and backstage at the same time. And last, because of different social background, even the same role will have different degrees of the definition of the same region.
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Yang, Ting-yun, and 楊婷云. "A study of IMAX Theatre in Museum visitors’ motivations and satisfactions." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/4u5dr9.
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碩士國立中山大學
劇場藝術學系碩士班
97
The development of Science Museums has a close relationship with the IMAX film system. Museums can use IMAX film system to provide visitors with the science education, recreation, social activities and other functions. In Taiwan, NMNS, NSTM, TCRC, TAM all have set up different types of IMAX film systems. Although the IMAX theatre plays an important role in the museum management, the museum has to invest a lot of money, manpower and other resources to keep it can operate properly and to maximize its functions. Under the trend of consumer-oriented, this study focuses on the operations of NSTM’s IMAX® 3D Theater, to investigate its visitors'' motivations and satisfactions. The main purpose of this study includes: 1. To understand IMAX® 3D Theater visitors’ motivation and satisfactions. 2. To exam the differences among various backgrounds of IMAX® 3D Theater’ motivations and satisfactions. 3. To explore the dependence between IMAX® 3D Theater visitors’ motivations and satisfactions. 4. To provide operational suggestions to the museum. This study was conducted with Survey Research Method by using questionnaire to collect data. There are toyal 449 valid questionnaires. The results show that: the visitors’ backgrounds, affect their motivations and satisfactions; motivations and satisfactions have positive correlation. IMAX Theater visitors’ motivations emphasis on entertainment, but they do not get great satisfaction from the theater.Many visitors are willing to revisit the theater, however, they are not satisfied with the present experiences. Based on the survey, the study has raised several suggestions toward the operations of the theater, including the selection of films, pricing strategies, marketing strategies.
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Yeh, Yun-Ting, and 葉勻婷. "A Study of Theatre Interpretation Applied to Exhibitions of the Literature Museum." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/26529903865060444411.
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碩士元智大學
藝術管理研究所
98
The ways of collection display for museums today ever since the 20th century have become more diversified following the introduction of the concepts of experience economy and edutainment. The museum exhibition has been dramatically changed from the simple display to the interactive modes. Latest multimedia technology further reinforces the diversity presentation and shifts its static demonstration to new look of colorful sound-light effect. By introducing the concept of Museum Theatre, museum has further been turned into a theater that allows the constant dialogue between the museum, visitors and exhibits. At the same time, the idea of museum theatre also proves the functional value of theatre elements in museum exhibition. However, just when foreign museums have been largely putting all kinds of theater concepts into exhibition strategies, their counterparts in Taiwan only use such techniques in those museums under the themes of natural science and historical subjects. It was not until the National Museum of Taiwan Literature, launched in 2003, that it has begun to use a lot of theatre annotated techniques in its permanent exhibition “The Development of Taiwan Literature”. Such techniques as diaroma, story-telling and experienced theatre can present the multiple aspects of literature education. The study tends to use this permanent exhibition of the National Museum of Taiwan Literature as the case to discuss how the museum uses theatre annotated techniques to serve as the media to communicate and educate the museum visitors. The study hopes to offer a new reference point to exhibition annotated methods for other literature museums of Taiwan. This study is composed of four chapters. Chapter one is the introduction of research background. Chapter two gives detailed investigation of exhibition theory and development, describing the evolution from static classifying display to motion theatre interpretation. Chapter three probes into the literature museum to discuss the tradition of exhibition interpretation techniques commonly used in the literature-themed museums. Chapter four discusses the case of permanent exhibition “The Development of Taiwan Literature” in the National Museum of Taiwan Literature to show how they deploy theatre interpretation in this exhibition and finally leads to my own evaluation and suggestion to this exhibition. This thesis is written in the hope of serving as references for other literature museums in Taiwan.
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HUANG, Cyong-Huei, and 黃瓊慧. "A Study of People＇s Motivation and Satisfation of Participate in Local Cultural Museums－With Example of Changhua County Museum of Traditional Nai－Bei Music and Theatre." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/85087397889827045790.
