Academic literature on the topic 'Shared Experience Theatre. Theater'
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Journal articles on the topic "Shared Experience Theatre. Theater"
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Purcell, Stephen. "A Shared Experience Shakespeare and popular theatre." Performance Research 10, no. 3 (January 2005): 74–84. http://dx.doi.org/10.1080/13528165.2005.10871440.
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Otto, Devin. "An Interdisciplinary Conducting Curriculum: Selected Theater Games From Viola Spolin’s “Improvisation for the Theater”." SAGE Open 10, no. 4 (October 2020): 215824402095492. http://dx.doi.org/10.1177/2158244020954927.
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This article presents a series of theater games with clear connections to conducting and rehearsing music ensembles, explaining both how to play them and how young conductors will benefit from the experience. These games are published in Viola Spolin’s seminal text Improvisation for the Theater, which presents a series of exercises that foster communication, creativity, immediacy, and spontaneity. Many games also focus on creating and communicating character through physical movement and posture, awareness of the body in space, and manipulation of “space objects,” which are imaginary props made real in the mind of the observer through understanding of shared human experiences. Theater games are effectively experienced in short periods of time, intended for players of all ability and experience levels, and encourage immediate emotive communication, making them highly effective for young conductors and easily incorporated into undergraduate and graduate conducting classes.
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Layng, Kris, Ken Perlin, Sebastian Herscher, Corinne Brenner, and Thomas Meduri. "CAVE: Making Collective Virtual Narrative: Best Paper Award." Leonardo 52, no. 4 (August 2019): 349–56. http://dx.doi.org/10.1162/leon_a_01776.
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CAVE is a shared narrative six degrees of freedom (6DoF) virtual reality experience. In 3.5 days, 1,927 people attended its premiere at SIGGRAPH 2018. Thirty participants at a time each saw and heard the same narrative from their own individual location in the room, as they would when attending live theater. CAVE set out to disruptively change how audiences collectively experience immersive art and entertainment. Inspired by the social gatherings of theater and cinema, CAVE resonated with viewers in powerful and meaningful ways. Its specific pairing of colocated audiences and physically shared immersive narrative suggests a possible future path for shared cinematic experiences.
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Teale, Polly. "‘Distilling the Essence’: Working with Shared Experience." New Theatre Quarterly 31, no. 3 (July 9, 2015): 213–22. http://dx.doi.org/10.1017/s0266464x15000469.
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In this wide-ranging interview of 25 November 2014, Polly Teale, writer, director, and Artistic Director of UK-based Shared Experience theatre company, reflects on her stage adaptations of literary works, the lives of their authors, and the processes of adapting texts between genres. Founded in 1975 by Mike Alfreds, Shared Experience has toured internationally from Sydney to Beijing with highly physical stage adaptations of literary texts and biographies that express the inner lives of complex and fascinating characters. Teale discusses the adaptation of her play Brontë to a screenplay, Shared Experience’s upcoming production of Mermaid, and rehearsal strategies she uses to encourage actors to explore the subjective truths that lie beneath the surface of their characters. Besides Brontë, past productions have included Jane Eyre, The Mill on the Floss, and After Mrs Rochester. Shared Experience was recently awarded a £105,000 grant by the Andrew Lloyd Webber Foundation and has won several theatre awards including Time Out’s Live Award for Best Play in the West End (2004) and an Edinburgh Fringe First Award (2010). Rebecca Waese is a lecturer and researcher in Creative Arts and English at La Trobe University, Melbourne. She is co-writing a book on Polly Teale and has previously written on interdisciplinary adaptations and dramatic modes in Australian and Canadian literature.
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Noy, Kinneret. "Creating a Movement Space: the Passageway in Noh and Greek Theatres." New Theatre Quarterly 18, no. 2 (May 2002): 176–85. http://dx.doi.org/10.1017/s0266464x02000258.
