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

Author: Grafiati

Published: 4 June 2021

Last updated: 16 February 2022

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Barbara, Bennett. "Summer Program Turns into Children's Theater Workshop." Gifted Child Today 17, no. 1 (January 1994): 38–40. http://dx.doi.org/10.1177/107621759401700114.

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12

Галина Вольчева. "FORUM-THEATRE AS A MEANS OF FORMING CONSTRUCTIVE BEHAVIOR OF ADOLESCENTS IN CONFLICT SITUATION." Social work and social education, no. 5 (December 23, 2020): 59–65. http://dx.doi.org/10.31499/2618-0715.5.2020.220771.

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The article analyzes the innovations in the educational space of children’s health and recreation facilities. The definition of “forum-theatre” is characterized and the history of its origin is revealed. The features of the use of socio-pedagogical technology “forum-theatre” as a means of forming constructive behaviour of adolescents during the conflict are theoretically substantiated in the article. The structure and the tasks for the organization of forum-theatre are defined.The model of a modern children’s recreational system must be built, taking into account the main problem areas of social development. According to modern educators and psychologists, aggressive manifestations of socio-cultural development significantly reduce the adaptive capacity of children and affect their physical and mental health. Restoring physical health and raising the level of stress resistance in children is an urgent task for modern children’s health and recreation facilities.Socio-pedagogical technology “forum-theatre” is a powerful and flexible communication tool, which, on the one hand, can teach the younger generation to respond adequately to the conflict situation and minimize its consequences, and, on the other hand, to make society more humane.This technology has the right to exist and be widely used in educational work with children because it provides optimal conditions for their social experience. In addition, it demonstrates to the younger generation that the ability to defend their own opinions, prevent conflict and actively participate in building their own lives is very important in modern society.

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13

Kilkka, Lois. "ImaginOn: Security Issues in a Joint-Use Children's Library/Children's Theater Facility." Library & Archival Security 21, no. 2 (September 11, 2008): 87–113. http://dx.doi.org/10.1080/01960070802201441.

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14

Dolgov, K. M. "NATALIA ILINICHNA SATS: DEMIURGE OF CHILDREN'S MUSICAL THEATER." Concept: philosophy, religion, culture 1, no. 9 (2019): 228–35. http://dx.doi.org/10.24833/2541-8831-2019-1-9-228-235.

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15

Georgakaki, Konstantza. "Children's Theater in Greece from 1949 to 2001." Journal of Modern Greek Studies 25, no. 2 (2007): 163–80. http://dx.doi.org/10.1353/mgs.2008.0010.

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16

Zipes, J. "Political Children's Theater in the Age of Globalization." Theater 33, no. 2 (January 1, 2003): 3–25. http://dx.doi.org/10.1215/01610775-33-2-3.

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17

Johanson, Katya, and Hilary Glow. "Being and Becoming: Children as Audiences." New Theatre Quarterly 27, no. 1 (February 2011): 60–70. http://dx.doi.org/10.1017/s0266464x11000054.

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In this article, Katya Johanson and Hilary Glow examine the ways in which performing arts companies and arts policy institutions perceive the needs of children as audiences. Historically, children have been promoted as arts audiences. Some of these represent an attempt to fashion the adults of the future – as audiences, citizens of a nation, or members of a specific community. Other rationales focus on the needs or rights of the child, such as educational goals or the provision of an antidote to the perceived corrupting effect of electronic entertainment. Drawing on interviews with performing arts practitioners, the authors explore some of these themes through case studies of three children's theatre companies, identifying the development of policy rationales for the support of practices directed at children which are primarily based on pedagogical principles. The case studies reveal a shift away from educational goals for children's theatre, and identify a new emphasis on the importance of valuing children's aesthetic choices, examining how these trends are enacted within the case-study organizations, and the implications of these trends for company programming. Hilary Glow is Senior Lecturer and Director of the Arts Management Program at Deakin University, Victoria. She has published articles on cultural policy and the audience experience in various journals, and in a monograph on Australian political theatre (2007). Katya Johanson lectures and researches in the School of Communication and Creative Arts at Deakin University. She has published on Australian cultural policy and on the relationship between art, politics and national identity. With Glow she is the author of a monograph on Australian indigenous performing arts (2009).

