Relevant bibliographies by topics / Organization of children's theater

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

Academic literature on the topic 'Organization of children's theater'

Author: Grafiati
Published: 4 June 2021
Last updated: 16 February 2022

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Journal articles on the topic "Organization of children's theater"

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Lubchak, Lyudmila. "TRAINING OF FUTURE NURSERY SCHOOL TEACHERS FOR THE ORGANIZATION OF THE PRESCHOOL AGE CHILDREN THEATRICAL ACTIVITY." Educational Discourse: collection of scientific papers, no. 9(11-12) (December 27, 2018): 91–103. http://dx.doi.org/10.33930/ed.2018.5007.9(11-12)-8.

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In order to increase readiness of future educators to organize theatrical activity in modern pre-school establishments, it is proposed not to include new educational disciplines to the universities’ curriculum, but to offer practical tasks for students to organize various kinds of children's theatrical activity in context of an existing disciplines of pedagogical cycle and in the process of pedagogical practice. Excursions to a puppet theater, manufacturing of various types of puppet theater with their subsequent presentation, demonstration of fragments of puppet performances during classes and pedagogical skills competitions, study of advanced pedagogical experience, etc. are considered to be effective forms and methods of work as part of practical classes of “Pedagogical Excellence”.
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Dergach, Marharita. "DEVELOPMENT PECULIARITIES OF DOMESTIC THEORY AND PRACTICE OF USING THEATER ART IN EDUCATIONAL WORK WITH CHILDREN IN THE FIRST THIRD OF THE XX CENTURY." Scientific journal of Khortytsia National Academy, no. 2 (2020): 15–29. http://dx.doi.org/10.51706/2707-3076-2020-2-2.

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The article presents the results of the analysis of historical materials on the use of theatrical art as a means of education, training and socialization of children by teachers and theatrical practitioners of Ukraine in the early twentieth century. The in-depth analysis of archival sources, manuscripts, and old printed works allowed to distinguish teachers whose achievements allow us to understand the peculiarities of the formation of the theoretical foundations and practice of introducing theatrical art into the educational system of Ukraine. During this historical period, the following issues were raised: the age limits of children's involvement in theatrical creativity, the specifics of the audience; mechanisms of children's dramatic creativity and development of appropriate approaches to the organization of theatrical work with children; requirements for repertoire selection; stages of acquainting children with theatrical art, methods of organizing and conducting rehearsal work, etc. Scholars and educators of the time noted that children and adolescents who played only for their peers and parents could be involved in theatrical work; acquaintance with theatrical art should begin with simple theatrical forms, dramatized games, acting out charades, proverbs, "living pictures" and gradually move on to staging dramatic works; the basis of children's theatrical play are emotional experiences, and therefore the task of the leader is to emotionally captivate the child, put him/her in the right emotional state. Based on the analysis of culturological aspects of the functioning of theatrical art in society, theoretical approaches to understanding the pedagogical possibilities of theater and the practice of using theatrical art in school, it was determined that pedagogical materials of the early twentieth century emphasized the importance of theater for the development of human aesthetics, moral and ethical qualities of the personality, activation of his/her creative forces, psychological and psychophysical characteristics of a child: imagination, memory; self-awareness, emotions, feelings, empathy, communication skills and abilities. Possibilities of theatrical art in fostering children’s mastering a native language, in the training of attentive and competent spectators were defined.
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Ignatovich, Vladlen K., Svetlana S. Ignatovich, and Karene D. Cholakyan. "Model of organization of summer camp day stay of children in event and activity format." Pedagogy: history, prospects 3, no. 2 (April 29, 2020): 30–40. http://dx.doi.org/10.17748/2686-9969-2020-3-2-30-40.

