Academic literature on the topic 'Museum theater'
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Journal articles on the topic "Museum theater"
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Vaniuha, Liudmyla, Mariya Markovych, Nataliya Hryhoruk, Svitlana Matviishyn, and Yaroslava Toporivska. "The history of the creation, formation and development of the Museum of Theater, Music and Cinema Arts of Ukraine." History of science and technology 13, no. 1 (June 30, 2023): 78–100. http://dx.doi.org/10.32703/2415-7422-2023-13-1-78-100.
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The authors analyzed the stages of creation, formation, development and modern activity of the Museum of Theater, Music and Cinema Arts of Ukraine, which is the only one in Ukraine in terms of its specialization. This museum has a history famous for its names and events. It is widely known in Ukraine and abroad for its permanent exhibitions and mobile exhibitions, created on unique exhibits from the history of theater, music, and cinema. Collected during its existence – since 1923 – a large and multifaceted collection of monuments from the history of the development of arts, which is constantly replenished with new materials, is the basis for scientific research, scientific advisory, expositional and exhibition work, a rich source for popularizing the achievements of the national theater, music and cinema. The article emphasizes that theater museums, film and music museums are an integral part of the development of world culture. They arose, developed and formed into a separate typological group of art museums. The uniqueness of each theater museum was determined by stationary expositions and temporary exhibitions, which were the main sphere of operation and a form of use and popularization of the processed funds. Reproducing the phenomena and events of the theatrical heritage, expositions and exhibitions visualized the most significant assets of both the past and modern theater and theater science in the language of museum exhibits. Research and analysis of the historical experience of exposition and exhibition activity of theater museums, film and music museums will be important for an objective assessment of the positive and negative consequences of the influence of national and cultural processes on their functioning and development. The challenges faced by theater museums, film museums and music museums in the course of their activities have common features and may vary depending on the specific situation and context. The article analyzes the typical problems and features that theater, film and music museums face in their activities. The article shows that these problems may differ for each specific theater museum depending on its size, financial resources, location and other factors. Their features may vary among theater, music, and film museums, depending on their resources, scale, and specialization. However, solutions to these challenges may include working with conservation professionals, attracting grants and sponsors, developing educational programs, and using new technologies to improve visitor audience engagement.
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Portnova, Tatiana V. "Theater museums as a base for excursion and tourism programs." Revista Amazonia Investiga 9, no. 27 (March 21, 2020): 333–39. http://dx.doi.org/10.34069/ai/2020.27.03.36.
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The article discusses excursion work related to theatrical museum collections, which is one of the interesting, but little developed types of activities in the field of tourism. Гhe author refers to the specifics of the theater museums involved in updating knowledge and raising the professional level, developing practical skills and professional competencies of tourism service specialists in the field of a holistic presentation of the history of the development of such a museum as a specific sociocultural institute. It touches on the interesting history of the creation, formation and composition of collections, as well as the modern activities of major museums and the latest museum centers around the world, hosting tourists. It is noted that the purpose of excursion and tourist programs using the collections of theater museums is not only to improve the modern tourist structure, but also to create a special spatial and artistic image that complements the content of the text, overcomes psychological discomfort due to the frequent presence of tourists in the bus or in open spaces , by creating favorable environmental conditions, the realization of the aesthetic potential of the museum atmosphere, capable of Favorably affect the emotional state and enrich the tour. In this regard, today, an important complex of problems that lie in the aesthetic field arises in the context of intensive tourism development processes, along with the need to solve infrastructure and technological issues, problems of implementing socio-economic problems in the tourism sector. Theater museums in excursion programs are considered as a special historical and cultural phenomenon. Their development is a continuation of world and domestic experience and, at the same time, a unique cultural phenomenon, inextricably linked both with the regional traditions of the countries and with the theater school - the academic school, for which the theater exhibit has become the most important area for the realization of creative potential. An attempt is being made to reflect the optimal combination of considering general theoretical and methodological issues and concrete and practical material on museum theater pedagogy.
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Forbes, Maggie. "Museum Theater in a Children's Museum." Journal of Museum Education 15, no. 2 (March 1990): 10–12. http://dx.doi.org/10.1080/10598650.1990.11510141.
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Karamanov, Oleksij, Olha Zheleznyk, and Oksana Surnach. "Theatricalization in the Space of the Museum: Possibilities of Interaction between School and Museum." Pedagogika. Studia i Rozprawy 32 (2023): 147–55. http://dx.doi.org/10.16926/p.2023.32.09.
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The authors of the article analyze the phenomenon of theatricalization in the museum space from the perspective of museum pedagogy and museum communication. They examine various aspects and forms of theater pedagogy and the conditions for conducting a theatrical performance in a museum with a children’s audience using appropriate communication methods. Presenting various forms of practical application of theatrical elements in Ukrainian museums, the authors pay special attention to the experience of Lviv, such as the organization of the Levenya Mobile Song Theater and volunteer work. The authors emphasize that theatricalization in the museum space is in line with modern trends in the development of education and culture, which contributes to the development of the child’s creative potential, creative and perceptual abilities.
