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Relevant bibliographies by topics / Offstage

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Academic literature on the topic 'Offstage'

Author: Grafiati

Published: 4 June 2021

Last updated: 3 February 2022

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Journal articles on the topic "Offstage"

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Bye, Antony, and Stephen Oliver. "Offstage." Musical Times 133, no. 1790 (1992): 183. http://dx.doi.org/10.2307/965726.

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Roe, Sue. "Offstage, Onstage, Remember." New Writing 13, no. 3 (2016): 417–18. http://dx.doi.org/10.1080/14790726.2016.1184686.

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Fernández, Doreen G., Jean G. Edades, Mig Alvarez Enriquez, and Doreen G. Fernandez. "Onstage and Offstage." Asian Theatre Journal 2, no. 2 (1985): 234. http://dx.doi.org/10.2307/1124075.

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Brown, Mark. "Drama Offstage in Tbilisi." New Theatre Quarterly 28, no. 2 (2012): 198–200. http://dx.doi.org/10.1017/s0266464x12000280.

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Lipska, Małgorzata. "Poza sceną, czyli jawne i niejawne w "Dybuku" Szymona An-skiego." Adeptus, no. 7 (June 30, 2016): 21–35. http://dx.doi.org/10.11649/a.2016.002.

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Offstage: The revealed and the concealed in An-sky’s The DybbukThe Israeli theatre scholar Shimon Levy describes the works of Samuel Beckett using the category of “offstage,” i.e. what is “backstage” or “behind the scenes.” This notion is also suitable to describe the plot of An-sky’s play The Dybbuk. The plot, which follows the wanderings of the soul of a prematurely deceased lover, is based on a continuous interplay between the explicit and the implicit, the revealed and the concealed, the present and the absent. Applying the category of “offstage” as an analytical tool allows for speaking about the supernatural forces which are depicted in the play, while replacing religious nomenclature with a glossary of terms from the field of theatre. Poza sceną, czyli jawne i niejawne w Dybuku Szymona An-skiegoIzraelski teatrolog Shimon Levy opisuje twórczość Samuela Becketta, posługując się kategorią „offstage”, czyli tego, co znajduje się poza sceną, za kulisami. Kategoria ta doskonale nadaje się także do opisu fabuły Dybuka Szymona An-skiego. Akcja dramatu o wędrówce duszy przedwcześnie zmarłego kochanka opiera się na ciągłej grze jawnego z niejawnym, odkrytego z zakrytym, obecnego z nieobecnym. Zastosowanie kategorii „offstage” jako narzędzia analitycznego pozwala mówić o ukazanych w dramacie siłach nadprzyrodzonych przy zastąpieniu nomenklatury religijnej zestawem pojęć ze sfery teatru.

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Freihoefer, Kara, Len Kaiser, Dennis Vonasek, and Sara Bayramzadeh. "Setting the Stage: A Comparative Analysis of an Onstage/Offstage and a Linear Clinic Modules." HERD: Health Environments Research & Design Journal 11, no. 2 (2017): 89–103. http://dx.doi.org/10.1177/1937586717729348.

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Objective: The purpose of this study was to understand how two different ambulatory design modules—traditional and onstage/offstage—impact operational efficiency, patient throughput, staff collaboration, and patient privacy. Background: Delivery of healthcare is greatly shifting to ambulatory settings because of rapid advancement of medicine and technology, resulting in more day procedures and follow-up care occurring outside of hospitals. It is anticipated that outpatient services will grow roughly 15–23% within the next 10 years (Sg2, 2014). Nonetheless, there is limited research that evaluates how the built environment impacts care delivery and patient outcomes. Method: This is a cross-sectional, comparative study consisted of a mixed-method approach that included shadowing clinic staff and observing and surveying patients. The linear module had shared corridors and publicly exposed workstations, whereas the onstage/offstage module separates patient/visitors from staff with dedicated patient corridors leading to exam rooms (onstage) and enclosed staff work cores (offstage). Roughly 35 hr of clinic staff shadowing and 55 hr of patient observations occurred. A total of 269 questionnaires were completed by patients/visitors. Results: The results demonstrate that the onstage/offstage module significantly improved staff workflow, reduced travel distances, increased communication in private areas, and significantly reduced patient throughput and wait times. However, patients’ perception of privacy did not change among the two modules. Conclusion: Compared to the linear module, this study provides evidence that the onstage/offstage module could have helped to optimize operational efficiencies, staff workflow, and patient throughput.