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The article is devoted to the problem of increasing the educational potential of summer camps. The proposed approach to its solution is based on ideas about the children's and adult collective as an event community of participants in joint creative activity. The theoretical foundations of the design of the educational process in the conditions of a summer camp are described, its results are described as new competencies not achieved in the traditional class-lesson teaching system. The idea of individualization of the educational process is disclosed as the leading methodological basis of the summer camp project in the event-activity format. The educational event is presented as a design unit of the educational process. Sociocultural practices, creatively mastered by the participants of the camp shift, are characterized. The principles of their development by the example of the art of theater and cinema are disclosed. The logic of building sociocultural practice as a sequence of certain phases and immersions is described.
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Mihaylova, Nikolinka. "INNOVATIVE PRACTICES IN CONDITIONS OF EMERGENCY IN BULGARIA USED IN THE NATIONAL MUSIC SCHOOL „LYUBOMIR PIPKOV“." Education and Technologies Journal 11, no. 2 (August 1, 2020): 302–6. http://dx.doi.org/10.26883/2010.202.2330.

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In the conditions of institutional and state crisis, the people responsible for the education and upbringing of adolescents react with an adequate unified approach to the requirements and, in turn, they achieve solid results. The purpose of this report is to present innovative approaches and practices brought on by the atypical conditions of social isolation imposed by the COVI D-19 pandemic and to reveal the organization of parents, teachers and second grade students at the National Music School „Lyubomir Pipkov“. The focus of the research is the search for appropriate ways to promote new knowledge, as well as conducting an exercise to consolidate what is learned in class. The topic of the study is the teaching through online lessons and the involvement of parents in the learning process. The subjects are the students from the second „B“ class of the National Music School „Lyubomir Pipkov“. Online learning has contributed by providing the opportunity for many arts to be present in the classes: music, literature, theater, dance, children’s art.
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Kravchenko, Iryna. "DEVELOPMENT OF THE ARCHITECTURE OF NON-FORMAL EDUCATION INSTITUTIONS IN 1917-1940 ON THE TERRITORY OF UKRAINE." Current problems of architecture and urban planning, no. 60 (April 26, 2021): 105–16. http://dx.doi.org/10.32347/2077-3455.2021.60.105-116.

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The study of the periodization of the development of architecture of non-formal education institutions (hereinafter NFEI) combines the following aspects: pedagogical aspect (is the decisive one, according to the author), social, political, scientific and technical aspects that are inherent in the era. The author investigates the developmental periods of architecture of non-formal education institutions. The time limits studied in the article from 1917 to 1940 belong to the second stage of development of NFEIs and their architecture - the period of development and formation. Many scholars and educators note that in Ukraine the existence of non-formal education covers the following areas: extracurricular education; postgraduate education and adult education; civil education; school and student self-government; educational initiatives aimed at developing additional skills and abilities; universities of the third age that provide educational services to the elderly. Given the modern interpretation and combination into a single concept - "lifelong learning" - all forms of education, this article examines the formation of the architecture of additional education institutions for all ages, i.e. analyzes the conditions that led to the creation of appropriate architectural forms, and the main, according to the author, examples and characteristics. This stage of development of NFEIs and their architectural and typological links is the period after the First World War and the beginning of the Soviet Union era. The nature of functioning remains mainly compensatory and educational. During this period, a unique world-renowned system of extracurricular activities is developed. Educational institutions and institutions of additional education in public houses and public schools continue to function. Various professional associations were born in the Soviet Union, and clubs, houses, and palaces of culture began to be built for them. In addition, during this period in Ukraine, religious institutions are gradually losing their influence, and educational functions are transferred to other institutions: libraries, houses and palaces of culture and so on. The beginning of the youth movement, stations of young nature lovers are created. The organization of seasonal (summer) children's camps takes new pedagogical and ideological forms. At this stage, specialized institutions started to form that carried out extracurricular educational work in one specific direction: stations for young naturalists, young technicians, children's railways, children's theaters and cinemas, libraries, sports and music schools - specialized non-formal education institutions. Institutions of a wide profile continued to function and had an appropriate number of offices and workshops - clubs of various types.
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Waszkiel, Halina. "The Puppet Theatre in Poland." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 51, no. 51 (October 3, 2018): 164–79. http://dx.doi.org/10.34064/khnum1-51.09.