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Karachentsev, Ivan S. "UNIVERSITY CHARTERS AS A LEGISLATIVE BASIS FOR MUSEUM BUSINESS IN RUSSIAN UNIVERSITIES (XIX – EARLY XX CENTURIES)." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 41 (2021): 234–39. http://dx.doi.org/10.17223/22220836/41/20.
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For the first time in the museum literature, the article traces the influence of university charters on the museum business in Russian universities in the XIX – early XX century. Using the original act documents extracted from the “Complete Collection of Laws of the Russian Empire”, the author showed that the charter of 1804 and all subsequent legislative acts provided for the formation of auxiliary educational institutions in universities – offices, assemblies, anatomical theaters. It is particularly stipulated that the charter of 1804 did not use the term “museum”, since it was not widely used in Russia at that time. In the act documents at the beginning of the XIX century, the word “cabinet” was used, which was in some sense a synonym for it and was used in the sense of storage, collection. But the work prescribed by legislative acts on the selection, description and preservation of exhibits, tools, and other objects necessary for teaching, allows us to talk about the birth of museum functions in universities. Starting in 1835, the charters introduced the term “museum”, they expanded the list of educational materials and aids. Taking into account the obvious lack of knowledge on the subject under study, the author gives the entire list of educational and auxiliary institutions listed in the statutes. These are the cabinets: physical, mineralogical, botanical, zoological, technological, and the collection of machines and models for applied mathematics, collections – architectural models, pharmacological, surgical instruments, obstetrical instruments, anatomical theater and collection of exhibits, zootomic theater, and collection of exhibits, as well as the Museum of Fine Arts and Antiquities. The statutes prescribe ways to replenish university collections, including through the unhindered discharge of benefits from abroad. In the university charters and staff schedules attached to the charters, it was mandatory to specify monetary amounts, determine their distribution for the maintenance of offices and museums, as well as the heads and general staff of these university departments. The article emphasizes that the charter of 1863 spelled out in detail the procedure for approving the position of curators of cabinets and museums, and in addition, their pension provision was separately prescribed. The charter of 1884 provides an expanded list of university museums, establishes the number of employees, and addresses issues of museum management. At the end of the article, it is quite appropriate to conclude that the university charters defined the legislative foundations of the museum business in Russian universities of the XIX-early XX century
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Oestreicher, Lee. "Museum Theater: Coming of Age." Journal of Museum Education 15, no. 2 (March 1990): 4–5. http://dx.doi.org/10.1080/10598650.1990.11510138.
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Qafarova, Gunay N. "Azerbaijan National Museum of Art: On the history of foundation." Issues of Museology 13, no. 2 (2022): 214–30. http://dx.doi.org/10.21638/spbu27.2022.205.
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The article briefly gives the history of the creation of the Azerbaijan National Museum of Art, one of the largest museums in the country. The museum has a rich collection of Russian, Western European, Eastern and Azerbaijani art. The collection has been formed throughout the existence of the museum, but its foundation was laid back in the Azgosmusey. A certain part of the collection is made up of exhibits transferred to the museum during the USSR period, a cultural policy that relied on the education of the masses, regardless of nationality and region. A descriptive description of the exhibition activities of the museum is given, in which both collections of Russian and foreign museums were exhibited in different years. In various years, the museum hosted exhibitions of the fraternal republics, as well as China, India, Iran. After each exhibition, the museum’s collection was replenished with new exhibits. The museum constantly held and held personal exhibitions of representatives of various schools of painting in Azerbaijan. The country’s artists are proud that their paintings are exhibited and stored in one of the country’s major museums. In the context of the article, a special place is given to the work of the first theater artist R.Mustafayev, whose name the museum bore for many decades, and whose works are kept in his collection. Unfortunately, the name of this talented artist is little known to the younger generation, although his contribution to the development of national scenography and the protection of architectural monuments is invaluable. Thanks to his artistic flair, the performances “Koroglu” and “Arshin Mal Alan” designed by him have been successfully staged on the stage of various theaters. Тhe analysis of his work is an important thematic contribution to the history of the study of the Azerbaijan National Museum of Art.
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Jordan, Hanuš. "Cirkusové fotografie v divadelní sbírce Národního muzea." Časopis Národního muzea. Řada historická 190, no. 1-2 (2022): 19–42. http://dx.doi.org/10.37520/cnm.2021.002.
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Circus Photos at the Theatre Collection of the National Museum The specialized circus fund of the theater collection of the National Museum contained over 9 000 images when it was created in 2004. The study describes its time limitations for the years 1950–1990, it also deals with older images, forms of shooting circus and variety shows, and the issue of describing photographs as a historical source. Authors of circus photos Vladimír Lammer, Václav Gína and Oldřich Mazůrek.
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Odazhiev, Petar. "An Innovative Form of Access to the Cultural Heritage of Musical Theatre: A Perspective from Bulgaria." Cultural and Historical Heritage: Preservation, Representation, Digitalization 7, no. 1 (2021): 178–92. http://dx.doi.org/10.26615/issn.2367-8038.2021_1_013.