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18

Drozdov, N. A. "Organization of cooperation between the theater and schools (historical aspect)." Vestnik of Samara University. History, pedagogics, philology 26, no. 4 (December 30, 2020): 64–67. http://dx.doi.org/10.18287/2542-0445-2020-26-4-64-67.

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The article considers the historical organizational and methodological experience of cooperation between the Leningrad Youth Theater and schools of the city in the late 1950-ies. The period is characterized by the end of the artistic direction of A.A. Bryantsev and the restructuring of soviet school in 1958. The purpose of the article is to identify the organizational and pedagogical conditions of cooperation between schools and the theater in the study period. The research problems are based on the pedagogical experience, the role and significance of theater teachers and school teachers in the process of cooperation. A set of historical and pedagogical methods (historical and genetic method, chronological, retrospective), as well as comparative, biographical methods allowed us to consider the historical practice of cooperation between the school and the theater in its development, sequence and regularity. The complex of historical and pedagogical methods (historical and genetic method, chronological, retrospective), as well as comparative, biographical methods allowed us to consider the historical practice of cooperation between school and the theater in its development, sequence and regularity. The principle of historicism and research methods allowed us to analyze the historical period and events in terms of their features and opportunities for participants in educational activities. As a result of the study, it was revealed that the emphasis of the joint activities of the school and the theater is based the assimilation of the moral and ethical component of performance by schoolchildren. The experience and professional duties of the teachers of the Leningrad Youth Theater are considered. The educational work of soviet school and the Theater are described as the result of the research

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Dmitrieva, L. V. "Children's immersive theater in the party practices of the museum." Voprosy kul'turologii (Issues of Cultural Studies), no. 1 (January 1, 2021): 50–55. http://dx.doi.org/10.33920/nik-01-2101-06.

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The publication was prepared on the basis of practical experience with the children's audience of the museum. Approaches and principles of immersive theater are considered, which are the basis for designing an interactive excursion-performance as a form of mastering the historical landscape through partisan cultural practices. The proposed project is the basic part of the program of summer visiting practice of students of the “Cultural Education” profile in the museum-reserve “Tauric Chersonesos” (2017–2019).

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20

Shein, Jean-Emmanuel. "Organization Spotlight: International Children's Literacy Corps." Childhood Education 91, no. 3 (May 4, 2015): 208–11. http://dx.doi.org/10.1080/00094056.2015.1047313.

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21

Hock, Howard S., Cynthia L. Park, and David F. Bjorklund. "Temporal Organization in Children's Strategy Formation." Journal of Experimental Child Psychology 70, no. 3 (September 1998): 187–206. http://dx.doi.org/10.1006/jecp.1998.2457.

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22

Mejía-Arauz, Rebeca, Barbara Rogoff, Amy Dexter, and Behnosh Najafi. "Cultural Variation in Children's Social Organization." Child Development 78, no. 3 (May 2007): 1001–14. http://dx.doi.org/10.1111/j.1467-8624.2007.01046.x.

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Macklin, E. Kim, Glen T. Hvenegaard, and Paul E. Johnson. "Improvisational Theater Games for Children in Park Interpretation." Journal of Interpretation Research 15, no. 1 (April 2010): 7–13. http://dx.doi.org/10.1177/109258721001500102.

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With children increasingly disconnected from nature and much interpretation geared toward adults, agencies need age-appropriate techniques for children. Improvisational theater games use group-based role-playing to solve problems through dialogue and activity in a creative, spontaneous, supportive, and interactive atmosphere. This paper highlights children's enjoyment and perceived learning resulting from a new improvisation program in Banff National Park, Canada. We thematically analyzed open-ended evaluations of an improvisation-dominated program. The activities enjoyed most included improvisation, because they involved fun, physical activity, creativity, challenge, and novelty. The least-enjoyed activities were physical activity games and an interpretive talk. Perceived learning was highest from an interpretive talk and nature walk and least from games focused on physical or group activities. Most perceived and desired learning related to natural history and park management topics. Despite being nontraditional and non-thematic, improvisation can contribute to children's enjoyment and perceived learning in park interpretive programs.