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Background, problems and innovations of the study. The modern Puppet Theater in Poland is a phenomenon that is very difficult for definition and it opposes its own identification itself. Problems here start at the stage of fundamental definitions already. In English, the case is simpler: “doll” means a doll, a toy, and “puppet” is a theatrical puppet, as well as in French functions “poupée” and “marionette” respectively. In Polish, one word serves both semantic concepts, and it is the reason that most identify the theater of puppets with theater for children, that is a big mistake. Wanting to get out of this hassle, some theaters have thrown out their puppet signage by skipping their own names. Changes in names were intended only to convey information to viewers that in these theaters do not always operate with puppets and not always for the children’s audience. In view of the use of the word “animation” in Polish, that is, “vitalization”, and also the “animator”, that is, “actor who is animating the puppet”, the term “animant” is suggested, which logically, in our opinion, is used unlike from the word “puppet”. Every subject that is animated by animator can be called an animant, starting with classical puppets (glove puppets, cane puppets, excretory puppets, silhouette puppets, tantamarees, etc.) to various plastic shapes (animals, images of fantastic creatures or unrelated to any known), any finished products (such as chairs, umbrellas, cups), as well as immaterial, which are animated in the course of action directed by the actor, either visible to viewers or hidden. In short, the animator animates the animant. If the phenomenon of vitalization does not come, that is, the act of giving “the animant” the illusion of life does not occur, then objects on the stage remain only the requisite or elements of scenography. Synopsis of the main material of the study. In the past, puppet performances, whether fair or vernacular, were seen by everyone who wanted, regardless of age. At the turn of the XIX–XX centuries, the puppet theater got divided into two separate areas – theater for adults and the one for children. After the war, the professional puppet theater for adults became a branch of the puppet theater for children. In general, little has changed so far. The only puppet theater that plays exclusively for adults is “Theater – the Impossible Union”, under the direction of Mark Khodachinsky. In the Polish puppet theater the literary model still dominates, that is, the principle of starting to work on the performance from the choice of drama. There is no such literary work, old or modern, which could not be adapted for the puppet theater. The only important thing is how and why to do it, what significance carries the use of animants, and also, whether the applying of animation does the audience mislead, as it happens when under the name of the puppet theater at the festival shows performances that have nothing in common with puppets / animations. What special the puppet theater has to offer the adult audience? The possibilities are enormous, and in the historical perspective may be many significant achievements, but this does not mean that the masterpieces are born on the stones. The daily offer of theaters varies, and in reality the puppet theaters repertoire for adults is quite modest. The metaphorical potential of puppets equally well justifies themselves, both in the classics and in modern drama. The animants perfectly show themselves in a poetry theater, fairy-tale, conventional and surrealistic. The puppet theater has an exceptional ability to embody inhuman creatures. These can be figures of deities, angels, devils, spirits, envy, death. At the puppet scenes, also animals act; come alive ordinary household items – chairs, umbrellas, fruits and vegetables, whose animation gives not only an interesting comic effect or grotesque, but also demonstrates another, more empathic view of the whole world around us. In the theater of dolls there is no limit to the imagination of creators, because literally everything can became an animant. You need only puppeteers. The puppet theater in Poland, for both children and adults, has strong organizational foundations. There are about 30 institutional theaters (city or voivodship), as well as an increasing number of “independent theaters”. The POLUNIMA, that is, the Polish branch of the UNIMA International Union of Puppets, operates. The valuable, bilingual (Polish–English) quarterly magazine “Puppet Theater” is being issued. The number of puppet festivals is increasing rapidly, and three of them are devoted to the adult puppet theater: “Puppet is also a human” in Warsaw, “Materia Prima” in Krakow, “Metamorphoses of Puppets” in Bialystok. There is no shortage of good dramas for both adults and children (thanks to the periodical “New Art for Children and Youth” published by the Center for Children’s Arts in Poznan). Conclusions. One of the main problems is the lack of vocational education in the field of the scenography of the puppet theater. The next aspect – creative and now else financial – the puppet show is more difficult, in general more expensive and more time-consuming in preparation than the performance in the drama theater. Actor-puppeteer also gets a task those three times heavier: to play live (as an actor in a drama theater), while playing a puppet and with a puppet. Consequently, the narrative of dramatic story on the stage is triple: the actor in relation to the viewer, the puppet in relation to the viewer, the actor in relation to the puppet. The director also works double – both the actor and the puppet should be led. It is necessary to observe the effect that arises from the actions of both stage partners. So the second threat seems to be absurd, but, alas, it is very real – the escape of puppeteers from puppets. The art of the puppet theater requires hard work, and by its nature, it is more chamber. This art is important for gourmets, poets, admirers of animation skills, as well as the searchers for new artistic ways in the theater, in wide understanding. Fortunately, there are some real fans of the puppet theater, and their admiration for the miracle of animation is contagious.
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Roessler, Mary McInnis. "Accounts: Lakewood Children's Theater: Beyond Enrichment." English Journal 82, no. 7 (November 1993): 73. http://dx.doi.org/10.2307/819802.