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Providing as an example the Virtual Museum of Bulgarian Musical Theatre, institutionalized as an independent and constantly evolving Internet platform at the Museum of the Bulgarian Musical Theater (MBMT), this study represents a new contribution to the application of digital technologies to management and cultural promotion. The research answers questions regarding the current development and applications of digital technologies for designing multimedia content aiming to represent cultural heritage. The results offer an original virtual museum constructing method for interactive access to archival samples of performances in the following genres: opera, ballet, operetta, and musical. Additionally, the museum offers access to a presentation of the achievements of music and stage art through permanent thematic collections of repertoire programs, up-to-date information about the creative process of artists, conductors, directors, scenographers, choreographers. Keywords: Digitization, Preservation, Cultural Heritage, Digital Collections, Musical Theatre, Opera, Ballet
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Blackstone, Sarah. "The Theatre Museum of Repertoire Americana." Theatre Survey 41, no. 1 (May 2000): 89–93. http://dx.doi.org/10.1017/s0040557400004403.
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Sarah Blackstone is Chair of the Department of Theatre at Southern Illinois University and serves on the Advisory Board for the Theatre Museum of Repertoire Americana. Neil and Caroline Schaffner started collecting memorabilia from the repertoire theater movement during the 1950s. They dreamed of one day establishing a museum that would display their collection and other items connected with this wide-spread popular entertainment form. In 1973, with the help of the Midwest Old Settlers and Threshers Association, and endless hours of effort, their dream was realized in the small town of Mt. Pleasant, Iowa. Since that time, the Museum of Repertoire Americana has prospered, and it currently houses an impressive collection of uniquely American research materials. Dedicated to preserving the rural theatrical heritage of the Midwest, the Museum has materials related to opera houses, circle stock companies, Uncle Tom shows, showboats, and tent shows of all descriptions. I offer here a brief description of the collection, together with information about the National Society for the Preservation of Tent, Folk, and Repertoire Theatre and the annual Theatre History Seminar this organization holds at the Museum each April.
Dissertations / Theses on the topic "Museum theater"
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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.
Books on the topic "Museum theater"
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Fazio, Dania De. Il museo va in scena: Tecniche teatrali al servizio dei visitatori. Milano, Italy: FrancoAngeli, 2012.
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Grassi, Giorgia. Emozioni patrimoniali: Arte performativa per la promozione culturale. Roma: Fondazione Mario Luzi editore, 2020.
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Hughes, Catherine. Museum theatre: Communicating with visitors through drama. Portsmouth, NH: Heinemann, 1998.
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Siegel, Jane Rodgers. Dramatic museum realia. New York, N.Y: Rare Book & Manuscript Library, 2010.
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1950-, Strømberg Ulla, and Poulsen Ida, eds. The Theatre Museum in the Court Theatre. Copenhagen: Teatermuseet, 2007.
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Vojvodine, Pozorišni muzej. Pozorišni muzej Vojvodine: Theatre Museum of Vojvodina. Novi Sad: Pozorišni muzej Vojvodine, 2007.
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Susan, Croft, Bourne Stephen, Terracciano Alda, and Theatre Museum, eds. Black and Asian performance at the Theatre Museum: A user's guide. London: Theatre Museum, 2003.
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Museum), Theatre Museum (Victoria and Albert. The Theatre Museum unpacks: Treasures from the costume collection. [London: Theatre Museum, 1988.
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Poelzig, Hans. Der dramatische Raum, Hans Poelzig: Malerei, Theater, Film : Museum Haus Lange, Museum Haus Esters, Krefeld. Krefeld: Krefelder Museen, 1986.
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Theatre Museum (Victoria and Albert Museum). The Theatre Museum unpacks: Treasures from the costume collection, 23 April-27 September, 1987. [London: Theatre Museum, 1987.
Find full textBook chapters on the topic "Museum theater"
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Shota, Fukuoka. "Exhibiting Ramayana in a Japanese Museum: Activities of National Museum of Ethnology, Japan." In Ramayana Theater in Contemporary Southeast Asia, 187–206. New York: Jenny Stanford Publishing, 2022. http://dx.doi.org/10.1201/9781003290957-11.
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Kulick, Brian. "Welcome to the Museum of Ek-Stasis." In The Secret Life of Theater, 61–63. Abingdon, Oxon ; New York, NY : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9780429445255-12.
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Štaif, Jiří. "Die drei Ebenen der Kulturpolitik der böhmischen Stände vor 1848 : Theater, Museum und die Patriotisch-ökonomische Gesellschaft in Prag." In Kulturpolitik und Theater, 191–210. Wien: Böhlau Verlag, 2012. http://dx.doi.org/10.7767/boehlau.9783205792048.191.
