Relevant bibliographies by topics / Performing Arts / Theater / General

Contents

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

Academic literature on the topic 'Performing Arts / Theater / General'

Author: Grafiati
Published: 4 June 2021
Last updated: 30 July 2024

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Journal articles on the topic "Performing Arts / Theater / General"

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Matsudaira, Izumi, and Yasuyuki Taki. "Perceived stress levels in older adults with financial strain are diminished after theater practice." F1000Research 11 (May 23, 2022): 563. http://dx.doi.org/10.12688/f1000research.110340.1.

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Background: Participating in theater has been shown to be useful for reducing cognitive decline in older adults. This study focused on the social inclusion aspect of the performing arts and aimed to examine whether participation in the theater could help prevent dementia in older adults who are vulnerable to social exclusion. Methods: Our participants were 371 community-dwelling older adults who belonged to the Gold Arts Club organized by the Saitama Arts Theatre. The change in perceived stress levels after a month and a half of theater practice were compared between older adults with and without financial strain. Results: It was revealed that older adults with financial strain had a significantly greater reduction in perceived stress levels than those without financial strain after a month and a half of theater practice. Conclusions: Since stress is one of the risk factors for cognitive decline, the results of this study suggest that participation in theater may be an effective way of reducing cognitive decline associated with dementia in the older people who feel strained financially.
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Yu, Eun Hye, and Jeongbae Park. "A Study on the Audience Perception of Liveness and Viewing Immersion in the performing arts video." Global Knowledge and Convergence Association 5, no. 2 (December 31, 2022): 85–107. http://dx.doi.org/10.47636/gkca.2022.5.2.85.

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This study examined the liveness of the digital theatre in the academic world by applying qualitative analysis techniques, focusing on the effect on the audience's viewing immersion based on previous studies. The conclusions are following: First, viewing immersion was analyzed from the general characteristics of the respondents. In addition, the research questions were derived by analyzing the qualitative contents of the relationship between the digital theatre and the liveness variable. It was confirmed that there is a certain relationship between liveness of the digital theatre and viewing immersion by analyzing watching experiences of the digital theatre in research question 1.2.3, the influencing relationship between liveness and audience's perception in research question 4.5, and the future assignments associated with viewing immersion in research question 6.7.8.9.10. For the future development of the performing arts industry, the following is suggested from the implications of the study. First, the paradigm of the performing arts industry is changing under the technological progress and the digital revolution made up of the development of technology. Audiences are no longer watching at the theater or concert hall only, but they are using various media such as smartphones, computers, TVs, movie theaters, and VR devices everywhere. Therefore, the communication method and interaction with the audiences in the digital era should be different from the previous performing arts. Next, the digital theatre that occurred in a pandemic situation is not a complete substitute for the existing on-site theatre, but a diversified into a new type of performing arts industry, which suggests setting up countermeasures. There are several limitations indicated in this study, therefore follow-up studies are needed. The reasons are not only that it has a limitation of generalization by setting respondents’ pool for in-depth interviewing in order to make a qualitative analysis but also that it was not able to be more intensive discussion due to the lack of previous studies directly related to the digital theatre·liveness·viewing immersion. In particular, there are limitations that there was not specific statistics or data set suggested which is able to indicate the difference between the audiences of a face-to-face performance (i.e., offline theatre) and the audiences of a non-face-to-faceperformance (i.e., online theatre).
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Wang, Mingjin. "A Comparative Study of Public Art Education by the State Theaters in Korean and China." SHS Web of Conferences 158 (2023): 02008. http://dx.doi.org/10.1051/shsconf/202315802008.

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As a contributor to the construction of a modern public cultural service system, theaters, together with libraries, art galleries, cultural centers, etc., shoulder the social responsibility of public art education. Public art education takes public art service institutions as the carrier. At present, schools are the most popular and developed institutions among public cultural service institutions. With the advancement of socialization, public cultural and art institutions are flourishing. Funded and operated by the government, more and more public institutions bear the social responsibility of public art education in the new era and shape the diversified forms of public arts education. With National Theater of Korea and the National Theater for the Performing Arts as the objects for its research, this paper analyzes the similarities and differences between the measures for public art education in the two countries through a comparative study.
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Tomchuk, David, Kyle Schneider, and Jacklyn Bascomb-Harrison. "COVID-19 Symptom Reporting Compliance Rates Among University Performing Arts Majors." Medical Problems of Performing Artists 38, no. 2 (June 1, 2023): 89–96. http://dx.doi.org/10.21091/mppa.2023.2011.

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AIMS: The COVID-19 pandemic negatively affected the performing arts sector by temporarily closing venues. As venues reopened, COVID-19 symptom self-reporting and monitoring were one tool to identify potentially symptomatic cast and crew, who would then undergo contact tracing, testing, or isolation to prevent spreading COVID-19. However, the compliance rates for submitting a COVID-19 self-monitoring checklist among undergraduate performing art majors remain unknown. METHODS: This retrospective medical chart review investigated 282 cast and crew (68 males and 214 females) regarding their daily COVID-19 symptom report documents across the genres of dance, musical theater, and vocal performance throughout the production runs of 11 performances at a midwestern United States university’s integrated performing arts campus. Compliance regarding the completion of the COVID-19 symptom checklist was compared between gender identity, performance semester, and performance type throughout the 2020–2021 academic year. RESULTS: There was no statistically significant difference on masking compliance when comparing males (mean 73.6%) and females (73.8%). The completion of the symptom self-reporting during the fall 2020 semester was statistically significantly higher than in the spring 2021 semester (F = 6.065, t = 4.485, df = 229.661, p = 0.014, d = 0.52). Additionally, those participating in musical theater were more compliant than those in vocal performance (F(2,280) = 4.410, p = 0.013, d = 0.031). There was no statistically significant difference between dance and musical theater or vocal performance and dance genres regarding overall compliance. CONCLUSIONS: These findings can help understand the groups of performing artists who would comply with the public health measure of completing a daily symptom checklist for COVID-19 or similar communicable diseases.
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Lomelí, Karla, and Karina Gutierrez. "Examining the Intersections of Culturally-Relevant Pedagogies and Youth Literature in Theatre Performing Arts and Its Implications for a More Inclusive Learning Experience for BIPOC Students." Journal of Education and Culture Studies 6, no. 4 (November 29, 2022): p91. http://dx.doi.org/10.22158/jecs.v6n4p91.