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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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You, In-Kyung. "Performing activities of 'Children's Masterpiece Theater' in the Hyundai Theater Company." Society Of Korean Language And Literature 67 (May 30, 2020): 135–96. http://dx.doi.org/10.15711/wr.67.0.4.

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Canning, C. "EDUCATION AND POLITICS AT SEATTLE CHILDREN'S THEATER." Theater 23, no. 2 (March 1, 1992): 25–29. http://dx.doi.org/10.1215/01610775-23-2-25.

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Dissertations / Theses on the topic "Organization of children's theater"

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Terry-Beitz, Paulene. "Developments in children's theatre in Adelaide, 1836-1959 /." Title page, contents and introduction only, 1993. http://web4.library.adelaide.edu.au/theses/09AR/09art329.pdf.

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Oliver, Sarah Miranda Londré Felicia Hardison. "Kansas City's Community Children's Theatre a history /." Diss., UMK access, 2008.

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Thesis (M.A.)--Dept. of Theatre. University of Missouri--Kansas City, 2008.
"A thesis in theatre." Typescript. Advisor: Felicia Hardison Londreʹ Vita. Title from "catalog record" of the print edition Description based on contents viewed Sept. 12, 2008. Includes bibliographical references (leaves 118-120). Online version of the print edition.
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Hoppe, Meredith A. "Breaking tradition reaching for the avant-garde in theatre for young audiences /." Orlando, Fla. : University of Central Florida, 2009. http://purl.fcla.edu/fcla/etd/CFE0002968.

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Lorenz, Lissette. "Rustbelt Theater: Children's Environmental Justice Narratives from South Elyria, OH." Oberlin College Honors Theses / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1338855346.

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Wood, Margot. "Children's theatre : in search of an approach to theatre by children, for children." Thesis, Stellenbosch : Stellenbosch University, 2005. http://hdl.handle.net/10019.1/50296.