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Keir Elam's observation in 1980 that ‘the theatrical text is defined and perceived above all in spatial terms’ reflected a growing attention to the significance of spatial organization and utilization in creative and perceptive processes in the theatre. In the last twenty years space has found its long-deserved status as a prominent feature of the theatrical experience and a key element in theatre studies. In this article Kinneret Noy focuses on a unique spatial component shared by two theatrical traditions – the Greek and the Japanese. By comparing and contrasting the function of the eisodos in the Greek theatre with that of the hashigakari in the Japanese Noh, she offers a fresh look at both forms. The spatial relation between the passageway and the main ‘stage’ create what Mitsuo Inoue terms a ‘movement space’. Noy borrows this term from Japanese architecture to point the connection between theatrical space and dramatic techniques. After discussing the main characteristics of a ‘movement space’ in the theatre she deals with the differences that exist between Noh and Greek theatres' spatial qualities, suggesting some connections between developments in the theatres and social and political changes. A graduate from the University of Pittsburgh (1997), Kinneret Noy studied with the Noh master Takabayshi Shinji in Kyoto, and currently teaches in the Theatre Department and East Asian Department of Haifa University and the Hebrew University in Jerusalem.
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Barba, Eugenio, Christopher Cairns, and Judy Barba. "The Genesis of Theatre Anthropology." New Theatre Quarterly 10, no. 38 (May 1994): 167–73. http://dx.doi.org/10.1017/s0266464x00000324.
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This article – a chapter from The Paper Canoe: a Treatise on Theatre Anthropology, forthcoming from Routledge – was dedicated to NTQ's co-editor, Clive Barker, on his recent sixtieth birthday. In some senses, therefore, a reflection on the rite of passage into old age, it is more importantly a recognition of the quality and nature of experience understood – as applied to life and, in this case, to the profession of theatre. Eugenio Barba is the founder both of Odin Teatret and of ISTA, the International School of Theatre Anthropology, and here he links the impulses behind the two in highly personal experiences with universal implications – childhood epiphanies of feeling with the perception of theatrical genius, even the fending-off of boredom triggering an understanding of an actor's body movement shared across cultures and continents. Theatre, he concludes, ‘allows me to belong to no place, not to be anchored only to one perspective, to remain in transition’.
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Gildin, Marsha, Rose Binder, Irving Chipkin, Vera Fogelman, Billie Goldstein, and Albert Lippel. "Learning by Heart: Intergenerational Theater Arts." Harvard Educational Review 83, no. 1 (March 26, 2013): 150–52. http://dx.doi.org/10.17763/haer.83.1.r16186gr82t78471.
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We are a lucky group of older adults, ranging in age from sixty to ninety-two, who participate in an intergenerational arts program at our local senior center in Flushing, Queens, one of New York City's most culturally diverse communities. In our living history theater program, run by Elders Share the Arts (ESTA) and facilitated by ESTA teaching artist Marsha Gildin, we are joined weekly by fifth graders from PS 24, a public elementary school located around the corner. Some of our senior members joined just last year, while others have been involved for more than a decade. Our relationship with the children is very special and mutually nourishing. ESTA guides us in sessions based on sharing stories from life experience and in transforming memories into art. We explore our ideas through theater exercises and devise an original piece rooted in what we have learned from one another. Rehearsals are an ensemble learning process. With forty-five people on stage during our performances at the senior center and school, the performance experience is always challenging, surprising, and well received. We connect strongly with the children during the program year, and our goodbyes are tinged with sadness, for we have grown close in our shared art making. This year our theme focused on the power of music in our lives.
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Eriks Cline, Lauren. "The Long Run of Victorian Theater." Victorian Literature and Culture 48, no. 3 (2020): 623–31. http://dx.doi.org/10.1017/s106015032000025x.