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This work aims to examine the potential impact of theater guides based on the literary work of BIPOC authors and the culturally relevant pedagogical experiences rendered for students of color. We examine the ways that the exclusion of culturally relevant pedagogies in the creation of theater guides for BIPOC and non-BIPOC students hold the potential to further marginalize BIPOC narratives. We posit that standard approaches to the construction of theater guides of authors of color fails to center familial and cultural knowledge that centers the cultural authenticity of the literary work intended by the authors. This work acknowledges the historical exclusion of BIPOC voices in theatre performance and to that end, this work seeks to analyze how educational guides can work in tandem with Latina/o/x/e literature to center a more authentic experience of BIPOC communities. In this work we reimagine pedagogical practices that are 1) culturally competent and 2) bolster the intersectionality of the lived experiences of BIPOC communities in the educational guides of theatrical productions. This work will provide culturally competent two dramaturgical tenants for educators to consider.
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Gian, Carlo U. de Jesus, and Katrina P. de Jesus Ana. "Revitalizing Philippine Theater: A Framework for Theater as Creative Entrepreneurship." Asian Trade Association 10, no. 1 (June 30, 2023): 85–101. http://dx.doi.org/10.22447/jatb.10.1.202306.85.

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Purpose – Despite the rich culture of the Philippines, the country has not been able to create products, services, and experiences that sustainably cater to domestic and international markets. Instead of harnessing its creative force to drive economic growth, it remains a creative labor supplier. The country is envisioned to become “a major creative hub in the Asia-Pacific, with strong and thriving creative industries” (British Council, 2017). Performing arts, including theater, is a key creative industries sector. However, theater is beset with precarity and instability (Santiago, 2021). This study sought to analyze the challenges and opportunities for revitalizing theater as an industry. Design/Methodology/Approach – In this investigation, a critical review was employed. This methodology not only describes the phenomena, but also formulates a re-conceptualization based on an integrative review of old and current models. A comparative analysis of creative economy models was made between Philippine theater and theaters internationally. Findings – Philippine theater is not fully utilizing its economic potential because current models involve high production costs, need for highly specialized creative labor, and lack of enabling policies. Among the four creative economy models (Potts and Cunningham, 2010), Philippine theater may benefit from Model 3, the Innovation Model, which may evolve into Model 4. Mapping representative theater companies and genres across the models provides insights into directions for theater innovations. A conceptual framework for innovating Philippine theater through Creative Entrepreneurship is forwarded. Research Implications – The framework yields valuable insights for theater managers, educators, heritage and cultural advocates, tourism creatives, and entrepreneurs.
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Trna, Jan. "Diskursive Aspekte der Sprachvermittlung an der Theater-Fakultät der Janáček-Akademie für Musik und Darstellende Kunst in Brno/Tschechien." Brünner Beiträge zur Germanistik und Nordistik, no. 2 (2023): 197–208. http://dx.doi.org/10.5817/bbgn2023-2-13.

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The article takes a look at some specifics of teaching German at the Theater faculty of the Janáček Academy of Music and Performing Arts (JAMU) in Brno/Czech Republic. Specifically, it addresses the question of how to enable students of theater directing to actively participate in discursive practices in German as a foreign language. In the following, the question of how the discourse skills acquired in Czech subject teaching could be made fruitful in German teaching is explored.
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Rensing, Tom, Kun-young Chiu, Gregory P. Hayes, George Southworth, and Earl Shimp. "Loadbearing Architectural Precast Panels Provide Solution for Performing Arts Center Theater Expansion." PCI Journal 44, no. 4 (July 1, 1999): 44–54. http://dx.doi.org/10.15554/pcij.07011999.44.54.

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Grebenik, E. N. "DIFFERENTIATION OF THE PUBLIC BY THE LEVEL OF ORIENTATIONS TO STAGE ART." Izvestiya of the Samara Science Centre of the Russian Academy of Sciences. Social, Humanitarian, Medicobiological Sciences 25, no. 92 (2023): 79–84. http://dx.doi.org/10.37313/2413-9645-2023-25-92-79-84.