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Peattie, Thomas. "The Expansion of Symphonic Space in Mahler's First Symphony." Journal of the Royal Musical Association 136, no. 1 (2011): 73–96. http://dx.doi.org/10.1080/02690403.2011.562721.

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This article explores the treatment of space in Gustav Mahler's First Symphony from the perspective of the composer's experience as a conductor of opera. It considers the ‘theatrically’ located offstage utterances in the work's introduction in light of passages from Beethoven's Fidelio (Act 2, scene ii) and Tristan und Isolde (Act 2, scene ii), and against the backdrop of Mahler's controversial attempt to assign the Alla marcia section from the Finale of Beethoven's Ninth Symphony to a small offstage orchestra. By considering in turn the implications of Mahler's treatment of offstage space on the work's overall structure, specifically with respect to the moment of ‘breakthrough’ in the first and last movements, I suggest that Mahler ultimately re-establishes the vitality of the symphony as genre at the intersection between the waning symphonic tradition and the immediacy of operatic convention.

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WATANABE, Toshiko. "The cherry orchard as an offstage hero." Japanese Slavic and East European Studies 14 (1993): 21–35. http://dx.doi.org/10.5823/jsees.14.0_21.

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Von Glinski, Marie Louise. "ALL THE WORLD'S OFFSTAGE: METAPHYSICAL AND METAFICTIONAL ASPECTS IN SENECA'SHERCVLES FVRENS." Classical Quarterly 67, no. 1 (2017): 210–27. http://dx.doi.org/10.1017/s0009838817000350.

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In his essay on Seneca, T.S. Eliot used theHercules Furens(=HF) as his example to illustrate ‘this curious freak of non-theatrical drama’. Even though Senecan scholarship has by and large moved away from his indictment, the sense that the attention seems to be directed away from the stage points to the play's unique dramaturgy. The surest indicator of this reverse orientation is the conspicuous absence of Hercules himself for much of the play. Hercules is (or wishes to be) permanently ‘elsewhere’. His entrance is delayed for a long time; once home, he rushes offstage after a few lines to kill Lycus. He returns onstage only to be attacked by madness, and is drawn inside the palace again to kill his wife and sons. When his madness abates, he falls asleep onstage; on waking, he longs for a place beyond the known world (and underworld) and finally exits into exile. This article proposes a closer examination of the semiotics of space, especially the symbolic value of the offstage. Seneca is constantly drawing attention to the pull towards the stage perimeter and the unseen offstage, characterizing the cosmic nature of Hercules’ conflict with Juno and questioning the hero's place in the world as the son of an immortal father.

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Güçbilmez, Beliz. "An Uncanny Theatricality: the Representation of the Offstage." New Theatre Quarterly 23, no. 2 (2007): 152–60. http://dx.doi.org/10.1017/s0266464x07000059.

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In this article, Beliz Güçbilmez argues that ‘offstage’ is not a place but an idea, a world minus a stage. It is ‘anywhere but here’, and its time is time-minus-now, making it impossible to determine its scale. It is a foreign tongue – a language with an unknown grammar carrying us to the borders of the uncanny. Güçbilmez rereads the offstage as the unconscious of the stage, looking at its more conventional use in the realistic and naturalistic plays of the nineteenth century and after, but also looking forward to the work of Samuel Beckett. Borrowing from Blanchot's interpretation of the Orpheus-Eurydice myth, she characterizes the Beckettian struggle to represent the unrepresentable as the act of bringing Eurydice into daylight – the invisible content of the offstage onto the stage, which is by definition the space of the gaze. Beliz Güçbilmez is an author, playwright, and translator, currently working as an Assistant Professor in the Theatre Department of Ankara University in Turkey. She is the author of Irony and Drama from Sophocles to Stoppard (Ankara: Deniz, 2005) and Time, Space and Appearance: the Form of Miniature in the Turkish Realist Theatre (Ankara: Deniz, 2006). A shorter version of this article was presented at the Working Group of the International Federation for Theatre Research (FIRT/IFTR) at its 2005 meeting in Krakow.

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Dissertations / Theses on the topic "Offstage"

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Brown, Mitch. "Menander Offstage." University of Cincinnati / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1479817969256543.

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Olsson, Forsström Josefhine. "Onstage/offstage : - om avvikande och normbrytande." Thesis, Konstfack, Institutionen för Bildpedagogik (BI), 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-4818.