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Thesis (MA)--Stellenbosch University, 2005.
ENGLISH ABSTRACT: Children's Theatre, although appreciated by participants, has largely been marginalized, even by practitioners in theatre. It is still viewed as a lesser form oftheatre and as a dumping ground for resources from adult theatre. There are two main areas of focus as far as the field of drama for children is concerned. Both areas are based on the notion that play is an important and beneficial part of child development and that dramatic play is a natural development of free play. This study examines the similiarities and differences between the two approaches. The one area concerns itself with creative or educational drama where the child participates in drama activities, usually within a classroom situation. The other area, which is, in fact, the main focus of this study, concerns itself with theatrical presentation for children, i.e. Children's Theatre. Children's Theatre, with adults as the performers, is the most familiar form of Children's Theatre and yet, the one form which directly influences most children, in particular through participation in the school play, is Children's Theatre where children are the performers themselves, in other words, a form of participational theatre. This form of theatre has the potential for influencing children's lives immensely and yet it is often left to persons with no expertise in the field to lead such projects. The opportunity for truly enriching the participants' lives is often lost through poor methodology. Historically, the aims and values set for Children's Theatre have also undergone development to the point where a synthesis has been reached where equal emphasis is to be placed on the quality of the end product as well as the process by which such end product has been reached. A number of problems and issues specific to working in Children's Theatre are examined as they occur in different settings. These include problems concerning script, venue, the child audience and audience participation and problems dealing specifically with the process of directing a cast of children. Possible solutions to these problems are investigated. An approach, based on the theories of practitioners in the field, as well as the results of a number of practical projects, will be formulated. The practical projects will be used to investigate certain viewpoints expressed by practitioners in the field. The approach formulated should not only encourage work of a high artistic standard but should also be based on sound educational principles. Central to this is the approach and style of the director who, in Children's Theatre, is far more than just a director of a theatrical presentation. The director in Children's Theatre is always teacher and director at once.
AFRIKAASNE OPSOMMING: Kinderteater, alhoewel gewild onder deelnemers, is grootliks gemarginaliseer, selfs deur praktisyns in teater. Dit word steeds gesien as 'n mindere teatervorm en 'n stortingsterrein vir hulpbronne van volwasse teater. Daar is twee hoof fokusareas wat drama vir kinders aanbetref. Beide areas is gebaseer op die idee dat spel 'n belangrike en voordelige aspek van kinderontwikkeling is en dramatiese spel 'n natuurlike ontwikkeling van vrye spel. Hierdie studie ondersoek die ooreenkomste en verskille tussen die twee areas. Die een area fokus op kreatiewe of opvoedkundige drama waar die kind deelneem aan drama aktiwiteite, gewoonlik binne 'n klaskamer opset. Die ander area, wat die fokusarea van hierdie studie is, is gemoeid met verhoogaanbiedings vir kinders, dus Kinderteater. Kinderteater, waar volwassenes die spelers is, is die meer bekende vorm van Kinderteater en tog is Kinderteater waar kinders die optreders is, die vorm wat meer kinders beïnvloed, veral deur deelname aan die skoolproduksie. Hier is kinders self die optreders in 'n vorm van deelnemende teater. Hierdie vorm van Kinderteater het die potensiaal om kinders gewelding te beïnvloed en tog word dit dikwels oorgelaat aan persone sonder die nodige kennis op die gebied om sulke projekte te lei. Die geleentheid om kinders positief te verryk raak verlore as gevolg van swak metodologie. Histories het die waardes en oogmerke rondom Kinderteater onwikkeling ondergaan tot die punt waar 'n sintese bereik is waar klem gelê word op die kwaliteit van beide die finale produk en die proses waardeur die eindproduk bereik is. 'n Aantal probleme en kwessies wat eie is aan werk binne Kinderteater sal ondersoek word soos hulle voorkom binne verskeie opsette. Hierby word ingesluit probleme met teks, speelarea, die kindergehoor en gehoordeelname en probleme wat spesifiek handeloor die proses van regie vir kinders as spelers. Moontlike oplossing vir hierdie probleme salondersoek word. 'n Benadering gebaseer op die teorieë van praktisyns op die gebied sowel as die uitslae van 'n aantal praktiese projekte, sal geformuleer word. Die praktiese projekte sal gebruik word om die menings van praktisyns op die gebied te ondersoek. Die benadering moet werk van 'n hoogstaande artistieke gehalte bevorder en moet gebaseer wees op deurgronde onderwysbeginsels. Sentraal tot so 'n benadering is die aanslag en styl van die regisseur wat in Kinderteater veel meer moet wees as bloot 'n regisseur van 'n verhoogopvoering. Die regisseur in Kinderteater is altyd beide onderwyser en regisseur.
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Jorgensen, Luke. "Boal and youth theater in the United States /." Thesis, Connect to Dissertations & Theses @ Tufts University, 2000.