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Waddell, Mark A. "A Theater of the Unseen: Athanasius Kircher’s Museum in Rome." In World-Building and the Early Modern Imagination, 67–90. New York: Palgrave Macmillan US, 2010. http://dx.doi.org/10.1057/9780230113138_5.
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Bennett, Susan. "The experiential museum." In Theatre & Museums, 43–60. London: Macmillan Education UK, 2013. http://dx.doi.org/10.1007/978-1-137-29280-3_5.
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Tzibazi, Vasiliki. "Museum Theatre: Children’s Reading of ‘First Person Interpretation’ in Museums." In People and their Pasts, 163–82. London: Palgrave Macmillan UK, 2009. http://dx.doi.org/10.1057/9780230234468_10.
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Bennett, Susan. "Introduction." In Theatre & Museums, 3–8. London: Macmillan Education UK, 2013. http://dx.doi.org/10.1007/978-1-137-29280-3_1.
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Bennett, Susan. "From display to experience." In Theatre & Museums, 8–23. London: Macmillan Education UK, 2013. http://dx.doi.org/10.1007/978-1-137-29280-3_2.
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Bennett, Susan. "Re-performance." In Theatre & Museums, 23–29. London: Macmillan Education UK, 2013. http://dx.doi.org/10.1007/978-1-137-29280-3_3.
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Bennett, Susan. "Theatre in the museum: collection as performance." In Theatre & Museums, 29–42. London: Macmillan Education UK, 2013. http://dx.doi.org/10.1007/978-1-137-29280-3_4.
Full textConference papers on the topic "Museum theater"
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Eakle, Jonathan. "Education Research Movements of a Garden, Museum, and Theater: A Participatory Investigation." In 2022 AERA Annual Meeting. Washington DC: AERA, 2022. http://dx.doi.org/10.3102/1886479.
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Reșetnic, Elena. "Th e contribution of the National Museum of Ethnography and Natural History to the organization of free time in the post-war period." In Simpozion internațional de etnologie: Tradiții și procese etnice, Ediția III. Institute of Cultural Heritage, Republic of Moldova, 2023. http://dx.doi.org/10.52603/9789975841733.13.
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Th e Communist Party entirely controlled the lives of the citizens, including the way of organizing and spending leisure time. Th e individual didn’t actually have the choice of what to do in his spare time. In order not to allow people too many “useless” thoughts, it was necessary for them to be always busy with something. Since they were little, they passed into the ranks of Octombrees, then of pioneers, later they became komsomolists and party members. Th ere are a lot of activities for spending the free time: watching movies, theatrical performances, sports activities, visiting museums, etc. Th e cinema, the theater, the museum were all effi ciently used in the party’s propaganda policy. From the very beginning, museums have occupied a leading place in the list of ideological instruments. Th e exhibitions off ered to the public by the NMENH, in the fi rst postwar years, focused on topics such as: Th e participation of Moldova in the October Revolution, the Great War for the Defense of the Fatherland, ancient Slavic settlements on the territory of Moldova, etc. In the following decades, they no longer refl ect the war so oft en, but the unbelievable success that the Moldovan people achieved in the construction of communism, under the guidance of the party, were always displayed. Of course, in connection with these achievements, exhibitions were organized until the dissolution of the USSR. Only in the late 60’s, visitors have the opportunity to appreciate exhibitions on ethnography themes, from an ideological perspective, of course. At the same time, during the entire Soviet period, the museum employees had an impressive number of annually planned lectures, which they had to deliver in the villages and districts of the republic. Besides, they were organizing touring exhibitions with the same purpose. Everyone had a duty to know the results of the last elections in the Council of Ministers of the MSSR, who G. Kotovski was, how Moldova has evolved since it was “liberated”, etc. On the one hand, the museum was accessible to all, and on the other hand, it continued to be an instrument of political enlightenment until the dissolution of the USSR. Comparing this period with present times, when we have the right to decide how we organize our time, be it for work, or rest, it is more obvious that the political ideologization of that period used all possible means, including activities devoted to leisure time.
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Amoruso, Giuseppe. "Design for Cultural Cooperation. Interaction, Experience, and Heritage Awareness." In HEDIT 2024 - International Congress for Heritage Digital Technologies and Tourism Management. Valencia: Universitat Politècnica de València, 2024. http://dx.doi.org/10.4995/hedit2024.2024.17512.
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The design of the museum experience can be improved through an innovative interaction framework that uses digital technology to digitize and make different types of cultural heritage accessible and improve awareness for the management of public and tourist use of heritage sites. This research aims to protect cultural heritage diversity and enhance its accessibility and dissemination. It presents methods to digitize resources of various heritages and develop experiential design and interactive environments through advanced simulation and representation. The study addresses the development of an interaction design model based on real-time simulations of existing installations and experience environments for cultural sites and the evaluation of the process and design workflow, introducing modeling (CAD/BIM) and simulation environments (Game Engine/AI). The objectives are to introduce an information model to manage the environment and exhibit design and to develop interactive installations that use diverse media to highlight cultural content and improve cultural attraction and communication efficiency. An itinerary and interactive display of tangible/intangible heritage will be presented and tested through the advanced simulation application to visualize immersive 3D environments. From the BIM, a live connection with the visual development tools of the game engine middleware is possible, which facilitates graphic simulation. Field tests and process references will benefit from recent research on the Roman Theater of Amman as part of an international cooperation project on the experiential and interactive valorization of the museum collections of the Popular Traditions Museum of Jordan.