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At the moment, an important feature of the existence of the theater as a socio-cultural institution is its functioning in market conditions. Performances become the subject of sale and purchase, and the hedonistic function of the theater is opposed by great competition: cinema, the Internet, social networks, entertainment shows and show programs. In this regard, in order to remain in the consumer market, the theater uses innovative technologies and experimental forms, which lead to the loss of the uniqueness of the theater and a decrease in the level of the public. The effective implementation of the ideological and educational functions of the theater is directly related to the level of training of the theatrical public. The questions of his typology, the classification of the level of art education, are decisive in the perception of the performance. The genre orientation and subject orientation of theaters certainly depend on the ability of the public to perceive works of theatrical art. The article deals with the analysis of sociological studies of the interaction of the individual with art, as well as the study of sociocultural processes that form the orientation of the theater audience towards works of theatrical art. The author of the article pays special attention to the leisure activities of individuals and the formed stereotypes of the theatrical audience. The author also carried out an analysis of the cultural and leisure behavior of the public and derived the differentiation of the public according to the level of orientations and preferences for the performing arts.
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Nellhaus, Tobin. "Online Role-playing Games and the Definition of Theatre." New Theatre Quarterly 33, no. 4 (October 11, 2017): 345–59. http://dx.doi.org/10.1017/s0266464x17000483.

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Online role-playing games are a form of entertainment in which players create characters and improvisationally perform scenes together within a digital virtual world. It has many theatre-like aspects, which raises the question of whether it is in fact a form of theatre. To answer that question, however, one must first have a definition of theatre – an issue with disciplinary consequences – and in this article Tobin Nellhaus develops a definition founded on social ontology, suggesting that theatrical performance, unlike other social practices, replicates society's ontology. From that perspective, online role-playing meets the definition of theatre. But its digital environment raises another set of problems, since embodiment, space, and presence in online role-playing are necessarily unlike what we experience in traditional theatre. Here, Nellhaus brings these three aspects of performance together through the concept of embodied social presence, showing how they operate in both customary theatre and online role-playing. Tobin Nellhaus is an independent scholar who was Librarian for Performing Arts, Media, and Philosophy at Yale University. He has published mainly on the relationship between theatre and communication practices, and on critical realist theory in theatre historiography. He is the General Editor of the third edition of Theatre Histories (London: Routledge, 2016), and the author of Theater, Communication, Critical Realism (New York: Palgrave Macmillan, 2010).
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Dissertations / Theses on the topic "Performing Arts / Theater / General"

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Willmot, Timothy. "A Hermeneutical Exploration of the Relationship Between Undergraduate Students and Their General Education Theatre Arts Appreciation Courses." Thesis, The George Washington University, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10141343.

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Ideally, undergraduates view their elective courses in general education curriculums as having value. Unfortunately, scant research exists on the value of theatre arts appreciation courses. This study addressed that void through hermeneutical exploration of experiences of a purposeful sample of seven students enrolled in theatre arts appreciation courses. Two research questions guided this study: “For undergraduate students taking a general education theatre arts appreciation elective, what experience(s) allowed the course to transcend from perfunctory to inspirational?” and “To what degree did taking a general education theatre arts appreciation elective impact the students’ perception of their overall higher education experience?” Methodologically, hermeneutic phenomenology was used to uncover data through conversational interviews with undergraduates. The works of Nakkula and Ravitch (1998), Seidman (2006), and Van Manen (1990) provided a foundation for data collection and analysis.

The findings of the study are represented through a one-act play to (re)present educational research that “bring[s] the text to life in ways that the reading of it could not” (Bagley & Cancienne, 2002, p. 7) and to treat research participants as more than just “text to be read or interpreted” (Moustakas, 1994, p. 19). Profiles of the seven subjects were created to allow the reader to become more familiar and engaged with the participants. From the words and conversations of those participants, I amalgamated four characters, with a fifth, the facilitator, serving as the researcher’s voice.

The results of this study suggest that students entered passively into their theatre arts appreciation course, engaged with it through discussions with students and the professor, and came out with the trajectory of their life changed. The findings suggest that becoming life-ready is a phenomenon that occurs when seemingly nonengaged or passive students enroll in a course that is broad, detailed, and subjective enough to allow them to transcend their world visions. This qualitative study offers insight into students’ thinking and feelings and contributes to the overall conversation and assessment of higher education elective courses in performing arts and the unique contributions they offer undergraduates. Based on these findings, conclusions and recommendations are offered.

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Prior, Robert A. "The imperative education of theater artists." Thesis, California State University, Long Beach, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1527577.

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David Mamet's book of essays True and False: Heresy and Common Sense for the Actor boldly claims that formal training, particularly of the academic variety, is of no use to aspiring theater artists. This thesis argues for the importance and validity of such training. It is a defense of both formal training and ofStanislavski--the father of almost all contemporary training systems and a figure particularly irksome to Mamet. The thesis is supported by examples gleaned from my own formal education in theater and from insights gained directing student actors on my final project for my MFA, Kira Obelensky's play Lobster Alice.

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Hunicutt, Julie. "In The Telling| Theatrical Devising Practice as Performance Pedagogy." Thesis, California State University, Long Beach, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10749113.

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A detailed account and analysis of a six week theatrical devising workshop and culminating performance event which occurred in March and April of 2017 in the Theatre Arts Department at California State University, Long Beach. In The Telling was an independent project that utilized movement-based ensemble practice and improvisation techniques to develop text and movement into an immersive theatrical storytelling event. Through the synthesis of contemporary theatre making practice and traditional rehearsal techniques, a diverse group of student participants collaborated to create an original work based on personal narrative and the theme of “change”.

Rooted in a broader discussion regarding the ideal foundational elements for contemporary performance training, this project report poses the question: how can performance educators train the next generation of theater makers to excel at creating vibrant, inclusive and innovative work? The In The Telling project posits that theatrical devising practice as performance pedagogy is one approach.

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Knehans, Amanda. "As you like it| The road to design." Thesis, California State University, Long Beach, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=1523340.