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Thesis (Ph.D.)--Tufts University, 2000.
Adviser: Downing Cless. Submitted to the Dept. of Drama. Includes bibliographical references (leaves 216-223). Access restricted to members of the Tufts University community. Also available via the World Wide Web;
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Starcher, Mary E. "Cindy's feller: an adaptation of Cinderella." Thesis, North Texas State University, 1985. https://digital.library.unt.edu/ark:/67531/metadc798179/.

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The problem with which this thesis is concerned is that of writing and directing an adaptation of the classic fairy tale, Cinderella. This study is a culmination of research on children's theatre, and the writing and producing of children's plays. The research led to the writing of the first draft of Cindy's Feller, an adaptation of Cinderella, beginning with a scenario which utilized a country-western theme. Upon completion of the first draft, the play was produced at North Texas State University during the summer of 1981. Stage directions of the play, a director's log of daily rehearsals, and an evaluation of the final productions were recorded to provide a stimulus for the writing of a final draft of Cindy's Feller and the preparation of this thesis.
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Gordon, Alana J. "The effect of social organization on children's desire to compete /." Thesis, McGill University, 1998. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=21214.

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The present study was designed to examine whether social organization influences children's desire to compete and to achieve valued outcomes in important areas of life. One hundred and fifty-eight participants (71 males and 87 females) from three classes of grade 4 and four classes of grade 6 children participated in this study. Children completed a two-part questionnaire. The first part assessed their desire to play competitive and cooperative versions of an actual game in two types of social organizations, with their one closest friend and with their group of three closest friends. The second part measured children's beliefs about the effect of social organization on the children's achievements in four life domains. For part one, results indicated that children preferred to compete in a group versus a dyad, but the social organization had no effort on the desire to play a cooperative game. For part two, children believed their groups of friends would be happier for them if they were successful in a social situation; however, they believed their one closest friend would be happier for them if they were successful in either an academic or athletic situation. Results are discussed in terms of the educational and therapeutic implications of differing social organizations.
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Gordon, Alana J. "The effect of social organization on children's desire to compete." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape7/PQDD_0028/MQ50517.pdf.

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Bruell, Marc Jacob. "Young children's organization of self knowledge : from representations to theory /." Digital version accessible at:, 1999. http://wwwlib.umi.com/cr/utexas/main.

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Books on the topic "Organization of children's theater"

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Hofileña, Fernando G. Ateneo Children's Theater. Quezon City, Philippines: Central Book Supply, Inc., 2010.

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ill, Brown Pamela 1950, ed. Karen Strange, children's theater producer. Frederick, Md: Twenty-First Century Books, 1991.

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Bellville, Cheryl Walsh. Theater magic: Behind the scenes at a children's theater. Minneapolis: Carolrhoda Books, 1986.

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Bellville, Cheryl Walsh. Theater magic: Behind the scenes at a children's theater. Minneapolis: Carolrhoda Books, 1986.

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McDaniel, Nello. Rethinking and restructuring the arts organization. New York: FEDAPT, 1990.

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Delessert, Etienne. Moon theater. Mankato, MN: Creative Editions, 2009.

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Albert, Eleanor. Jewish story theater. Los Angeles, Calif: Torah Aura Productions, 1989.

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1943-, Eggers Walter, ed. Children's theater: A paradigm, primer, and resource. Lanham, Md: Scarecrow Press, 2010.

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Kropp, Paul. HIP readers' theater plays. Toronto: High Interest Pub., 2007.

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Tragom lutke i pričala: Povijest međuratnog lutkarstva u Splitu, Sušaku, Osijeku i Dječje carstvo. Zagreb: AGM, 1994.