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It's March 2020 as I write this, and the theaters are closed. Broadway is dark, and the Globe is once again shut due to a plague. Perhaps “self-isolation” is a strange condition under which to be thinking about crowded Victorian playhouses. As I make dates to watch movies with friends hundreds of miles away on the Netflix Party app, the media environment in which I pursue entertainment has perhaps never felt more dissimilar to that of nineteenth-century theatergoers. But, then again, maybe the photos of empty auditoria and deserted streets are the best demonstration of the space that public culture has taken up in our lives. The vacuum shows us that what's missing mattered. And if scholars of Victorian theater have shared a primary goal, it's to insist on how deeply the collective experience of playgoing influenced the everyday practices and beliefs of the period—even when theater and drama may not always appear on Victorian syllabi or conference programs. This essay considers three recent studies in Victorian theater—The Cambridge Companion to English Melodrama (2018), edited by Carolyn Williams; The Drama of Celebrity (2019), by Sharon Marcus; and Everyone's Theater: Literature and Daily Life in England, 1860–1914 (2019), by Michael Meeuwis—to register the force that theatrical performance exerted on Victorians and to explore how that force could change our sense of the field. By dwelling with archives and objects that might otherwise get classed as cultural “ephemera,” these studies push us to acknowledge that the run of Victorian theater hasn't ended. In the collective pause before a moment of intense feeling, or in a contradictory attachment to a public figure who is both imitable and extraordinary, they find a repertoire of spectator behavior from which many of our own modes of attention derive.
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Motal, Jan. "Imagine the Utopia! Rethinking Alain Badiou’s Theatre-Politics Isomorphism." Slovenske divadlo /The Slovak Theatre 66, no. 3 (September 1, 2018): 311–29. http://dx.doi.org/10.2478/sd-2018-0019.
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Abstract The presented article is a polemic with Alain Badiou’s concept of theatre-politics isomorphism. The author adapts the basic elements of Badiou’s philosophy (event, void Ø, truth etc.), provides an interpretation of his theory of theatre and presents crucial critical arguments to reveal the reductionism of Badiou’s philosophy. Subsequently, the author presents his alternative theory of theatre based on this ground. The article assumes that theatre performance is a live, truthful event, an encounter of humans experiencing an imagined Utopia based on their structural homology (shared materiality, phylogenetic archetypal memory, existentiality). The argument is supported by the recent research in neuroscience. As the article argues, this Utopia has its social and political significance. The theatre is not political only if it constructs both a political body (crowd, public) and a discourse, as Badiou suggests. The author concludes that theatre is inherently political because its imaginative nature, which allows humans to experience the utopical attachment exceeding the subject-object boundaries. This imagined Utopia with its critical and anticipative power allows people to transcend their singularity to interpersonal and intercultural dialogue and universality, and it provokes their political imagination (in the sense of David Graeber). The author employs Erika Fischer-Lichte’s concept of performativity to present theatre performance as an event.
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Allen, David. "Exploring the Limitless Depths: Mike Alfreds Directs Chekhov." New Theatre Quarterly 2, no. 8 (November 1986): 320–35. http://dx.doi.org/10.1017/s0266464x00002335.
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‘Deadly British productions of Chekhov remain all too common.’ Or so suggests David Allen, who finds in the Chekhov productions of Mike Alfreds a refreshing recognition of the distinctively ‘Russian’ qualities of the plays, and an ability to render these in terms of the choices available to British actors. Mike Alfreds founded the Shared Experience company in 1975, and in Theatre Quarterly No. 39 (1981). Clive Barker interviewed him and members of the company on the processes of collective creation through which most of their productions then evolved: the present feature thus in part reflects Alfreds's own developing interest in working on ‘fixed’ scripts, both with Shared Experience, for whom he directed Three Sisters earlier this year, and in his work as guest director of The Cherry Orchard, first for Oxford Playhouse in 1982, and subsequently for the National Theatre at the Cottesloe, in 1985. In the following interview, Mike Alfreds's own perceptions of his work are intercut with author David Allen's observations during rehearsals, and the subsequent reactions of the critics.
Dissertations / Theses on the topic "Shared Experience Theatre. Theater"
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Crouch, Kristin A. "Shared Experience Theatre exploring the boundaries of performance /." Columbus, Ohio : Ohio State University, 2003. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1054738772.