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24

Porter, Karen. "Commentary Children's Work, Children's Rights." Practicing Anthropology 24, no. 1 (January 1, 2002): 37–38. http://dx.doi.org/10.17730/praa.24.1.e404856244179226.

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Most people would agree that enslaving children or forcing them to work in sweatshops or brothels are morally reprehensible practices. Yet the number of children laboring in hazardous and exploitative conditions around the world continues to grow. In June 1998, the International Labour Organization reported that, in the developing countries, some 250 million children aged 5 to 14 work— 120 million of them full time. Outlawing child labor may seem to be the obvious solution, but it is not the best way to protect children.

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Trigona, Raffaella. "The Caring Theater or the Social Organization of Art." World Futures 68, no. 3 (April 2012): 197–205. http://dx.doi.org/10.1080/02604027.2012.668413.

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26

Keçeli, Fatma. "Can a place be allocated to Anti-Heroes in Children's Theater?" Procedia - Social and Behavioral Sciences 15 (2011): 1097–101. http://dx.doi.org/10.1016/j.sbspro.2011.03.245.

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27

Bečica, Jiří. "Income Self-Sufficiency and Profitability of Professional Theatres in the Czech Republic." Review of Economic Perspectives 18, no. 3 (September 1, 2018): 285–99. http://dx.doi.org/10.2478/revecp-2018-0014.

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Abstract The paper assesses the professional theatres operating under the Association of Professional Theatres in the Czech Republic in the period 2011-2015 using the financial analysis, particularly the profitability indicator ratio (ROA, ROCE, ROE, ROS) and the rate of income self-sufficiency. The reason for this economic exploration of theatres is in the fact that the service they provide fall under collectively provided public goods (a common feature of most cultural institutions), and that the market is not able to effectively secure these goods on the profit principle. The J. K. Tyl Theatre in Pilsen, the Drak Theatre in Hradec Králové and the Moravian Slovakia Theatre in Uherské Hradiště have reported the best results of profitability indicators. Whereas the worst results in profitability have been reported for the North Bohemian Theatre of Opera and Ballet in Ústí nad Labem, the Antonín Dvořák Theatre in Příbram and the South Bohemian Theatre in České Budějovice. The rate of income self-sufficiency within 2011-2015 ranges from 12-55% of the total budget volume, and volume and shows a strong dependency of professional theatres on foreign resources, particularly from public resources of the local levels of the government being the most common funder of these cultural institutions. It turns out that, from the economic point of view, it is illogical to transform non-profit contributory organizations in culture with a public funder into a different legal form when the purpose of the establishment and the funder remain preserved. Better results are generally obtained from single-genre theatres and, in terms of the auditorium size, smaller theatres focusing on drama or children's production.

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Ivchenko, L., S. Kuzhyl, and M. Petrenko. "FEATURES OF CHILDREN'S TOURISM ORGANIZATION IN UKRAINE." Ekonomika ta derzhava, no. 1 (January 31, 2019): 83. http://dx.doi.org/10.32702/2306-6806.2019.1.83.

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Denisenko, M., and D. Henbach. "FEATURES OF CHILDREN'S TOURISM ORGANIZATION IN UKRAINE." Ekonomika ta derzhava, no. 10 (October 31, 2019): 46. http://dx.doi.org/10.32702/2306-6806.2019.10.46.

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30

Sazonova, A. "ORGANIZATION OF CHILDREN'S EXPERIMENTAL ACTIVITY PRESCHOOL AGE." Research Notes, no. 3 (November 6, 2020): 98–104. http://dx.doi.org/10.31654/2663-4902-2020-pp-3-98-104.