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Nilsson Tengelin, M., N. Mylly, and P. O. Hedekvist. "ARE THE DEMANDS IN ENTERTAINMENT LIGHTING TOO HIGH FOR WHITE LIGHT EMITTING DIODES?" In CIE 2021 Conference. International Commission on Illumination, CIE, 2021. http://dx.doi.org/10.25039/x48.2021.po04.
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This paper reports the result of a survey on entertainment lighting distributed to 246 museums and 56 theatres in Sweden. The questions concerned the lighting technology used, experience from changing lighting systems, plans, problems, apprehensions and expectations. The replies showed that the transition to LED has been much faster in museums than in theaters and 35% of the theatres do not plan for a transition to LED. Reasons given are economy, light quality, and dimming functionality. Lighting professionals are generally sceptical in exchanging halogen lights. The artistic expression in lighting design goes beyond the specifications and what is promised in the data sheet. To facilitate a smoother transition to modern lighting technologies, the quality of the white light and proper function of the luminaires must be ensured and the communication between the manufacturers, retailers, lighting professionals and other artistic functions must be improved.
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Drossinou-Korea, Maria. "Targeted, individually structured special education and training intervention programs and pedagogical applications in museum." In 7th International e-Conference on Studies in Humanities and Social Sciences. Center for Open Access in Science, Belgrade, 2021. http://dx.doi.org/10.32591/coas.e-conf.07.11107d.
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Anthropocentric museums are “an important place in public debate, creation and questioning ideas” because they can have a positive impact on the lives of underprivileged or marginalized people. They can also strengthen specific communities and contribute to the creation of fairer societies. The science of Museology together with the science of Special Education and Training (SET) support with the Targeted Individual Structured and Integrated Program for Students with Special Educational needs (TISIPfSEN), in children and young people with special educational needs and disabilities (SENDs). The purpose of this work was to study museology applications in accordance with the pedagogical tool TISIPfSEN. The main working hypothesis explored access to theatre and entertainment events, museums and archaeological sites of people with SENDs, which is not always an easy process given that they are a heterogeneous group due to their inherent or acquired specificity. The applications also drew pedagogical materials through the charm of the art of theatre and puppetry. In this context, performances were given free of charge through the Kalamata Experimental Stage to children and young people with SENDs, in the city of Kalamata and Sparta. This project led to voluntary application from students of department of history of University of Peloponnese. The results showed that people’s disability does not always mean impotence. Accessibility to museum programs and theatrical events in modern organized societies is possible. The learning process becomes accessible with the pedagogical tool TISIPfSEN to people with special needs. Necessary conditions, knowledge in the SET and the necessary training of all according to universal design. In conclusion, TISIPfSEN museum pedagogical programs facilitate different social groups in approaching, understanding the differential material culture, with alternative forms of communication and learning, given that heterogeneity in nature is a universal phenomenon.
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Schumann, William. "BLACK MOUNTAIN COLLEGE SEMESTER: (RE) LEARNING EXPERIMENTATION IN ARTS AND CULTURE EDUCATION." In 2024 SoRes Paris –International Conference on Interdisciplinary Research in Social Sciences, 11-12 January. Global Research & Development Services, 2024. http://dx.doi.org/10.20319/icssh.2024.0102.
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Black Mountain College Semester (BMCS) was an interdisciplinary teaching and public education project implemented in 2018 at Appalachian State University in mountainous western North Carolina, USA. BMCS drew over 30,000 attendees and participants despite the rural character of the project area. Based on the experimental pedagogy of the influential Black Mountain College (1934=1963), the ten-month, multi-sited BCMS project sought to create intentional spaces of interdisciplinary collaboration–bringing the humanities, social sciences, arts, and design sciences into conversation–but more importantly, to facilitate the development of experimental cross-disciplinary and academic-public collaborations independently of the project leadership team. This paper offers a brief overview of Black Mountain College, followed by a discussion of the decentralized project design and the analysis of two project case studies. BMCS planning started with the original College principles of experiential and democratic learning philosophy, which invited participation and collaboration across hierarchical academic silos. Fundamentally, the concept of independent inquiry, not specific project outcomes, drove this process. Faculty, administrators, staff, non-profit leaders, educators, and the public contributed to events as varied as exhibitions, public talks, workshops, publications, theater, music, and curriculum design across four project sites. The first case study describes an interdisciplinary faculty fellowship program, created by project leaders, to support the application of learning concepts from Black Mountain College in university courses. The second describes the process of creating an interactive website linked to three museum exhibitions that extended BMCS into public domains and extra-academic spaces of learning. Broadly, this paper analyzes the process of co-creating methods of experiential learning on and beyond a university campus. Project assessment data is utilized to contextualize public responses to BMCS and discuss future directions for the project.