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Through associations and personal experiences, I settled on the overarching concept that, "The road is closed," for the stage design of As You Like It. Pulling from my surroundings as inspiration, I created a realistic road on the Studio Theatre's stage using found and borrowed objects to enhance the road's authenticity. With a blocked road as a metaphor for the characters' inner journeys to overcome their own prejudices and achieve an enlightened way of thinking, the audience joined the ensemble on their path of self-examination and discovery.

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Garner, Andre. "Reality TV singing competitions take Broadway down a discordant path." Thesis, California State University, Long Beach, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1527933.

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This thesis illustrates the effect of reality television singing competitions on Broadway musical theatre. Chapter 1 examines the current Broadway casting climate prioritizing name recognition. Chapter 2 explores the genesis of musical theatre singing styles. Chapter 3 offers Stanislayski and Uta Hagen's acting techniques as a guide for musical theatre acting, analyzes the Jukebox musical, and investigates the reality TV singing style and its relevance to the musical theatre actor. The chapter then scrutinizes the hypocritical stance taken by reality TV singing shows toward the Broadway singing style. Chapter 4 examines the loss of storytelling on musical theatre and advocates the seeking of mastery in the acting process. Chapter 5 explores the circumstances that allow for Broadway to incorporate pop music. Chapter 6 reinforces storytelling's importance to musical theatre.

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Bryson, Caitlin E. "Advancing toward accessibility| Disability accommodation in the theatre." Thesis, California State University, Long Beach, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10076449.

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This thesis discusses the need for and implementation of increased theatrical accommodation for patrons with disabilities. It begins by discussing the requirements of the Americans with Disabilities Act as they relate to theatres. Accommodations that go beyond the bare minimum required by law are discussed, including open and closed captioning, American Sign Language interpretation, audio description, and sensory-friendly performances.

The thesis gives evidence in the form of an anecdotal analysis of American Sign Language and captioned performances in the CSULB Theatre Arts Department. Each method is then evaluated for potential implementation in the Theatre Arts Department, based on its feasibility and impact given the population served by the Department. Finally, the thesis makes recommendations regarding which methods should be implemented and what the best processes would be for doing so.

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Floro, Beth Ann Schoomaker. "Enlarging the Place| Adapting the Community Theatre Rehearsal Process for Elderly Persons, Persons with Mobility Impairment, and Persons with Autism Spectrum Disorder." Thesis, State University of New York at Buffalo, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10823621.

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Every civilization on the planet has some form of theatre. Musical theatre is primarily an American art form. It can be enjoyed by everyone. Enjoyment of any art form is increased by knowledge of and participation in the field and amateur productions allow non-professionals to take part in this collaborative activity. All ages and abilities can participate at various levels, from the smallest child to the wheelchair bound adult. It is my firm belief that taking part in a community theatre production is a creative and worthwhile way to express oneself, foster friendships, develop talents, and perpetuate this uniquely American art form.

I researched methods of adapting the musical theatre rehearsal process for different groups of amateurs. Among these groups I focused on the needs of elderly persons, persons with mobility impairment, and persons with Autism Spectrum Disorder.

It is my wish to best adapt traditional rehearsal techniques to suit these and other groups. By seeking out the basic problems for working with specialized groups and by finding workable solutions for each, we will thereby better enable ourselves to work with all of them.

I outlined the general rehearsal process and made practical suggestions for working with and encouraging participation by these groups. In producing their best work, the participants foster a sense of community and strengthen their areas of weakness.

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Albawardy, Reema. "Costume Designs for "Urinetown| The Musical"." Thesis, The George Washington University, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1599645.

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Urinetown: The Musical by Greg Kotis and Mark Hollman was produced by the Department of Theatre and Dance at George Washington University in the Fall of 2014. The show opened on October 30, 2014 at the Dorothy Betts Marvin Theatre, part of the George Washington University in Washington DC. It was directed by Muriel Von Villas along with costume designer Reema Albawardy, lighting designer Carl Gudenius, and set designer Kirk Kristlibas. This thesis explores the costume design process for Urinetown: The Musical and the challenges of working with a large cast and dealing with many quick changes.

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Swan, Caitlin. "Arts participation and career preparedness| A pragmatic approach to assessing arts benefits." Thesis, California State University, Long Beach, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10261142.

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As the political and economic landscape of the United States shifts in coming years, American society’s perception of the arts will likely change as well. Arts advocates must be ready to adapt their arguments for arts’ value to changing societal priorities. This paper summarizes the two leading frameworks for current arts advocacy arguments: extrinsic benefits and intrinsic benefits. The paper then introduces practical benefits, a pragmatic third framework for arts advocacy that focuses on skills gained through the creation of collaborative art that prepare participants for careers in the creative class, as defined by Richard Florida. The paper uses student-run theatre organizations on college campuses as incubators and case studies for these benefits, using original ethnographic research and surveys to develop assessment protocols for these benefits, with the intention of growing their applicability to larger and more varied arts organizations.

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Foraker, Robynn Marie. "Finding the Voice of Lady MacBeth ---- Voice and text work for the contemporary actor through the rehearsal and performance of Macbeth (from Shakespeare)." University of Akron / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=akron1363603299.

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Books on the topic "Performing Arts / Theater / General"

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Rachow, Louis A. Theatre & performing arts collections. New York: Routledge, 2019.

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1952-, Oliva Judy Lee, ed. New theatre vistas: Modern movements in international theatre. New York: Garland Pub., 1996.

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Balta, Aída. Historia general del teatro en el Perú. Jesús María, Lima, Perú: Escuela de Ciencias de la Comunicación, Universidad de San Martín de Porres, 2001.