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Thesis (Ph. D.)--Ohio State University, 2003.Title from first page of PDF file. Document formatted into pages; contains xi, 365 p.; also includes graphics. Includes abstract and vita. Advisor: Lesley K. Ferris, Dept. of Theatre. Includes bibliographical references (p. 353-365).
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Crouch, Kristin Ann. "Shared experience theatre: exploring the boundaries of performance." The Ohio State University, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=osu1054738772.
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Freeman, Roger Dee. "Televisual representation, schizophrenic experience, and apocalypticism in late twentieth-century drama and theatre /." The Ohio State University, 1998. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487953204280466.
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Rorem, Jacob. "The Experience of Place in Performance: A Survey of Site-Specific Theatre." Thesis, University of Oregon, 2014. http://hdl.handle.net/1794/18346.
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For practitioners and scholars of site-specific theatre, attempts to understand the relationship between a site and performance have often focused on performance. The many ways a site can inform and enhance the audience's experience of performance has been thoroughly explored, but what about the reverse? How can performance facilitate an experience of place and inform audiences about the value and potential of the places around us? I contend that site-specific performance which privileges place--including its varied histories and meanings--can foster a more thorough consideration of the places we inhabit and equip us to make better decisions about them. This thesis uses three case studies to explore the experience of place in performance and its potential implications. My case studies are Rob Ashford and Kenneth Branagh's production of Macbeth at the 2013 Manchester International Festival, We Players of San Francisco, and PlaceBase Productions of Minneapolis.
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Mda, Zanemvula K. G. "The utilization of theatre as a medium for development communication : an examination of the Lesotho experience." Doctoral thesis, University of Cape Town, 1990. http://hdl.handle.net/11427/15862.
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Includes bibliography.This thesis undertakes to investigate the nature and function of theatre-for-development. The objectives are to place theatre-for-development in the context of development communication theory, and to examine how theatre functions as communication. In the process of this examination a new model of theatrical communication in theatre-for-development, and a new paradigm of intervention, are evolved. The thesis begins by exploring the reasons for the failure of existing media systems to serve the needs of development in Africa. The failures are mostly due to the fact that the majority of the people have minimal or no participation in information generation and dissemination. Theatre is identified as one medium that could be utilized towards the realization of democratizing communication systems, and of giving the periphery access to the production and distribution of messages. The thesis then proceeds to review crucial literature in theatre-for-development and on development communication. The literature that has been selected has particular relevance in that while it treats current perspectives in these disciplines, it gives an historical account of theatre in Africa, and an account of the various perspectives and orthodoxies in the history of mass communication in general, and development communication in particular. The major case study of the thesis is a theatre-for-development cooperative society in Lesotho called Marotholi Travelling Theatre. The thesis therefore discusses the problems of underdevelopment in Lesotho. Since this study deals with-development communication, and attempts a structural examination of the context of theatre-for-development, the reader is introduced to the conditions that engender the theatre that is analyzed in the study. An account of the communication environment is also given. Because the communication environment of the rural areas in Lesotho is characterized by the predominant use of oral and traditional methods, popular and traditional media in Lesotho are also examined. After setting a theoretical framework by examining theatrical communication in theatre-for-development, and the rules underlying it, the thesis proceeds to analyze five plays created by Marotholi Travelling Theatre. First, a brief history of each play is given, and this is followed by an analysis of how the play functions as a vehicle for conscientization, and as communication. The plays are discussed in the context of five different methodologies of theatre-for-development: agitprop, participatory agitprop, simultaneous dramaturgy, forum theatre, and comgen theatre. It is in the process of this analysis that a new model of theatrical communication in theatre-for-development is evolved. The new paradigm of intervention that is posited also emanates from the analysis of the plays. It illustrates the extent to which the various methodologies of theatre-for-development can be utilized either for development (and, therefore, liberation), or for dissemination. The thesis concludes by focussing on the salient points that have emerged in the analysis. Crucial points are summarized, and recommendations for an effective utilization of theatre as a medium for development communication are posited.