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Book chapters on the topic "Organization of children's theater"

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Gaskins, Suzanne. "The Cultural Organization of Young Children's Everyday Learning." In Minnesota Symposia on Child Psychology, 223–74. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2016. http://dx.doi.org/10.1002/9781119301981.ch6.

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"Organization as Theater." In Reframing Organizations, 279–94. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2017. http://dx.doi.org/10.1002/9781119281856.ch14.

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"Wild Models of the World: The Lure of the Toy Theater." In Rediscoveries in Children's Literature, 41–58. Routledge, 2013. http://dx.doi.org/10.4324/9780203054215-9.

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"Appendix 3. Burning Man Organization Mission Statement." In Theater in a Crowded Fire, 181–82. University of California Press, 2019. http://dx.doi.org/10.1525/9780520945531-013.

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"Organization and Control of the Royal Theater." In Center Stage, 31–46. Purdue University Press, 2014. http://dx.doi.org/10.2307/j.ctt6wq5jh.7.

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Dunifon, Rachel, Greg J. Duncan, and Jeanne Brooks-Gunn. "The Long-Term Impact of Parental Organization and Efficiency." In Family Investments in Children's Potential, 85–118. Psychology Press, 2004. http://dx.doi.org/10.4324/9781410610874-4.

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Chae, Hui Soo, Laura Costello, and Gary Natriello. "The Learning Theater: A Library Space to Be Re-Designed by Patrons." In Advances in Library Administration and Organization, 235–52. Emerald Group Publishing Limited, 2016. http://dx.doi.org/10.1108/s0732-067120160000036011.

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"3. Phatic Metadrama and the Touch of Irony in English Children's Theater." In Pretty Creatures, 95–136. Ithaca, NY: Cornell University Press, 2019. http://dx.doi.org/10.7591/9780801463556-006.

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"Junebug Productions and Roadside Theater." In Writing Appalachia, edited by Katherine Ledford and Theresa Lloyd, 467–75. University Press of Kentucky, 2020. http://dx.doi.org/10.5810/kentucky/9780813178790.003.0068.

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Junebug/Jack is a joint theatrical production of Junebug Productions of New Orleans and the Roadside Theater of Whitesburg, Kentucky, professional, community-based theaters whose mission is to speak for the historically marginalized and exploited communities in which they are located. Junebug Productions was founded in 1963 under the name Southern Free Theater as part of the cultural wing of the Student Nonviolent Coordinating Committee (SNCC), the influential civil rights organization. Roadside Theater was founded in 1975 as a component of Appalshop, a media production company in the Kentucky coalfields that was begun as a youth job-training program in film and a way for Appalachian people to take control of their own story. Junebug and Roadside began performing in each other’s communities in response to an increase in Ku Klux Klan activity in 1981. The companies have also partnered with grassroots theatrical groups such as Teatro Pregones from the Bronx (1993–2018) and, independently, with traditional artists from Native American communities and theater ensembles from the Czech Republic and elsewhere....
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"All the stage’s a world: the organization of international, multicultural, and global theater companies in the US." In Theater and Cultural Politics for a New World, 72–84. Routledge, 2016. http://dx.doi.org/10.4324/9781315680989-13.

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Conference papers on the topic "Organization of children's theater"

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Galushko, I. G., A. V. Galushko, and T. V. Ogel. "Theater pedagogy as a means of developing children's creative abilities." In TRENDS OF DEVELOPMENT OF SCIENCE AND EDUCATION. НИЦ «Л-Журнал», 2018. http://dx.doi.org/10.18411/lj-08-2018-06.

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Kyungwon Gil, Jimin Rhim, Taejin Ha, Young Yim Doh, and Woontack Woo. "AR Petite Theater: Augmented reality storybook for supporting children's empathy behavior." In 2014 IEEE International Symposium on Mixed and Augmented Reality - Media, Art, Social Science, Humanities and Design (ISMAR-MASH'D). IEEE, 2014. http://dx.doi.org/10.1109/ismar-amh.2014.6935433.