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Schaeffer, Jennie. "Ecocritical experimentation with object theatre at a museum." In Nordes 2023: This Space Left Intentionally Blank. Nordes, 2023. http://dx.doi.org/10.21606/nordes.2023.52.
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Cmeciu, Doina, and Camelia Cmeciu. "VIRTUAL MUSEUMS - NON-FORMAL MEANS OF TEACHING E-CIVILIZATION/CULTURE." In eLSE 2013. Carol I National Defence University Publishing House, 2013. http://dx.doi.org/10.12753/2066-026x-13-108.
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Considered repositories of objects(Cuno 2009), museums have been analysed through the object-oriented policies they mainly focus on. Three main purposes are often mentioned: preservation, dissemination of knowledge and access to tradition. Beyond these informative and cultural-laden functions, museums have also been labeled as theatres of power, the emphasis lying on nation-oriented policies. According to Michael F. Brown (2009: 148), the outcome of this moral standing of the nation-state is a mobilizing public sentiment in favour of the state power. We consider that the constant flow of national and international exhibitions or events that could be hosted in museums has a twofold consequence: on the one hand, a cultural dynamics due to the permanent contact with unknown objects, and on the other hand, some visibility strategies in order to attract visitors. This latter effect actually embodies a shift within the perception of museums from entities of knowledge towards leisure environments. Within this context where the concept of edutainment(Eschach 2007) seems to prevail in the non-formal way of acquiring new knowledge, contemporary virtual museums display visual information without regard to geographic location (Dahmen, Sarraf, 2009). They play ?a central role in making culture accessible to the mass audience(Carrazzino, Bergamasco 2010) by using new technologies and novel interaction paradigms. Our study will aim at analyzing the way in which civilization was e-framed in the virtual project ?A History of the World in 100 Objects, run by BBC Radio 4 and the British Museum in 2010. The British Museum won the 2011 Art Fund Prize for this innovative platform whose main content was created by the contributors (the museums and the members of the public). The chairman of the panel of judges, Michael Portillo, noted that the judges were impressed that the project used digital media in ground-breaking and novel ways to interact with audiences. The two theoretical frameworks used in our analysis are framing theories and critical discourse analysis. ?Schemata of interpretation? (Goffman 1974), frames are used by individuals to make sense of information or an occurrence, providing principles for the organization of social reality? (Hertog & McLeod 2001). Considered cultural structures with central ideas and more peripheral concepts and a set of relations that vary in strength and kind among them? (Hertog, McLeod 2001, p.141), frames rely on the selection of some aspects of a perceived reality which are made more salient in a communicating text or e-text. We will interpret this virtual museum as a hypertext which ?makes possible the assembly, retrieval, display and manipulation? (Kok 2004) of objects belonging to different cultures. The structural analysis of the virtual museum as a hypertext will focus on three orders of abstraction (Kok 2004): item, lexia, and cluster. Dividing civilization into 20 periods of time, from making us human (2,000,000 - 9000 BC) up to the world of our making (1914 - 2010 AD), the creators of the digital museum used 100 objects to make sense of the cultural realities which dominated our civilization. The History of the World in 100 Objects used images of these objects which can be considered ?as ideological and as power-laden as word (Jewitt 2008). Closely related to identities, ideologies embed those elements which provide a group legitimation, identification and cohesion. In our analysis of the 100 virtual objects framing e-civilization we will use the six categories which supply the structure of ideologies in the critical discourse analysis framework (van Dijk 2000: 69): membership, activities, goals, values/norms, position (group-relations), resources. The research questions will focus on the content of this digital museum: (1) the types of objects belonging to the 20 periods of e-civilization; (2) the salience of countries of origin for the 100 objects; (3) the salience of social practices framed in the non-formal teaching of e-civilization/culture; and on the visitors? response: (1) the types of attitudes expressed in the forum comments; (2) the types of messages visitors decoded from the analysis of the objects; (3) the (creative) value of such e-resources. References Brown, M.F. (2009). Exhibiting indigenous heritage in the age of cultural property. J.Cuno (Ed.). Whose culture? The promise of museums and the debate over antiquities (pp. 145-164), Princeton, Oxford: Princeton University Press. Carrazzino, M., Bergamasco, M. (2010). Beyond virtual museums: Experiencing immersive virtual reality in real museums. Journal of Cultural Heritage, 11, 452-458. Cuno, J. (2009) (Ed.). Whose culture? The promise of museums and the debate over antiquities (pp. 145-164), Princeton, Oxford: Princeton University Press. Dahmen, N. S., & Sarraf, S. (2009, May 22). Edward Hopper goes to the net: Media aesthetics and visitor analytics of an online art museum exhibition. Visual Communication Studies, Annual Conference of the International Communication Association, Chicago, IL. Eshach, H. (2007). Bridging in-school and out-of-school learning: formal, non-formal, and informal education . Journal of Science Education and Technology, 16 (2), 171-190. Goffman, E. (1974). Frame analysis: An essay on the organization of experience. Cambridge, MA: Harvard University Press. Hertog, J.K., & McLeod, D. M. (2001). A multiperspectival approach to framing analysis: A field guide. In S.D. Reese, O.H. Gandy, & A.E. Grant (Eds.), Framing public life: Perspective on media and our understanding of the social world (pp. 139-162). Mahwah, NJ: Lawrence Erlbaum Associates. Jewitt, C. (2008). Multimodality and literacy in school classrooms. Review of Research in Education, 32 (1), 241-267. Kok, K.C.A. (2004). Multisemiotic mediation in hypetext. In Kay L. O?Halloren (Ed.), Multimodal discourse analysis. Systemic functional perspectives (pp. 131-159), London: Continuum. van Dijk, T. A. (2000). Ideology ? a multidisciplinary approach. London, Thousand Oaks, New Delhi: Sage.