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Lapham-Pilgrim, Linda. "Readers theatre in the classroom." CSUSB ScholarWorks, 1987. https://scholarworks.lib.csusb.edu/etd-project/175.
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Sekely, Kelly H. "Connecting One and Many - Reinventing the Procession of the Cinema Experience." VCU Scholars Compass, 2011. http://scholarscompass.vcu.edu/etd/2413.
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In the past, going to the movies was an event. The grand lit marquee made a statement, ushering you inside. The elaborately decorated lobby transported you to a place in your dreams where riches and opulence abound. The curtained screen marked the start of a true storied spectacle as you sat close to your friends and neighbors dressed in their Sunday best. There was no denying that the cinema was the place to see, be seen and to socialize. In contrast, today’s movie-going can be classified as more of a singular experience. You wait in long, solemn cattle lines to enter a cluttered lobby with loud video games, tacky candy machines and tunnel-like hallways. You sit in plush recliners in a sea of strangers and rush out of the theater before even the lights come up. In response to this cultural shift, my proposed design solution will challenge the isolation of today’s cinema by recreating the procession associated with neighborhood movie-going of the early 1900s. I will reinvent a cinema built in 1937, the Bellevue Theater, and develop a design that is contemporary, incorporating both modern technology and interests of today. The design will explore the spatial connections between one and many, fostering both the individual and group experience associated with the big screen – the cinema procession of the past.
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Richardson, John M. "The Blue Glow From the Back Row: The Impact of New Technologies on the Adolescent Experience of Live Theatre." Thesis, Université d'Ottawa / University of Ottawa, 2010. http://hdl.handle.net/10393/19609.
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This article considers the impact of new technologies on the adolescent experience of live, literary theatre. Drawing together the work of theorists in literacies, new technologies and audience studies, together with brain research, and the results of a focus group of four secondary students who have seen four plays at Canada’s National Arts Centre, it examines the consequences of young people’s immersion in digital culture and the new mindset that often results. The expectation of instant access to data, inter-connectivity, stimulation and control can make it difficult for adolescents to decode the metaphorical aspects of a theatrical performance. The article concludes that language arts and dramatic arts educators have a key role in teaching students how to decode—and therefore enjoy and appreciate— a play.
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Huang, Xiangqing. "Readers theatre for critical/creative/cooperative English language learning." CSUSB ScholarWorks, 2000. https://scholarworks.lib.csusb.edu/etd-project/1873.
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(8803076), Jordan M. McGraw. "Implementation and Analysis of Co-Located Virtual Reality for Scientific Data Visualization." Thesis, 2020.
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Advancements in virtual reality (VR) technologies have led to overwhelming critique and acclaim in recent years. Academic researchers have already begun to take advantage of these immersive technologies across all manner of settings. Using immersive technologies, educators are able to more easily interpret complex information with students and colleagues. Despite the advantages these technologies bring, some drawbacks still remain. One particular drawback is the difficulty of engaging in immersive environments with others in a shared physical space (i.e., with a shared virtual environment). A common strategy for improving collaborative data exploration has been to use technological substitutions to make distant users feel they are collaborating in the same space. This research, however, is focused on how virtual reality can be used to build upon real-world interactions which take place in the same physical space (i.e., collaborative, co-located, multi-user virtual reality).
In this study we address two primary dimensions of collaborative data visualization and analysis as follows: [1] we detail the implementation of a novel co-located VR hardware and software system, [2] we conduct a formal user experience study of the novel system using the NASA Task Load Index (Hart, 1986) and introduce the Modified User Experience Inventory, a new user study inventory based upon the Unified User Experience Inventory, (Tcha-Tokey, Christmann, Loup-Escande, Richir, 2016) to empirically observe the dependent measures of Workload, Presence, Engagement, Consequence, and Immersion. A total of 77 participants volunteered to join a demonstration of this technology at Purdue University. In groups ranging from two to four, participants shared a co-located virtual environment built to visualize point cloud measurements of exploded supernovae. This study is not experimental but observational. We found there to be moderately high levels of user experience and moderate levels of workload demand in our results. We describe the implementation of the software platform and present user reactions to the technology that was created. These are described in detail within this manuscript.