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31

Kozharina, Maria Sergeevna, and Natalia Zotova. "Features of the organization of children's playgrounds." Russian Electronic Scientific Journal, no. 4 (2019): 174–88. http://dx.doi.org/10.31563/2308-9644-2019-34-4-174-188.

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32

Ronda, Bruce A. ""The Theater of Feelings": Psychodrama and Historical Context in American Children's Fiction." Children's Literature Association Quarterly 20, no. 4 (1995): 191–93. http://dx.doi.org/10.1353/chq.0.0881.

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33

Ene, Cristian, Alexandru Baboș, and Marius Bucurenciu. "The Impact of Toxic Leadership in Theater of Operations – Afghanistan." Land Forces Academy Review 25, no. 3 (September 1, 2020): 175–80. http://dx.doi.org/10.2478/raft-2020-0021.

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AbstractThe toxic leadership point out damaging attitudes and behaviours which can affect leaders’ personal traits resulting severe damage to the organization and its subordinates. Given the multinational environment from a theatre of operations, what might be toxic for the military in one country might be accepted in another one, taking into consideration the discrepancies between cultures. No matter their cultural background or their national particularities, the toxic leaders reduce the effectiveness of the organization and of it’s operations. This article wants to highlight, from an analytical approach, the existing types of toxic leaders and their impact to the military organization in Afghanistan theatre of operations.

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WIGGLESWORTH, GILLIAN. "Children's individual approaches to the organization of narrative." Journal of Child Language 24, no. 2 (June 1997): 279–309. http://dx.doi.org/10.1017/s0305000997003048.

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This paper investigates the similarities and differences observed in individual approaches to the linguistic organization of narrative. Twenty subjects in each of five age groups (four, six, eight, ten years and adult) were asked to relate a narrative elicited from a picture book. All references to the animate characters in the book were coded for form (nominal/pronominal), and function (switch versus maintenance). Individual analyses of the narratives indicated that a variety of strategies were used across all age groups. Strategies identified included thematic subject, nominal and anaphoric. When the narrative was divided into segments based on the referential load of each segment, it was found that there was an interaction between the strategy adopted in the first segment, the age of the subject and the referential load of subsequent segments. A variety of strategies was adopted by all age groups although there were preferential trends observable within each group. The ability to maintain a strategy across the varying referential load of the narrative increased with age. Five developmental stages were identified from the analysis which enabled certain tentative predictions to be made about the way children approach a complex narrative task, suggesting that children pass through a number of stages which reflect their ability to organize the referential content of the narrative at differing speech levels.

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Tolstova, V. A. "641 Functional organization of partially sighted children's brain." International Journal of Psychophysiology 30, no. 1-2 (September 1998): 243. http://dx.doi.org/10.1016/s0167-8760(98)90640-7.

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Benenson, Joyce, Nicholas Apostoleris, and Jodi Parnass. "The organization of children's same-sex peer relationships." New Directions for Child and Adolescent Development 1998, no. 81 (1998): 5–23. http://dx.doi.org/10.1002/cd.23219988103.

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Simpson, Sharon M., Barbara G. Licht, Richard K. Wagner, and Sandra R. Stader. "Organization of children's academic ability-related self-perceptions." Journal of Educational Psychology 88, no. 3 (1996): 387–96. http://dx.doi.org/10.1037/0022-0663.88.3.387.

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Crall, James J. "Children's Oral Health Services: Organization and Financing Considerations." Ambulatory Pediatrics 2, no. 2 (March 2002): 148–53. http://dx.doi.org/10.1367/1539-4409(2002)002<0148:csohso>2.0.co;2.

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Chuo, Mei-Hsiu. "Innovation Drama Teaching of “New Pinocchio” in Chinese Language Learning: Action Research." PAROLE: Journal of Linguistics and Education 9, no. 1 (April 30, 2019): 24. http://dx.doi.org/10.14710/parole.v9i1.24-30.