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1962-, Storck David, ed. Ensemble theatre making: A practical guide. London: Routledge, 2012.

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1903-1967, Gassner John, and Allen Ralph G, eds. Theatre and drama in the making: From antiquity to the Renaissance. New York, NY: Applause Books, 1992.

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W, Brandt George, and Hogendoorn Wiebe, eds. German and Dutch theatre, 1600-1848. Cambridge: Cambridge University Press, 1993.

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Performing Power. Taylor & Francis Group, 2021.

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Sarver, Linda, and Tom Markus. Another Opening, Another Show: A Lively Introduction to the Theatre. McGraw-Hill Humanities/Social Sciences/Languages, 2000.

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Wilson, Edwin, and Alvin Goldfarb. Theater: The Lively Art. 3rd ed. Mcgraw-Hill College, 2000.

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Neumüllers, Marie, and Burghard Duhm. Theater at the Bauhaus. Jovis, 2006.

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Book chapters on the topic "Performing Arts / Theater / General"

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Canyürek, Özlem. "7. Intercultural Reorganisation in Performing Arts." In Theater, 215–44. Bielefeld, Germany: transcript Verlag, 2022. http://dx.doi.org/10.14361/9783839460177-009.

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Canyürek, Özlem. "1. Why Cultural Diversity in Performing Arts?" In Theater, 15–40. Bielefeld, Germany: transcript Verlag, 2022. http://dx.doi.org/10.14361/9783839460177-003.

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Zinn, Jeff. "Theater and Psychology: A Symbiotic Relationship." In Psychotherapy, Literature and the Visual and Performing Arts, 95–111. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-75423-9_6.

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Takemura, Yoshiaki. "Ramayana in the Performing Arts: Connection with the Government and Local/National/Global Indian Identity in Singapore." In Ramayana Theater in Contemporary Southeast Asia, 115–42. New York: Jenny Stanford Publishing, 2022. http://dx.doi.org/10.1201/9781003290957-7.

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Seidel, Kent. "A Review of Research in Theater, Dance, and Other Performing Arts Education Implications for Music." In The New Handbook Of Research On Music Teaching And Learning, 977–86. Oxford University PressNew York, NY, 2004. http://dx.doi.org/10.1093/oso/9780195138849.003.0058.

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Abstract This chapter and its counterpart on visual art education research (see chapter 50) represent an effort to bridge the research on the several arts disciplines within our schools. Traditionally, theater (I will use the term “theater” to refer generally to dramatic endeavor in schools) and dance have existed as largely extracurricular activities or as a small portion of the broader language arts and physical education curricula. Research is still developing in these fields, in comparison to the more established body of literature that exists for both music and visual art education. What can those in music education learn from the research being pursued in the other performing arts disciplines? The performing arts share many elements-aspects of visual representation, sound, language, movement, and feeling. Recently, the disciplines have come to some agreement regarding what should form the arts learning experience. The National Standards for Arts Education (Consortium of National Arts Education Associations, 1994) were written together, an approach that has helped to clarify many ways that the arts disciplines connect. Students should have the opportunity to create as well as to perform; to explore and improvise; to experience a variety of exemplary art; to work with artists; to study the historical and social contexts that lend meaning to works of art; and to reflect on and critique their own and others’ artistic work.
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Abuhamdieh, Ayman, Julie E. Kendall, and Kenneth E. Kendall. "E-Commerce Opportunities in the Nonprofit Sector." In Selected Readings on Electronic Commerce Technologies, 226–40. IGI Global, 2009. http://dx.doi.org/10.4018/978-1-60566-096-7.ch016.

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To what extent does having a Web presence reflect on an organization’s e-commerce operations? Will a mere brick-and-mortar organizational Web site guarantee online success? This case presents the experience of the New York Theatre Group (NYTG), a nonprofit performing arts organization, in integrating e-commerce in its business practices. The case begins with a very broad overview of the nonprofit sector, the performing arts industry, its delivery channels, and the theatrical production process in general. Then attention turns to NYTG itself in terms of its history, organizational structure, its market segmentation, market trends, and forecasted growth. The strategic planning at NYTG, and the programs put in place to help it achieve its objectives and mission, are detailed. A survey that maps the demographic attributes of NYTG’s patrons and subscribers is discussed. The case concludes with the current e-commerce challenges facing NYTG in particular and the nonprofit performing arts organizations in general.
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Polisi, Joseph W. "You Have Made Something That Will Last." In Beacon to the World, 54–69. Yale University Press, 2022. http://dx.doi.org/10.12987/yale/9780300249965.003.0005.

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This chapter discusses several major additions to the Lincoln Center for the Performing Arts. It first examines the process of creating a new drama component in the City Center that would be up to the program's standards. Next, the building of the New York State Theater amid multiple challenges during William Schuman's presidency is discussed. The chapter also traces the precipitating factors in presenting a musical theater at the Lincoln Center—generally considered the weakest constituent of the arts center. The Library-Museum was another significant addition to the Center during this period. The chapter also follows the circuitous construction of The Juilliard School, the last scheduled building to be finished on campus. Finally, the chapter studies the tumultuous events surrounding the construction and opening of the Metropolitan Opera House.
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Polisi, Joseph W. "No Longer a Dream but a Reality." In Beacon to the World, 38–53. Yale University Press, 2022. http://dx.doi.org/10.12987/yale/9780300249965.003.0004.