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Den här uppsatsen tar avstamp i en personlig erfarenhet av när representationen på sociala medier orsakat konsekvenser i den fysiska världen. Uppsatsen undersöker, genom en autoetnografisk metod, processer för normerande tillhörighet inom speciella diskurser. I texten används musikgenren Black Metal som exempel för att visa hur normer styr och kontrollerar socialt handlingsutrymme för kvinnor. Begrepp som används för att beskriva dessa processer kommer från Erving Goffman och har kallats för det dramaturgiska perspektivet. Begreppen används vidare i arbetet som verktyg i det gestaltande arbetet där normer för subjektspositioner undersöks i iscensatta fotografier.<br><p>Uppsatsens bilagor har innehållit bildmaterial som tagits bort av upphovsrättsliga skäl.</p>

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Croskell, Stuart. "Metastage : the study of the offstage as context in modern drama." Thesis, University of Exeter, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.324070.

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Stock, Marel Angela. "Puppets, Pioneers, and Sport: The Onstage and Offstage Performance of Khmer Identity." Diss., CLICK HERE for online access, 2009. http://contentdm.lib.byu.edu/ETD/image/etd2944.pdf.

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Trout, Marion T. (Marion Thomas). "The Offstage Effect: An Historical and Stylistic Perspective with Performance Considerations for Trumpet." Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc278691/.

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The present study does not attempt to present a complete or exhaustive survey of the myriad spatial orchestrational devices occurring in the symphonic and operatic repertoire. Rather, the study is limited to an examination of the specified use of the trumpet as an offstage instrument in selected representative works. The study's purpose is to identify trends in the use of this orchestrational device, to serve as an aid to the trumpeter in matters of interpretation, and to provide a practical reference for the solution of acoustical and technical problems common to the performance of spatially conceived music in the orchestral literature.

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Li, Xin. "Entre scène et hors scène : étude sur l’espace dans la tragédie française de l’âge classique." Thesis, Paris 4, 2016. http://www.theses.fr/2016PA040082.

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Le XVIIe siècle a connu l’épanouissement de la création des tragédies. Notre thèse propose une étude sur un composant moins étudié de ce théâtre, l’espace. Le premier chapitre de notre étude essaie d’abord de dessiner la géographie de la tragédie de l’âge classique et établir des liens éventuels entre les lieux et les thèmes, ensuite nous étudions les différents espaces représentés par la scène et leurs caractéristiques. Le deuxième chapitre quitte la scène pour s’intéresser à la topographie des espaces hors scène. Nous verrons les fonctions de ces espaces hors scène et leurs échanges avec la scène et les dynamismes qui s’en dégagent. Conformément à une esthétique épurée, la tragédie classique relègue de nombreux événements hors scène. Nous cherchons, dans la deuxième partie de ce chapitre, à classer ces événements et nous nous interrogeons sur les diverses raisons pour lesquelles ils ont lieu hors scène. Le troisième chapitre se penche sur l’espace en parole, l’espace tel qu’il est vécu par les personnages. Nous analysons comment les personnages associent des espaces (en scène ou hors scène) à différentes expériences humaines et aux différents destins. Dans certaines pièces, l’espace peut même être au centre d’un enjeu. Nous analysons les enjeux qui se jouent autour de l’espace. Le quatrième chapitre est consacré à l’étude des mouvements des personnages et des objets en scène. Les mouvements des personnages et les objets théâtraux contribuent aussi à la construction de l’espace théâtral. La scène tragique est globalement un espace dépouillé où les héros sont primordialement des « êtres-parlant ». Les gestes et les objets, quand ils existent, sont autrement signifiants sur la scène tragique. Nous concluons que l’espace est loin d’être un décor inerte dans la tragédie française du XVIIe siècle. C’est un élément actif qui entretient diverses dynamiques avec les personnages<br>The 17th century has witnessed the full bloom of the creation of the tragedies in France. My thesis proposes a research on a less studied component in this theatre—space. The first chapter of my study tries to draw the geography of the classical age tragedy and establish the possible links between places and themes, then I address myself to the different spaces represented by the stage and their characteristics. The second chapter quits the stage to discover the offstage topography. We shall see the function of these offstage spaces, their exchanges with the stage and the dynamisms that come from these exchanges. Conforming to a purified aesthetics, the classical tragedy relegates numerous events behind the scene. In the second part of this chapter, I try to classify these events and question why they happen offstage. The third chapter approaches the space in speech, the space as it is experienced by the characters. I analyze how the characters associate the spaces (on stage or offstage) with different human experiences and destinies. In certain plays, space itself can be at stake. The stakes implicated in space will be analyzed. The fourth chapter focuses on the characters’ body and objects on stage. Characters’ movements and theatrical objects contribute to the creation of theatrical space. The tragic scene is overall a stripped space where the heroes are primordially ‘speaking beings’. Gestures and objects, when they exist, are highly significant on the tragic scene. Lastly I conclude that space is far from being an inert set in the 17th century French tragedy. It is an element that maintains different dynamics with characters

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Walsh, Russell. "Obscenities offstage: Melbourne’s gay saunas & the limits of representation." 2007. http://eprints.vu.edu.au/960/3/Walsh.pdf.