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The prevalence of learning Chinese in the United States is very popular with the learning Chinese language throughout the world. This atmosphere is very encouraging for children in Chinese schools and improves their learning motivation. This research is action research and the purpose of this study is (1) to explore the current situation of teaching Chinese in the United States and to answer the research questions based on the reaction and self-reflection of young children, (2) to revise teaching materials and teaching methods during the research, (3) to utilize the innovation story theater model into the Chinese curriculum of the bilingual school in USA, and (4) to find out the suggestions and feasible solutions to the various problems. The research found that if learning activities are intrinsically attractive there is no need to arrange any games to motivate children's learning. Moreover, the findings show that the innovative story theater is very practical and can effectively enhance children's interest in learning Chinese

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Magidovich, Marina Leоnidovna. "The Potential of Ballet Performances in the Development of Situational Cultural Tourism, Based on the Study of the Audience of the St. Petersburg state Academic Boris Eifman Ballet Theater in St. Petersburg." Теория и практика общественного развития, no. 11 (November 6, 2020): 20–26. http://dx.doi.org/10.24158/tipor.2020.11.2.

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The paper presents data on the results of the re-search on the potential of performances of the St. Petersburg state Academic Boris Eifman ballet thea-ter (Boris Eifman Theater) as a tourist destination, using the example of studying the cultural prefer-ences and practices of visitors to this theater. The main data on the theater audience was obtained during a visit to the performances of the Boris Eif-man Theater in St. Petersburg, in March – April 2019. We can note the significant specifics of the audience of a particular theater, which is due to both the crea-tive method of the theater's artistic Director B. E. Eifman, and the organization of the theater's theatri-cal, stage and tour process. The identified character-istics of the theater audience, as well as the study of the tourist market of St. Petersburg, allowed us to conclude that it is possible to develop a certain segment of situational cultural tourism in St. Peters-burg, both for domestic and outbound tourism.

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Bukina, E. Yu. "Network competitions as one of the forms of extracurricular activities." Informatics in school, no. 3 (May 14, 2020): 8–15. http://dx.doi.org/10.32517/2221-1993-2020-19-3-8-15.

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The article describes the organization and conduct of the distance contest "Networking wiseacres" on the theme "2019 — Year of the Theater in Russia". The competition is aimed at forming students' ideas about the theater and its importance in society, developing students' interest in information and communication technologies, encouraging students to use information technologies as an educational resource, and shaping and developing the students' information culture.

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Hare, Sara, and Mariah Benham. "Life According to Popular Children's Films." Advances in Social Sciences Research Journal 8, no. 6 (June 12, 2021): 10–21. http://dx.doi.org/10.14738/assrj.86.10228.

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This content analysis uses data gathered from the 150 top-grossing children’s animated films from 1990 to 2020 (based on North American theater sales) to examine the gender disparities and stereotypes in children’s media. The study shows that female characters are underrepresented in lead roles (14%), main gangs (28.1%), and speaking roles (27.2%). The central female characters are portrayed stereotypically. When female characters appear, they are more likely to be portrayed in a romantic and family relationship than male characters. However, films with a greater percentage of women writers are correlated with more speaking roles for female characters. The impact of media on children’s development is indisputable due to the way technology has become ingrained in day-to-day life. The lack of representation of female characters reinforces the stereotypical portrayals that negatively affect the self-esteem of girls and train boys to expect an androcentric world. The skewed and stereotypical portrayal of female characters fails to accurately represent the diversity of other parts of the world. While many of these films are produced in the West, they are widely distributed and consumed all over the world.

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Skorokhodova, P. S. "«Heritage of the Arts Theater» is on Open Access." Bibliotekovedenie [Library and Information Science (Russia)], no. 2 (April 28, 2014): 28–31. http://dx.doi.org/10.25281/0869-608x-2014-0-2-28-31.

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The author reveals the significance of the Digital Project «Heritage of the Arts Theater», which presents in the form of E-books over 40 publications of the Moscow Arts Theater named after A. Chekhov. There are described the features of the project and the details of information organization, associated mainly with the large amounts of material. The results of the work are presented in the form of references, electronic publications and programs.