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Malinina, Elena. "Contemporary Art Culture as a Creator of Publicity New Forms: Experience of Perm Theatrical Community." In The Public/Private in Modern Civilization, the 22nd Russian Scientific-Practical Conference (with international participation) (Yekaterinburg, April 16-17, 2020). Liberal Arts University – University for Humanities, Yekaterinburg, 2020. http://dx.doi.org/10.35853/ufh-public/private-2020-13.
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This article covers some new forms of publicness in the field of art culture of the Russian city of Perm, e.g. dramatics as a performance in a street environment, and synthetic museum-theatrical form under the conditions of a stage box. The study was accomplished mainly via culturological method. At one time theatre left the urban environment, but in the 21st century theatrical forms have begun to permeate urban space again, the statement primarily concerns site-specific theatre. This is equivalent to the birth of new theatrical-city publicity, a new modality of the interpenetration of the public and the private. One of the best-known theatrical projects in this field is ‘Remote X’ (‘Rimini Protokoll’ band). Here, the close co-existence habitual to city dwellers turns into a social substrate, and a way to implement interpersonal artistic communication, thereby largely changing the disposition of the former, and transforming itself. Another new form of relationship between collective and individual aspects in the public sphere is the synthetic museum-theatre form, on the example of immersion dramatics ‘Permian Pantheon’ (Perm Academic Theatre, stager Dmitry Volkostrelov). The natural ‘calendar-seasonal’ tempo-rhythm of the dramatics creates a triple semantic effect risen from artistic reality. It immerses the viewer into the process of traditional subsistence in whole (actualisation of the cultural collective unconscious), represents cultural phenomena (which corresponds to the culture-focused paradigm of artistic consciousness of the second half of the 20th century to the early 21st century), reaches the level of worldview values, the philosophical generalisation of cultural-existential reality. Thus, on the example of two Perm theatrical plays the author can speak about the origin of new forms of publicness in contemporary culture to entail new relationships between publicity and privacy in the current realities.
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Nastase, Mihai-Claudiu, Alexandru Mitru, and Loredana Andreea Paun (Parnic). "The Social and Economic Impact of COVID 19 Pandemic on Museums. Case Study: „Princely Court” National Museum Ensemble." In International Conference Innovative Business Management & Global Entrepreneurship. LUMEN Publishing, 2020. http://dx.doi.org/10.18662/lumproc/ibmage2020/25.
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The new coronavirus (Covid-19) is one of the main challenges world today has to address. With no large scale availability vaccine yet, and more or less experimental medical treatments for curing the disease, we can safely say that we are still far behind a solution to this problem. This new pandemic is considered the biggest threat to the global economy since the Second World War and there is no aspects of human life have not been affected it, spiritual ones included. Its high contagiousness, as well as novelty, raised all kind of challenges and one of the main ones was our manner to produce answers, in early stages at least, this creating problem on its own and of its design. As well as all the other institutions, theatres, cinemas, concert halls, spaces of socialization and in the same time places of wonder, knowledge and spiritual enrichment the museums were heavily affected by the pandemic crisis, especially those who’s collections are not, but in very small proportion available, to the public through virtual media. Such a case is „Princely Court„ National Museums Ensemble from Targoviste, Dambovita County, Romania. The present paper proposes an overview of the highlights in institution′s activity the past years in comparison with how the pandemic crisis affected its activity in the past months and what were the responses given to keep the museum in the eye of the public. It will also try to summarize how and to what extent the activity went back to „normal” after the emergency state earlier imposed was lifted and how the visitors responded to the new realities.
Reports on the topic "Museum theater"
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Kerrigan, Susan, Phillip McIntyre, and Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Ballarat. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.206963.