Books on the topic "Shared Experience Theatre. Theater"
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Hinrichs, Carl M. The theatre experience: Appreciation of theatre. Dubuque, Iowa: Kendall/Hunt Pub. Co., 1991.
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Text in contemporary theatre: The Baltics within the world experience. Newcastle upon Tyne: Cambridge Scholars Pub., 2013.
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De Spiegel: Theatre architecture as a mirror of experience. Amsterdam: Architectura & Natura Press, 2007.
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Le théâtre universitaire: Pratiques et expériences = The university theatre : practice and experience. Dijon: Éditions universitaires de Dijon, 2013.
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Esterhazy, The Town of. STAGe FRIGHT: The THRILLusion Show! Esterhazy, Canada: The Town of Esterhazy : A Great Community with Great People, 1989.
Find full textBook chapters on the topic "Shared Experience Theatre. Theater"
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Sweet, Rachel. "Peacebuilding as State Building? Lessons from the Democratic Republic of the Congo." In The State of Peacebuilding in Africa, 295–320. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-46636-7_17.
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Abstract This chapter on the Democratic Republic of the Congo is a comparative study of two major intervention attempts of the UN Peacekeeping mission in Congo (MONUSCO) in different theaters of conflict in North Kivu: one that was seen as a success (against the M23 rebellion, 2012–2013), and the other a failure (against the ADF rebellion, 2014–present). The chapter examines how differences in armed groups’ social embedment within local communities shaped resistance against the intervention and produced these varied outcomes of success/failure. The comparison allows for the examination of an emerging trend in peacekeeping—its militarization—as well as a consideration of how differences in civilian relations shape the possibility for peacebuilding. As the largest mission in UN history, these experiences offer empirical lessons for thinking about the future trajectory of peacebuilding.
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Cruz, Gabriela. "The Poetics of Sensation in L’Africaine and Tristan und Isolde." In Grand Illusion, 142–71. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190915056.003.0006.
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Chapter 5 investigates Meyerbeer’s and Wagner’s treatments of operatic perception and sensation in L’Africaine, Lohengrin, and Tristan und Isolde. The discussion highlights the preoccupation with pleasure and innervation that the two composers shared during the late 1850s and 60s. The music dramaturgies of Wagner and Meyerbeer centered on exotic tress and poisonous blossoms are discussed in parallel, not to show, as others have done, what Wagner learned from Meyerbeer and improved upon, but rather to draw attention to the works’ shared preoccupation with enhanced perception and the role of dreamlike experience in the theater. This shared preoccupation is considered in light of Charles Baudelaire’s poetics of modernity.
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"Mike Alfreds A SHARED EXPERIENCE : THE ACTOR A S STORY - TELLER." In Physical Theatres: A Critical Reader, 245–48. Routledge, 2007. http://dx.doi.org/10.4324/9780203012857-56.
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Chávez, Karma R., and Hana Masri. "The Rhetoric of Family in the U.S. Immigration Movement." In Queer and Trans Migrations, 208–25. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043314.003.0017.
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This reflection describes the author’s experiences organizing with the National Queer Asian Pacific Islander Alliance (NQAPIA) to build deeper solidarities between marginalized queer and trans Asian/Pacific Islanders and Black Lives Matter agendas. The author details a series of actions and campaigns to draw attention to shared experiences of policing, surveillance, and profiling. These actions involved storytelling, guerrilla street theater, and political education.
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Henriques, Leila. "Performing Theatre and Democracy." In Theatre and Democracy: Building Democracy in Post-war and Post-democratic Contexts, 87–98. Cappelen Damm Akademisk/NOASP, 2021. http://dx.doi.org/10.23865/noasp.135.ch04.