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This chapter describes some early challenges for the Lincoln Center for the Performing Arts. It begins with the appointment of certain individuals to oversee the Center's administration as presidents and chief executive officers. The tenures of retired General Maxwell Davenport Taylor and William Schuman are given particular focus. Schuman, unlike his predecessors, focused in particular on artistic matters, including the opening of the Philharmonic Hall. The chapter also considers one of the greatest challenges for Lincoln Center officials during this formative time: which of the various artistic components of the New York City Center of Music and Drama would become part of Lincoln Center. Finally, the chapter considers the administrative decisions that went into the funding for the construction of the Theater for Dance and Operetta.
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Cohen, Matthew Isaac. "The Heyday of Popular Theater." In Inventing the Performing Arts, 139–58. University of Hawai'i Press, 2016. http://dx.doi.org/10.21313/hawaii/9780824855567.003.0007.

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"Reviews were often either antagonistic to this new form of theatre or baffled by it. In both cases it frequently resulted in dismissive reviews and a rejection of the playwright. Gradually, however, the tide of anti-Brecht feeling was beginning to turn and it was given a following wind when the Berliner Ensemble made their second visit to London in 1965. Ideas in the British theatre were on the move; the arts in general in the 1960s were in a time of change and expansion. Then the ‘politicisation’ of theatre in the post-1968 period, which led to the development of the ‘fringe’ theatre scene, provided a perfect context for the rehabilitation of Brecht. His plays – including their politics this time – were ideal material for that rather un-British event, the construction of an ‘alternative’ theatre discourse. As with so much that starts artistic life as ‘alternative’, Brecht’s plays were soon absorbed into the mainstream of British theatre, and less than a decade later his work featured in the programmes of even the most conservative of repertory theatres and was hailed as ‘classic’ by the British national companies. Brecht had been appropriated. But the problem with appro-priation, of course, is that its very purpose is to pull sharp teeth and nullify political bite. And Brecht’s political message would be sanitised for a British establishment’s flirtation with socialism. As British political theatre was itself eroded by the Thatcherite 1980s, Brecht’s status within British culture – never completely convincing – became unsure. In the 1990s, Britain blinks, uncertainly and with nostalgia, in a post-cold war, post-industrial and postmodern light. Not only are the political enemies no longer identifiable, authors, too, have gone largely the way of cultural relativism. Whether there will be a meaningful place and function again for Brecht in British theatre remains to be seen. The first chapter of this book considers the context and development of Brecht’s ideas and theories on theatre performance, focusing in particular on the differences and similarities between Brecht and the ‘naturalistic’ actor/director Constantin Stanislavski – ‘measuring the distance’ between them. It then considers Brecht’s choice of actors and his methods of working with them, and how these illuminate his theoretical ideas on performance. Material is drawn from published interviews with and performance reviews of key performers such as Helene Weigel, Ekkehard Schall, Angelika Hurwicz and Charles Laughton. In Chapter 2, the subject is the penetration of British theatre by Brecht material in the 1950s. The chapter explains how both early British productions of Brecht and new playwrights in Britain were influenced by the work of the Berliner Ensemble. Two tendencies are high-lighted: that of some practitioners to imitate the outward appearances of Berliner produc-tions, thus placing the emphasis on theatrical ‘style’ rather than process, and that of others to attempt to follow Brecht’s precepts for the rehearsal process in a context ill-suited to them." In Performing Brecht, 15. Routledge, 2002. http://dx.doi.org/10.4324/9780203129838-11.

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Conference papers on the topic "Performing Arts / Theater / General"

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TOMUȘ, Ionuț. "General Considerations on Performing Poetry in the Current Performing Arts Context." In The International Conference of Doctoral Schools “George Enescu” National University of Arts Iaşi, Romania. Artes Publishing House UNAGE Iasi, 2023. http://dx.doi.org/10.35218/icds-2023-0012.

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The contemporary theatre landscape seems to have strayed away from the feelings specific to poetry and to reciting it in front of an audience. The topics preferred by theatrical productions now, at the beginning of the XXIst Century, are strongly connected to the social realities one encounters on a daily basis. Certainly, it is reasonable for things to be this way, as theatre depends on firmly anchoring itself in reality, and the means of expression and of conveying emotion have, now, particularities that no one would have thought of fifty years ago. The present study intends to bring performance poetry back into discussion, as a type of artistic expression that has very well contoured specific elements, but that does not benefit from addressing broad audiences anymore, unfortunately
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Aktsar, Hadiansyah. "Dramaturgy in Indonesian Post-dramatic Theater: Performing Arts Practice After Reformation Period." In The Barcelona Conference on Arts, Media & Culture 2023. The International Academic Forum(IAFOR), 2023. http://dx.doi.org/10.22492/issn.2435-9475.2023.24.

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Echarri, Victor. "PROSPERO JORGE DE VERBOOM GENERAL PROJECT FOR THE FORTIFICATIONS OF PAMPLONA IN 1726." In SGEM 2014 Scientific SubConference on ARTS, PERFORMING ARTS, ARCHITECTURE AND DESIGN. Stef92 Technology, 2014. http://dx.doi.org/10.5593/sgemsocial2014/b41/s15.109.

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Salter, Chris, Timothy Thomasson, and Pierrick Uro. "Animate: A Theatrical Exploration of Climate Transformation through the Medium of Extended Reality (XR)." In 28th International Symposium on Electronic Art. Paris: Ecole des arts decoratifs - PSL, 2024. http://dx.doi.org/10.69564/isea2023-83-full-salter-et-al-animate.