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Description Ballarat sits on Wathaurong land and is located at the crossroads of four main Victorian highways. A number of State agencies are located here to support and build entrepreneurial activity in the region. The Ballarat Technology Park, located some way out of the heart of the city at the Mount Helen campus of Federation University, is an attempt to expand and diversify the technology and innovation sector in the region. This university also has a high profile presence in the city occupying part of a historically endowed precinct in the city centre. Because of the wise preservation and maintenance of its heritage listed buildings by the local council, Ballarat has been used as the location for a significant set of feature films, documentaries and television series bringing work to local crews and suppliers. With numerous festivals playing to the cities strengths many creative embeddeds and performing artists take advantage of employment in facilities such as the Museum of Australian Democracy at Eureka. The city has its share of start-ups, as well as advertising, design and architectural firms. The city is noted for its museums, its many theatres and art galleries. All major national networks service the TV and radio sector here while community radio is strong and growing.
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Khomenko, Tetiana, and Yuriy Kolisnyk. Втрати української культури у російсько-українській війні: культурно-інформаційний спротив. Ivan Franko National University of Lviv, March 2023. http://dx.doi.org/10.30970/vjo.2023.52-53.11749.
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The authors explored the activity of mass media and cultural organizations aimed at clarification of the current problematic issue – preservation of Ukrainian cultural heritage under the conditions of the full-scale invasion of Russia into Ukraine. The authors emphasize that occupants not only destroy historic buildings, i.e. material objects, but also steal art values, destroy library and archive funds; their actions are aimed at destruction of our spirituality, identity and history. It is pointed out that there are the main streams in the work of journalists, experts, and culture figures, namely: fixation of losses, propaganda of the Ukrainian culture in the world, expert evaluation of the restitution possibilities, and filling of the culture material with patriotic sense. The full-scale invasion of Russia into Ukraine on the 24th of February 2022 led to the numerous loss of life, ruination of the military, civil and infrastructure objects. But the state-aggressor destroys and robs our culture in this war. Since the beginning of the war mass media have been actively informing about the situation in the regions, which happened to be at the line of the Russian troops attack. The information was in particular about the fact that different educational establishments, libraries and their funds, museums with valuable collections, theatres, religious buildings and historic buildings had been ruined. To tell the truth the information was incomplete due to the limited opportunities to monitor the situation. However, later it has been systematized. The work of journalists and experts contributed to this since they stated the criminal acts of Russia, informing about the ruination facts of historic, sacral, cultural monuments, devastation of many museum collections, destruction of library and archive funds. Digitalization of the Russian war crimes against Ukrainian culture became one more important work aimed at preservation of the Ukrainian cultural heritage. It was done by means of interactive maps of the Ukrainian cultural losses and it enables documenting crimes of the occupant army and spreading this information at the international level. Key words: culture, cultural front, cultural losses, cultural values, cultural heritage, war, media.
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McIntyre, Phillip, Susan Kerrigan, and Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Albury-Wodonga. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.206966.
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Albury-Wodonga, situated in Wiradjuri country, sits astride the Murray River and has benefitted in many ways from its almost equidistance from Sydney and Melbourne. It has found strength in the earlier push for decentralisation begun in early 1970s. A number of State and Federal agencies have ensured middle class professionals now call this region home. Light industry is a feature of Wodonga while Albury maintains the traditions and culture of its former life as part of the agricultural squattocracy. Both Local Councils are keen to work cooperatively to ensure the region is an attractive place to live signing an historical partnership agreement. The region’s road, rail, increasing air links and now digital infrastructure, keep it closely connected to events elsewhere. At the same time its distance from the metropolitan centres has meant it has had to ensure that its creative and cultural life has been taken into its own hands. The establishment of the sophisticated Murray Art Museum Albury (MAMA) as well as the presence of the LibraryMuseum, Hothouse Theatre, Fruit Fly Circus, The Cube, Arts Space and the development of Gateway Island on the Murray River as a cultural hub, as well as the high profile activities of its energetic, entrepreneurial and internationally savvy locals running many small businesses, events and festivals, ensures Albury Wodonga has a creative heart to add to its rural and regional activities.
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Kerrigan, Susan, Phillip McIntyre, and Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Bendigo. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.206968.
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Bendigo, where the traditional owners are the Dja Dja Wurrung people, has capitalised on its European historical roots. Its striking architecture owes much to its Gold Rush past which has also given it a diverse cultural heritage. The creative industries, while not well recognised as such, contribute well to the local economy. The many festivals, museums and library exhibitions attract visitors from the metropolitan centre of Victoria especially. The Bendigo Creative Industries Hub was a local council initiative while the Ulumbarra Theatre is located within the City’s 1860’s Sandhurst Gaol. Many festivals keep the city culturally active and are supported by organisations such as Bendigo Bank. The Bendigo Writers Festival, the Bendigo Queer Film Festival, The Bendigo Invention & Innovation Festival, Groovin the Moo and the Bendigo Blues and Roots Music Festival are well established within the community. A regional accelerator and Tech School at La Trobe University are touted as models for other regional Victorian cities. The city has a range of high quality design agencies, while the software and digital content sector is growing with embeddeds working in agriculture and information management systems. Employment in Film, TV and Radio and Visual Arts has remained steady in Bendigo for a decade while the Music and Performing Arts sector grew quite well over the same period.