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This collection of performances that is linked to this chapter was created as part of the MA exchange project between NTNU and DFL (Drama for Life). Students used performance ethnography as a method for generating performance material in answer to the challenge of building democracy through theatre. South Africa has a rich theatre history that has always engaged with the South African political narrative. Through developing an understanding of the many theatre-making processes that created this unique history, as well as through exploring other contemporary South African performances, students created and tracked their own research methodology so that they were able to hold up a mirror to the world around them. While each performance captured the individual perspective of the performer, they also engaged directly and indirectly with broader South African realities. The course consisted of four components, each shaped by the individual’s journey into their own research methodology. These were: generating material, interpreting the material, rehearsing the material and performing the material. This submission consists of a framing statement written by the lecturer as well as a collection of ten performances that include a short framing statement from each performer. Permission was obtained from all the students to showcase their work apart from one student who has submitted it under a pseudonym. Out of this exploration and through a practical laboratory, students created an embodied experience that addressed the notion of democracy. The value of the work was to gain a fresh embodied perspective of democracy in South Africa. It spoke to our unique South African theatre-making legacy, but also challenged and disrupted our understanding of what democracy is and how it might be performed.
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Bala, Sruti. "Delicate gestures of participation." In The gestures of participatory art, 115–35. Manchester University Press, 2018. http://dx.doi.org/10.7228/manchester/9781526100771.003.0006.
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Chapter V examines an installation-based project titled Nomad City Passage (2005-2009) by the German scenographic and visual artists Rebekka Reich and Oliver Gather, in which visitors are invited to spend a night in a tent in an unconventional urban site, such as the top floor of a high-rise building or inside a shopping mall. The analysis focuses on how common-sense assumptions around audience participation in theatre and performance theory are called into question by the artwork’s foregrounding of sleep as a mode of participation. The delicacy of this is evidenced in the ambivalence of sleep in a scenically prepared setting, oscillating between being an intense, active, dynamic experience on the one side, and a non-performance, an absence of activity on the other. The chapter suggests that audience participation in the artwork and in the artwork’s participation in urban spaces differ in significant ways from sociological and political concepts of participation. Where social theory conceives of civic participation in terms of being a part of a social unit, the aesthetics of Nomad City Passage emphasizes participation in a counterintuitive way: it becomes possible to participate precisely because of not being a part of some shared community ideal.
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Clark, John W. "Bringing Life to Online Meetings." In Handbook of Research on Future of Work and Education, 460–75. IGI Global, 2022. http://dx.doi.org/10.4018/978-1-7998-8275-6.ch027.
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The future of work and learning will take place in two-dimensional, online settings, even if these virtual formats are used to augment in-person experiences. In this chapter, the author reflects on his improv theater and teaching experiences to offer practical advice on enhancing collaboration in small, synchronous online meetings, both in the classroom and workplace. Core principles include engaging selflessly, honoring the power of empty space, and bringing emotional and physical energy to each online session. The author shares lively examples from his own theatrical experience and supports the use of basic improv principles through social science, neuroscience, and workplace engagement research.
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Wolf, Stacy. "Musical Theatre at Girls’ Jewish Summer Camps." In Beyond Broadway, 225–48. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190639525.003.0007.
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In the summer musicals take place in the tiny, insular, homogenous culture of girls’ non-Orthodox Jewish summer camps in Maine. Each of these summer camps was founded by Jewish women—all early twentieth-century progressive educators—for socioeconomically privileged Jewish girls. Since the early 1900s, girls who attend the summer camps have participated in theatre as a required activity alongside swimming, volleyball, and arts and crafts, so musical theatre shapes their experiences in profound ways. This chapter visits four of these summer camps in the same state where Stephen Sondheim spent many summers at Androscoggin, an all-boys’ Jewish summer camp. Over the course of their years at camp, most girls perform in seven musicals and see forty more. In this consciously created community, the excitement, pressure, and camaraderie of musical theatre production creates an even more intense bubble in its midst.
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Çidam, Çiğdem. "Jean-Jacques Rousseau." In In the Street, 39–62. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190071684.003.0003.