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This paper presents a critical account of the development of a large-scale theater work using emerging Extended Reality (XR) technologies. Detailing three aspects of the project and set against theoretical frameworks from STS (Science and Technology Studies) and the sociology of innovation around ideas of the future embedded in technologies, we examine the conceptual, aesthetic, organizational and social-technical underpinnings of the project. The paper’s goal is thus to give a sense of the challenges and opportunities in the emerging integration of XR into new artistic morphologies that hybridize the visual-performing-media arts through new technological advances.
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Juncu, Alexandru. "Concerto no. 2 for trombon and orchestra by Oleg Negrutsa." In International scientific conference "Valorization and preservation by digitization of the collections of academic and traditional music from the Republic of Moldova". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2023. http://dx.doi.org/10.55383/ca.04.

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This article is focused on the musicological and interpretive analysis of Concerto no. 2 for trombone and orchestra by Oleg Negrutsa. This composition, written in 2020, was dedicated to the memory of the composer's father, being performed for the first time by the author of this article during a doctoral recital on June 25, 2022, in the Great Hall of the Academy of Music, Theater and Fine Arts. In addition to the analysis carried out, the author of this study identified different optimal solutions to overcome the difficulties of performing and executing the elements of the musical language, proposing various exercises developed on the basis of the thematic material of the studied creation.
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Nasution, Sri Lestari Ramadhani. "Relationship Between Compliance to Surgery Safety Checklist and Incidents Among Anesthesiology Nurses in Operation Theater, Royal Prima Hospital, Medan, North Sumatera." In The 7th International Conference on Public Health 2020. Masters Program in Public Health, Universitas Sebelas Maret, 2020. http://dx.doi.org/10.26911/the7thicph.05.32.

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ABSTRACT Background: Patient safety issues became a global health concern, especially the occurrence of avoidable complications from surgical procedures. In 2008, World Health Organization launched the Safe Surgery Saves Lives program to improve patient safety. This study aimed to investigate the relationship between compliance to surgery safety checklist and incidents among anesthesiology nurses in operation theater at Royal Prima General Hospital, Medan, North Sumatera. Subjects and Method: This study was a cross-sectional study conducted at Royal Prima General Hospital, Medan, North Sumatera, in August 2019. A sample of 25 anesthesiology nurses was selected by the total sampling. The dependent variable was incidents in the operating room. The independent variable was the compliance of anesthesiology nurses on performing surgical safety checklist. The data of nurse compliance were measured by the completeness of filling sign in, time out, and sign out surgical safety checklists. The data were analyzed by chi-square. Results: The incidents in the operating room reduced with compliance in surgical safety checklist filling, but it was not statistically significant (OR= 0.12; 95% CI= 0.01 to 1.95; p= 0.218). Conclusion: The incidents in the operating room reduce with compliance in surgical safety checklist filling, but statistically non-significant. Keywords: surgical safety checklist, incidents, operating room Correspondence: Wienaldi. Department of Public Health, Faculty of Medicine, Universitas Prima Indonesia, Medan, Indonesia. Email: dr.wienaldi@gmail.com. Mobile: +6285270130535. DOI: https://doi.org/10.26911/the7thicph.05.32
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Dong, Xiao. "POPULARITY OF STANISLAVSKY IN CHINA." In 10th International Conference "Issues of Far Eastern Literatures (IFEL 2022)". St. Petersburg State University, 2023. http://dx.doi.org/10.21638/11701/9785288063770.26.

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Konstantin Sergeevich Stanislavsky is the most influential theater director of the Soviet era in the first half of the 20th century. The system he created, which is based on the “art of experiencing”, had a profound impact on the performing arts of the 20th century. Since it was introduced into China in the 1940s, it has played a very important role in the development of contemporary Chinese drama performance art in the 1950–1960 years. In the 1960–1970, Stanislavsky was criticized in China. Since the late 1970s, although Stanislavsky has been vindicated in China, his importance has correspondingly weakened with the popularity of Brecht. It can be said that the encounter of Stanislavsky in China is a typical example, reflecting acceptance and interpretation of Russian Soviet literature and art in China. To some extent, this tendency obscures the real value of Russian Soviet literature and art. It is a problem worthy of reflection.
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Naim, Aziz Michel, and Kemper Lewis. "Modeling the Dynamics of Innovation in Engineered Systems." In ASME 2017 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. American Society of Mechanical Engineers, 2017. http://dx.doi.org/10.1115/detc2017-68180.

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Innovation in engineering design remains a topic that lacks a formal and consistent framework. It is difficult developing a consistent definition of innovation since it is a phenomenon that is multidisciplinary in nature and present in every facet of our lives from engineering products to the performing and culinary arts. It is thus important to distinguish the general definition of innovation with its applicability in the engineering domain. Furthermore, the dynamic nature of innovation is oftentimes lost when designers try to model innovation in a complex system. The reality is that the perceived engineering innovation in a complex system can be influenced at various levels. It is thus important to provide a tool for designers that provides a clear understanding of the effects of technological progress on the overall performance capability of a complex system. This paper provides a framework to model engineering innovation in engineered systems by introducing an N-Dimensional Growth Model and applying it in the early stages of a design process in order to assist the designer in the selection of technologically innovative concepts.
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Shriki, Atara, and Ilana Lavy. "QUALIFYING MATHEMATICS TEACHERS TO DESIGN INTERDISCIPLINARY LEARNING ACTIVITIES OF MATHEMATICS AND MUSIC." In International Conference on Education and New Developments. inScience Press, 2022. http://dx.doi.org/10.36315/2022v1end099.