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Obscenities offstage is conceived and designed as a study in performance. It is alert to the dangers inherent in positing erotic fields, especially so-called 'gay saunas', as objects of study, dangers that have dogged the scientific research, both qualitative and quantitative, undertaken in this field since the 1960s. The dangers arise precisely because the positing of the sauna as a coherent unitary object to be studied by the researcher as a coherent unitary subject naturalises a discrete relation that is in effect utterly bogus. The project reconfigures the epistemic stage of sauna research. It recognises that the scene of the gay sauna resists anything more than incomplete, inconclusive or reductive representation, not through some teleological or mystificatory agency, but simply because it is technically, that is, materially and socially, designed to do so. With its focus on producing effects of ambiguity, anonymity, darkness, disorientation, excitation, hermeticism, muteness, obscurity, seclusion and synaesthesia, on producing these effects as the commodities on which its commercial viability effectively depends, the gay sauna can be recognised as a zone in which the knowledge sought by the physical and human sciences is necessarily and always located just out of reach, offstage. Performance as an episteme [sic] offers methodological opportunities here that have hitherto been unexplored. Performance produces effects of knowledge not in spite of but through the production, articulation, shimmer and play of contingent reality effects, and importantly for this project through an ontological intervention that deconstructs the 'naturalised' opposition of absence and presence. It is with the commonplace performative force known as 'offstage'—in Latin, obscaenus—that the current project strives to know the gay sauna, and yet let it remain 'obscene'.

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Walsh, Russell. "Obscenities offstage Melbourne's gay saunas & the limits of representation /." 2007. http://wallaby.vu.edu.au/adt-VVUT/public/adt-VVUT20080409.163331/index.html.

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Demofonti, Silvia. "The body of theatre technicians - reviewing theatre performances from the offstage." Master's thesis, 2017. http://hdl.handle.net/10362/23486.

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The aim of this thesis is investigating the actions performed by technicians during all phases of production of a theatrical performance. That is, the creative participation and embodiment of theatre technicians, whose participation in the creation and representation is often ignored or relegated to the more pragmatic aspects of the profession. The analysis contains academic contributions, fieldork research and interviews with theatre workers, which extend the theoretical discourse with direct testimonials of the life behind the scenes and, on a larger scale, of theatre professionals. The research is not limited to backstage labour during the theatrical performance, but also on the performative role of technicians within the larger framework of the theatrical community that gathers around a common goal, the production, and the society where it is embedded. In this community, everyone participates in the performance within the performance. The relationship between the three levels in action during the live event, stage/backstage/audience, is described as a flow of creation and recreation of symbols shared by the community.<br>A tese pretende explorar a acção desempenhada pelos técnicos de teatro durante todas as fases da produção de uma peça. . A análise é acompanhada pela pesquisa de campo e por entrevistas a trabalhadores da área teatral, que ampliaram o discurso téorico com testemunhos directos da vida dos bastidores e, de forma mais abrangente, dos profissionais do teatro. Não se trata só da investigação do backstage durante a atuação da peça em si, quanto de reflectir sobre o papel performativo dos técnicos no quadro maior da comunidade teatral que se forma em volta do objectivo comum da encenação e a sua inserção na sociedade. Na comunidade todos participam na performance por trás da performance. A relação entre os três planos em acção, palco/bastidores/público, é um fluxo de produção e recriação dos símbolos partilhados pela comunidade.

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Books on the topic "Offstage"

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Bublé, Michael. Onstage, offstage. Transworld Publishers, 2011.

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Bublé, Michael. Onstage, offstage. Gallery Books, 2011.

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Reading the unseen: (offstage) Hamlet. Counterpath Press, 2010.

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Ratcliffe, Stephen. Reading the unseen: (offstage) Hamlet. Counterpath Press, 2010.

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Brennan, Anthony. Onstage/offstage worlds in Shakespeare's plays. Routledge, 1989.

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Onstage and offstage worlds in Shakespeare's plays. Routledge, 1989.

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Offstage space, narrative, and the theatre of the imagination. Palgrave Macmillan, 2010.