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This chapter offers an innovative interpretive analysis of Rousseau’s literary and political works, highlighting how his formulation of popular sovereignty as the immediate expression of the people rests on a critique of the theater’s conspicuous artificiality. Contrary to the established reading, Rousseau’s alternative to the theater is not the public festival, which he finds unpredictable and fragile due to its performative nature. Rousseau models his conception of politics on a different form of aesthetic experience, which he develops in Pygmalion—a monodrama that depicts the encounter between a sculptor and his work of art. The Social Contract embodies this aesthetic experience whose paradigmatic example comes from plastic arts. The chapter concludes with an exploration of the antidemocratic implications of this turn to plastic arts, which resurfaces in the works of contemporary theorists who share Rousseau’s idealization of the supposed immediacy of spontaneous action and his desire to remedy its fragility and unpredictability.
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Fastelli, Federico. "Per tre sorelle omozigote." In Per sentiero e per foresta. Venice: Fondazione Università Ca’ Foscari, 2020. http://dx.doi.org/10.30687/978-88-6969-420-2/007.
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This essay proposes a reading of Il lato oscuro di Nane Oca that attempts to reflect on the interactive relationship between poetic word, visual image and sound. The narrative structure of the novel is in fact related to an ancient power of the art, as well as to share the experience in a community and admit the imagination in reality. In that sense, words, images and music constitute a unique medium that actually calls to mind the theatre.
Conference papers on the topic "Shared Experience Theatre. Theater"
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Narayan, Vickel, Thomas Cochrane, Neil Cowie, Meredith Hinze, James Birt, Chris Deneen, Paul Goldacre, Lisa Ransom, David Sinfield, and Tom Worthington. "A mobile ecology of resources for Covid-19 learning." In ASCILITE 2020: ASCILITE’s First Virtual Conference. University of New England, Armidale, 2020. http://dx.doi.org/10.14742/ascilite2020.0122.
Full textAbstract:
Mobile devices and a vast array of accompanying applications offer significant affordances to create, consume, share, collaborate and communicate—affordances that could be easily leveraged to facilitate meaningful learning. A positive disruption arising from COVID-19 that aligns with the affordances of mobile learning is the uncoupling of time and space in the learning process. Traditionally formal learning is a process that is predominately viewed as an experience that is ‘timetabled’— scheduled to eventuate at a ‘place’—lecture or a tutorial (or similar) in a room or lecture theatre. In this concise paper, an ecology of resources is discussed along with guiding principles for designing and facilitating uncoupled authentic and student-determined learning post the emergency remote teaching phase.
2
Woodward, Jay, and Michelle Kwok. "CREATING A VIRTUAL STUDY ABROAD EXPERIENCE TO RUSSIA." In International Conference on Education and New Developments. inScience Press, 2021. http://dx.doi.org/10.36315/2021end141.
Full textAbstract:
COVID-19 has drastically altered our world. Though travel is halted, global education does not have to stop. We used this time to reconceive the notion of study abroad and designed a study abroad program that could be facilitated virtually and enhanced with face-to-face classroom interaction. We were inspired to embark on this journey for several reasons. First, the realities of the pandemic create risks associated with international travel. Second, international experiences need to be more accessible–more students should be able to participate in global education, even if they do not have the means or ability to do so. We present our design considerations in building and implementing this virtual study abroad program. As part of the design, we partnered with VEXA (Virtual Experiences Abroad), a Moscow-based company that built the online interface and facilitated the interactions between our students and Russian citizens, including visits to a Russian Orthodox Church, the Bolshoi Ballet theater, and elementary and middle schools. We also brought elements of Russian culture to life through face-to-face experiences including a live cooking session with a Russian chef, discussions with a Russian Orthodox priest, and a ballet lesson with a company member of the Bolshoi theatre. These types of experiences facilitated group discussions and social interaction opportunities, crucial for establishing relationships. Overall, our main goal was to reconceive the traditional notion of study abroad while garnering results that would match the transformational gains that global education provides.