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碩士大葉大學
設計暨藝術學院碩士在職專班
100
The objectives of this study are: (1) to understand the characteristics of individuals who participated in the cultural affairs in the Changhua County Nanguan and Beiguan Music and Theater Center, (2) to assess the motivation for participating the affairs, (3) to assess the level of satisfaction about the experience in cultural affairs, and (4) to assess the association between motivation and satisfaction. A total of 300 individuals, 100 trainees in the musical educational program and 200 visitors in the Nanguan and Beiguan Music and Theater Center, participated in the study by self-administering questionnaires. Participants were inquired about demographic characteristics, motivation for taking part in the cultural affairs and satisfaction regarding the experience in the cultural affairs. Results: 1.Among the 5 motivation domains, the most commonly reported was growth needs. Satisfaction was high in regard to Nanguan/Beiguan music instructors, Center facility maintenance, and Center accessibility. 2.Motivation was positively associated with residential area (in- or out-County), prior educational experience in Nanguan/Beiguan music, and occupation. 3.Trainees who had prior instrument learning experiences，visitors who learned about the cultural affairs online，those who visited the Center through family or friends’ referrals，those who had no prior learning experience had higher motivation. 4.Trainees who were of age 31-40, of master-level or higher education, in electronics occupation, or from out-County had a higher level of satisfaction about the instructors. Those who completed up to middle-school education -vhad the highest level of satisfaction about the Center facility, cultural affairs, and cultural affair information. Those who were household keepers had the highest level of satisfaction about visitor activities. Out-county visitors had the highest level of satisfaction about cultural affair information. 5.Participation motivation and satisfaction were positively associated.
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Dai, Jin-Fa, and 戴進發. "Experience of Museum’s Theatre Interpretation for Elementary School Children：A Case Study of “Mini Theater：Ah-Fu’s Battle with Taiwan Strait” at the National Museum of Taiwan History." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/hv8mzd.
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碩士國立臺南藝術大學
博物館學與古物維護研究所
106
In 2013, the National Museum of Taiwan History (NMTH) commissioned the " Educational Project of Permanent Exhibition" to the Department of Drama Creation and Application at the National University of Tainan. In correspondence to the school curriculum, the project developed the teaching kits of "Tangshan Guo Taiwan", "Real Man" and "When We‘re Together" for elementary school teachers, creating different learning experience for school children. In November 2014, the NMTH used the content of the teaching kit as a script, incorporating objects and theatrical presentations to plan an educational activity of permanent exhibition "Mini Theater: Ah-Fu’s Battle with Taiwan Strait". This case study is based on "Mini Theater: Ah-Fu’s Battle with Taiwan Strait" activity at the NMTH. It aims to investigate the learning experience in this activity for elementary school children, exploring the relevancy between museum’s theatre interpretation and the learning of school children. The research methods of this case includes semi-structured interviews, non-participating observations, as well as questionnaire surveys to collect data, in order to analyze the correlation between the planning of this activity, the actual performance, and the learning experiences of school children. From these, this study found out that the docents of this activity, under the arrangements of the planner, can use a free theatrical interpretation style of their own to enrich the experience of school children. Moreover, school children participated in the activity through interaction, enhancing effectively to the memory and motivation of learning, that proved school children could develop empathic thinking with diverse views through playing their roles. According to the results, this case study shows interactive participation in this activity, can enhance the learning ability of school children. Finally, this study look forward to the possibility that research results can be provided to the NMTH, using theatre interpretation for planning activities as a reference in the future. Therefore, the museum can provide high-quality learning experience for school children.
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Viana, Fausto Roberto Poço. "Elaboração e viabilidade de um Museu de teatro na cidade de São Paulo." Doctoral thesis, 2010. http://hdl.handle.net/10437/5207.
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Orientação: Cristina BrunoEsta tese é um trabalho de pesquisa que propõe um projeto museológico para um Museu de Teatro na cidade de São Paulo. Através das potencialidades encontradas, este pode ser um modelo pioneiro de museu universitário, ligado à Universidade de São Paulo e embasado na teoria e na prática da sociomuseologia. O Museu é poli-nuclear, com duas sedes principais: o prédio sob o Viaduto do Chá, na região central e os prédios da Vila Maria Zélia, na região do Belenzinho. O Museu de Teatro da cidade de São Paulo terá a responsabilidade de identificar, valorizar e preservar os vetores da memória do fazer teatral na cidade de São Paulo, a partir da musealização do trabalho dos profissionais de teatro, responsáveis pela gênese do processo de encenação, colocando-os em cena, na luz da ribalta.
This thesis is a research that proposes a museological program for a Theater Museum in the city of São Paulo, Brazil. Through the potentials identified, this might be a leading model for a university museum, connected to the University of São Paulo and with theoretical and practical basis on social museology. The museum has two nuclei, one in downtown São Paulo and the other in the district of Belenzinho. The São Paulo Theater Museum will be responsible for identifying, valuing and preserving the memory of the theatrical activities in the city, through the musealization of the theater workers, responsible for the genesis of the process of performance, showing their work in the limelight.