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Gruber, William E. Offstage space, narrative, and the theatre of the imagination. Palgrave Macmillan, 2010.

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Gruber, William E. Offstage space, narrative, and the theatre of the imagination. Palgrave Macmillan, 2010.

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Gruber, William. Offstage Space, Narrative, and the Theatre of the Imagination. Palgrave Macmillan US, 2010. http://dx.doi.org/10.1057/9780230105645.

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Book chapters on the topic "Offstage"

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Kelly, Allan. "Offstage Product Owner." In The Art of Agile Product Ownership. Apress, 2019. http://dx.doi.org/10.1007/978-1-4842-5168-3_9.

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Wagnon, Ravenna Tucker. "A step offstage to restage." In Dancing Across Borders. Routledge, 2019. http://dx.doi.org/10.4324/9781003008569-6.

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Fishzon, Anna. "Russia’s New Celebrities: Offstage Narrative and Performance." In Fandom, Authenticity, and Opera. Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137023452_3.

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Gruber, William. "Introduction: Sights Unseen." In Offstage Space, Narrative, and the Theatre of the Imagination. Palgrave Macmillan US, 2010. http://dx.doi.org/10.1057/9780230105645_1.

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Gruber, William. "Showing vs. Telling." In Offstage Space, Narrative, and the Theatre of the Imagination. Palgrave Macmillan US, 2010. http://dx.doi.org/10.1057/9780230105645_2.

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Gruber, William. "Against Mimesis." In Offstage Space, Narrative, and the Theatre of the Imagination. Palgrave Macmillan US, 2010. http://dx.doi.org/10.1057/9780230105645_3.

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Gruber, William. "Theatres of Absence." In Offstage Space, Narrative, and the Theatre of the Imagination. Palgrave Macmillan US, 2010. http://dx.doi.org/10.1057/9780230105645_4.

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Dashper, Katherine. "Multispecies encounters in events." In Humans, horses and events management. CABI, 2021. http://dx.doi.org/10.1079/9781789242751.0135.

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Abstract Multispecies events, like Landsmót, the National Championships of the Icelandic horse, pose interesting practical and logistical challenges for event managers who must ensure that safety and nonhuman animal welfare are prioritized alongside other aspects of event design and management. This chapter uses Goffman's (1959) dramaturgical concepts of 'front stage', 'backstage' and 'offstage' to consider the types of interspecies encounters that can occur in different contexts around an event site. Drawing on data from ethnographic observations and interviews with horse breeders and event staff, the chapter discusses some of the issues that can arise in trying to manage those interactions in ways that recognize the different needs of human and nonhuman participants, whilst still delivering a successful and entertaining event.

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Northway, Kara J. "‘In witnes here of I set to my hand’: Early Modern Actors’ Offstage Textual Rituals." In Early British Drama in Manuscript. Brepols Publishers, 2019. http://dx.doi.org/10.1484/m.bm-eb.5.116452.

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Williamson, Elizabeth. "Dying Offstage." In Routledge Companion to Women, Sex, and Gender in the Early British Colonial World. Routledge, 2018. http://dx.doi.org/10.4324/9781315613772-13.

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Conference papers on the topic "Offstage"

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"Offstage Characters in Tennessee Williams’ Plays." In 2019 International Conference on Advances in Literature, Arts and Communication. The Academy of Engineering and Education (AEE), 2019. http://dx.doi.org/10.35532/jahs.v1.004.

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Shah, Abad A., F. Fotouhi, W. Grosky, S. P. Rana, and A. Vashishta. "Offstage Objects and their Renovations in the Temporal Object System TOS." In Proceedings of the 3rd International Symposium on Database Systems for Advanced Applications. WORLD SCIENTIFIC, 1993. http://dx.doi.org/10.1142/9789814503730_0035.

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McNeill, N., B. Jin, and X. Yuan. "Proportional regenerative base driver circuit with negative offstate voltage for sic bipolar junction transistors." In 8th IET International Conference on Power Electronics, Machines and Drives (PEMD 2016). Institution of Engineering and Technology, 2016. http://dx.doi.org/10.1049/cp.2016.0240.

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Hsin, Yue-ming, Yi-Nan Zhong, and Zhen-Wei Liu. "Variation of intrinsic components from small-signal model of AlGaN/GaN HEMTs in linear and saturation regions after offstate bias." In 2017 IEEE Radio Frequency Integrated Circuits Symposium (RFIC). IEEE, 2017. http://dx.doi.org/10.1109/rfic.2017.7969038.

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