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DEMUTH, KATHERINE, and ELIZABETH McCULLOUGH. "The prosodic (re)organization of children's early English articles." Journal of Child Language 36, no. 1 (September 9, 2008): 173–200. http://dx.doi.org/10.1017/s0305000908008921.

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ABSTRACTResearchers have long been puzzled by children's variable omission of grammatical morphemes, often attributing this to a lack of semantic or syntactic competence. Recent studies suggest that some of this variability may be due to phonological constraints. This paper explored this issue further by conducting a longitudinal study of five English-speaking one- to two-year-olds' acquisition of articles. It found that most children were more likely to produce articles when these could be produced as part of a disyllabic foot. However, acoustic analysis revealed that one child initially produced all articles as independent prosodic words. These findings confirm that some of the variable production of articles is conditioned by constraints on children's early phonologies, providing further support for the Prosodic Licensing Hypothesis. They also hold important implications for our understanding of the emergence of syntactic knowledge.

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Johnson, Vanessa K., Philip A. Cowan, and Carolyn Pape Cowan. "Children's classroom behavior: The unique contribution of family organization." Journal of Family Psychology 13, no. 3 (1999): 355–71. http://dx.doi.org/10.1037/0893-3200.13.3.355.

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Mistry, Jayanthi J., and Garrett W. Lange. "Children's Organization and Recall of Information in Scripted Narratives." Child Development 56, no. 4 (August 1985): 953. http://dx.doi.org/10.2307/1130107.

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Abramov, Sergej. "Organization of children's leisure. Pedagogical approaches in modern education." St.Tikhons' University Review. Series IV. Pedagogy. Psychology 32, no. 1 (March 31, 2014): 33–44. http://dx.doi.org/10.15382/sturiv201432.33-44.

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Buccioli, Matteo, and Leo Traldi. "Control tower to surgical theater." Current Directions in Biomedical Engineering 2, no. 1 (September 1, 2016): 345–49. http://dx.doi.org/10.1515/cdbme-2016-0077.

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AbstractThe main social priority is to reduce public debt and to streamline national health service (NHS) costs. Consequently, health managers need to acquire operating methods within their managerial structures so that all available resources are better planned in terms of effectiveness and efficiency, without compromising patient safety. In order to identify the information categories needed to know the whole surgical process is necessary to divide these in two main categories, supply and demand. Demand Information Group (DIG) contains the information that identify patients and its needs in terms of care. Instead Supply Information Group (SIG) contains information about hospital resources in order to cover the supply. The surgical process analyzed in terms such as industrial production process has the goal of produce the “health product for the patient” and its central part is performed in the operating room by a surgical team. This does not mean that the precedent and subsequent phases of the operating room have minor importance, in fact to obtain a high quality “health product” and reduce to a minimum the clinical risks related to the patient it is necessary that each phase of the process is carried out in the right way. The implementation of a Control Tower Approach allows for the management of productive process, able to guide hospital managers to identify the best strategies and to improve the risk management of patient safety in response to the guidelines of the World Health Organization.

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Berezin, Mabel. "The Organization of Political Ideology: Culture, State, and Theater in Fascist Italy." American Sociological Review 56, no. 5 (October 1991): 639. http://dx.doi.org/10.2307/2096085.

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Ramos Holguín, Bertha, Jahir Aguirre Morales, and Angélica Palacios. "Theater as a safe environment to start productive skills development in an EFL classroom." Revista Boletín Redipe 10, no. 8 (August 1, 2021): 410–21. http://dx.doi.org/10.36260/rbr.v10i8.1415.

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This article describes a pedagogical proposal based on theater as a safe space to develop productive skills in an EFL classroom. Thirty-six eleventh graders from a public school in Tunja participated in the theater sessions. In each session, we collected data through recordings, interviews, and field notes to understand the impact of the pedagogical intervention. The findings suggested that theater could help créate a safe environment that decreased students’ anxiety levels while exploring the language. As a result, the students’ productive skills started to emerge. We argue the need to change classroom dynamics, organization, and time management in order to create transformative places that foster safe environments in the EFL classroom.

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