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"Interdisciplinary learning of mathematics and arts is often acknowledged as supporting the development of students' problem-solving skills, encouraging student involvement in learning, and fostering students' creativity. However, for teachers to acknowledge the benefits of interdisciplinary learning of mathematics and arts, and express willingness to apply it in their classrooms, they must first experience such learning for themselves. To that end, they have to take part in dedicated training courses. The study described in this paper followed the experience of twenty-seven elementary school mathematics teachers who participated in an annual professional development program that took place once every two weeks and was designed to qualify them to implement an interdisciplinary approach to teaching mathematics and arts. The course included four interdisciplinary modules: math-music, math-painting, math-photography, and math-dance. None of the teachers had prior knowledge of interdisciplinary teaching and learning. The mathematical topic chosen was fractions, as this topic entails numerous difficulties of various kinds both for the teachers and the students. In what follows we focus on the teachers' experience with module no. 1, math-music. Before we explicitly exposed the teachers to the rationale of interdisciplinary learning of mathematics and music, they were asked to design learning activities that integrate fractions and music. No specific instructions were given, as we aimed at allowing the teachers to examine their initial perceptions and interpretations regarding interdisciplinarity, and then adapting the contents of the professional development program to the teachers' early perceptions and knowledge. After completing the design of the activities, the teachers presented them, explained their considerations, and provided mutual feedback. They also rated the extent to which interdisciplinarity was expressed in the activity, according to criteria they had developed themselves. The study indicated that teachers who knew how to play a certain musical instrument and read notes produced more mathematically significant content. Moreover, activities based on considerations relating only to common student mistakes in performing arithmetic operations in fractions did not lead to the design of activities characterized as having a high extent of interdisciplinarity. In case the considerations included general mathematical knowledge and knowledge of the mathematics curriculum, the extent of integration increased. Following these findings, the professional development program focused on deepening the teachers' mathematical knowledge and musical knowledge relevant to the subject of fractions. This approach has proven to be effective in terms of teachers' ability to produce meaningful interdisciplinary math-music activities, thus indicating the feasibility of teacher training for implementing an interdisciplinary approach."
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Rathod, Mulchand S. "Ergonomics of Learning in a Very Descriptive Applied Human Factors Course." In ASME 2005 International Mechanical Engineering Congress and Exposition. ASMEDC, 2005. http://dx.doi.org/10.1115/imece2005-79719.

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Teaching profession continues to hold its status as a noble profession and university faculty are held with high esteem by the general population. Some faculty teaching in engineering and technical programs have begun to address the pedagogy of learning in recent years. This is supported by a number of initiatives at the national level. Besides funding of such activities by organizations such as the National Science Foundation, engineering professional societies have created forums and awards to recognize and promote teaching and learning of engineering subject matter. This paper addresses an experiment in improved learning by students of a subject matter that is very descriptive and non-traditional as compared to most engineering subjects. The applied human factors course is an elective course for engineering technology (ET) students and a required course for the (non-technical) industrial design students from the College of Fine, Performing, and Communication Arts (CFPCA) at Wayne State University (WSU). Technical students are more comfortable with equations and formulas where as the non-technical students have practically no exposure to such things. Setting for this course was a multi-media distance learning laboratory and the teacher had an important task of not just covering the material, but to increase student interest to optimize their learning. Although all the teaching material for the course was prepared for presentation in power point, after a discussion with the class, it was decided to make the learning process different from the traditional teaching. The class was divided in three groups and each group was given a reading assignment covering one third of the material to be covered in each class session. Each group met on a regular basis going over its assignment and breaking up the task for each team member to lead presentation and discussion for the next class. Learning objectives addressed in the course included team work, effective communication, system design and implementation, continued student participation, and effective learning for long term retention besides the contents of the subject matter. Overall, students really felt they were learning a lot and achieving unexpected new presentation skills. This paper would summarize a very positive experience of all dealing with learning pedagogy.
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Reports on the topic "Performing Arts / Theater / General"

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Rogers, Amanda. Cambodian Audience Engagement in the Performing Arts: Cambodian Living Arts 2022 Cultural Season. Swansea University, November 2023. http://dx.doi.org/10.23889/sureport.65084.

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Project Report There is growing research on arts audiences - particularly regarding theatre and dance (Sedgman 2019; Walmsley 2019; Reason et al 2022). However, much of this work remains centred on the ‘Global North’ and there is little published research on arts audiences in South East Asia in general, and Cambodia in particular. The exception to this is our previous report (Rogers et al 2021) which was the first time that research has examined audience composition, understanding and preferences for the performing arts in Phnom Penh. This research raised a bigger question around who the arts are for and highlighted that young people did not always understand what they were watching. The project discussed here builds on this previous work, as it sought to further understand the composition of audiences attending Cambodian performance events, examine their reactions, and consider how using simple forms of technology may promote audience engagement and understanding. The research used Cambodian Living Arts’ (CLA) 2022 Cultural Season of performances, workshops, and talks as a case study through which to experiment with this and other methodologies. The Cultural Season (titled Action Today: Consequences Tomorrow) was held in Phnom Penh and then toured across Cambodia, also giving the research the unique opportunity to find out more about arts audiences in the provinces. The findings provide insights into the level of knowledge and understanding of the arts among different audiences across Cambodia, their preferences in terms of types of arts consumed, and the choices surrounding their participation and involvement in the arts.
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Villanueva-Benito, I., and I. Lacasa-Mas. The use of audiovisual language in the expansion of performing arts outside theater: Don Giovanni’s case, by Mozart. Revista Latina de Comunicación Social, October 2017. http://dx.doi.org/10.4185/rlcs-2017-1217en.

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