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Andreeva, N. A. "To the question of the organization of children's experimentation." In ТЕНДЕНЦИИ РАЗВИТИЯ НАУКИ И ОБРАЗОВАНИЯ. НИЦ «Л-Журнал», 2018. http://dx.doi.org/10.18411/lj-10-2018-26.

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Raduški, Dragoljub. "Redefining the Model of Theater Organization and Financing in Serbia on the Project Management Principles." In Proceedings of the 5th IPMA SENET Project Management Conference (SENET 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/senet-19.2019.47.

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Galitskikh, Elena O. "Educational Technology "List" as a Resource for the Organization of Children's Literature Reading." In 2nd International Forum on Teacher Education. Cognitive-crcs, 2016. http://dx.doi.org/10.15405/epsbs.2016.07.8.

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Lu, Bing. "Research on Rural Left-behind Children's Evaluation of Social Organization Services--Based on IPA Analysis Model." In 2017 2nd International Seminar on Education Innovation and Economic Management (SEIEM 2017). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/seiem-17.2018.6.

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Azovcev, D. YU, M. A. Osipova, T. A. Levit, and P. V. Nacharov. "The legal basis for the activities of a phthisiatric children's day hospital and analysis of the organization of its work." In Scientific achievements of the third millennium. SPC "LJournal", 2021. http://dx.doi.org/10.18411/scienceconf-03-2021-05.

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Татьяна, Самохвалова. "ORGANIZATION OF CHILDREN'S RECREATION AND HEALTH IMPROVEMENT IN THE PERM REGION BASED ON THE RESULTS OF THE SUMMER HEALTH CAMPAIGN IN 2020." In MODERN CITY: POWER, GOVERNANCE, ECONOMICS. Publishing House of Perm National Research Polytechnic University, 2020. http://dx.doi.org/10.15593/65.049-66/2020.18.

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Due to the spread of the new coronavirus infection COVID-19 in the Perm region, the summer health campaign in 2020 began with a delay. In the period from July 4 to August 31, 2020, the employment of children was organized in the format of online shifts, remote events, the organization of small forms of recreation and employment of children, as well as sending children to camps in compliance with all anti-epidemiological measures developed by the Office of Rospotrebnadzor in the Perm region.
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Bartienieva, Iryna, and Oksana Nozdrova. "DEVELOPMENT OF CREATIVE POTENTIAL OF THE FUTURE TEACHER IN THE ORGANIZATION OF PEDAGOGICAL EDUCATIONAL ACTIVITY IN THE CONDITIONS OF CHILDREN'S SUMMER IMPROVING CAMP." In II INTERNATIONAL SCIENCE CONFERENCE ON SCIENCE AND PRACTICAL TECHNOLOGIES. International Science Group, 2021. http://dx.doi.org/10.46299/isg.ib.i.

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Kokoreva, Oksana I. "The possibilities of using folklore works for the correction of mnemic processes in children with mental retardation." In Особый ребенок: Обучение, воспитание, развитие. Yaroslavl state pedagogical university named after К. D. Ushinsky, 2021. http://dx.doi.org/10.20323/978-5-00089-474-3-2021-164-168.

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The article substantiates the possibility of using folk pedagogy means for the development of mnemonic processes in preschool children with mental retardation. The characteristic of the model of development of mnemonic processes in children with mental retardation by means of folk art in which methods, forms of work, kinds of children's activity and functional experts of the educational organization are defined is given
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Reports on the topic "Organization of children's theater"

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Whitehead, III, and James H. Taking Command in the Arctic: The Need for a Command Organization in the Arctic Theater. Fort Belvoir, VA: Defense Technical Information Center, October 2008. http://dx.doi.org/10.21236/ada494220.

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Borges, Vera, Pedro Costa, and Susana Graça. Artistic work and structural organization of theater groups in Lisbon area. Five empirical standpoints to inform public policies. DINÂMIA'CET-IUL, 2013. http://dx.doi.org/10.7749/dinamiacet-iul.wp.2013.02.

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