Relevant bibliographies by topics / Squat Theatre (Theater group)

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

Academic literature on the topic 'Squat Theatre (Theater group)'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Squat Theatre (Theater group)"

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Koo, Taehwan. "A Study on the Little Theater Movement of Theater Group 'Shilhum Theatre'." Journal of Korean Theatre Education 34 (June 30, 2019): 5–21. http://dx.doi.org/10.46262/kte.34.1.1.

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Canning, Charlotte, and Peta Tait. "Original Women's Theater: The Melbourne Women's Theatre Group 1974-77." Theatre Journal 46, no. 4 (December 1994): 560. http://dx.doi.org/10.2307/3209088.

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Kurz, Rosemarie. "SENIOR THEATRE AN IMPORTANT PART OF SENIOR CULTURE." Journal of Education Culture and Society 7, no. 1 (June 28, 2016): 152–64. http://dx.doi.org/10.15503/jecs20161.152-164.

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The third age is an opportunity and can be used wisely. Going to university, travelling, volunteering or joining a theater group could be possibilities. The article deals with Cultural Implications, and with senior theatre forging ahead in unexpected and adventurous directions. Last not least about the situation of Senior Theatre in Graz, Austria
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Dunkelberg, Kermit. "Confrontation, Simulation, Admiration: The Wooster Group's Poor Theater." TDR/The Drama Review 49, no. 3 (September 2005): 43–57. http://dx.doi.org/10.1162/1054204054742444.

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The Wooster Group's Poor Theater questions the state of contemporary performance by trying on the styles of a vanished group, the Polish Laboratory Theatre, dissolved in 1984; and a vanishing one, the Ballett Frankfurt, disbanded in August 2004 (half a year after Poor Theater had its first showing) and resurrected as the smaller Forsythe Company in 2005.
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Kozlova, Larissa Ya. "Componential Analysis as a Fundamental Senses Microsystem in W.S. Maugham’s ‘THEATRE’." RUDN Journal of Language Studies, Semiotics and Semantics 10, no. 3 (December 15, 2019): 687–99. http://dx.doi.org/10.22363/2313-2299-2019-10-3-687-699.

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Identification of fundamental senses in the work “Theatre” by the outstanding British writer and playwright W.S. Maugham was an objective of this research. In the given work both the conceptual analysis and the componential analysis of the main character Julia Lambert`s sphere of concepts was used. The componential analysis of the revealed lexico-semantic group of the words representing a concept “theater” showed a microsystem of the meanings having two main ones at its core: LIE, belonging to the concept sphere of theater - TRUTH, concerning the concept sphere of reality.
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Kozodaev, Pavel I., and Ekaterina K. Titova. "Pedagogical factors of formation of improvisational acting skills in amateur theatre." Psychological-Pedagogical Journal GAUDEAMUS, no. 47 (2021): 21–30. http://dx.doi.org/10.20310/1810-231x-2021-20-1(47)-21-30.

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We consider some issues of modern society related to the growing trend of social and emotional isolation of the individual, changes in their worldview, leading to the degradation of thinking and intellectual abilities. There is need to search for psychological and pedagogical ways, means and methods to activate the intellectual, emotional and creative development of the individual. A possible way to solve the identified social issues is the possibility of forming a person's skills for improvisation. We consider the implementation of this process in educational and creative activities of an amateur theater group as a sphere that provides ample opportunities for creative self-realization of the individual. We define the term “improvisation” as a universal ability of the individual, which is manifested in various creative processes, as well as in many other aspects of human life. An actor forms improvisational skills in an amateur theater group due to the organization and implementation of a number of pedagogical conditions, such as: creating a climate of psychological comfort that promotes the self-disclosure of individual and creative abilities of participants in an amateur theater group; using the etude method in the process of mastering the elements of acting improvisation by an amateur actor; mastering the basics of “effective thinking” through specific training exercises. The content component of the implementation of these pedagogical conditions, according to the authors, activates the course of the described process.
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Петрова and A. Petrova. "Auditorium of the Bolshoi Theater Journey As a Form of Aesthetical Education of Younger Schoolchildren." Primary Education 4, no. 4 (August 17, 2016): 32–34. http://dx.doi.org/10.12737/21359.

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The article discusses the educational potential of the excursions in the auditorium of the Bolshoi Theatre for introduction to younger students the peculiarities of architecture, interior design of the theater building, initiation to understanding the creative life of the theater group. The aim of the tour is the aesthetic education of children, development of their imagination and the ability to co-creation, conscious perception of theatrical art.
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Dergach, M. "PLAYBACK-THEATRE IN THE SYSTEM OF SOCIALIZATION AND RE-SOCIALIZATION OF PERSONALITY." Bulletin of Taras Shevchenko National University of Kyiv. Series “Psychology”, no. 2 (9) (2018): 17–20. http://dx.doi.org/10.17721/bsp.2018.2(9).4.

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The article reveals the peculiarities of playback theater as a psychodramatic technique, analyzes the current practice of using playback theater in the system of socialization and re-socialization. The author found that socialization, as a necessary process for interaction with the outside world, is manifested in the assimilation and appropriation of social experience for the purpose of productive functioning in it and to construct an image of the common and own world (as a part of the common), which allows a person to live a life while preserving individuality. and creatively influence the world. Within this provision, playback theater should be regarded as a technology of the paratheater system of dramatherapy, which is relevant at any stage of the socialization of the individual or as a means in the mechanisms of socialization. Playback theater contributes to the development of tolerance for social differences, the acceptance of another with all its features, values. Thanks to him, we learn to listen to understand others, because in the performance the main thing is the story of the viewer, the realization of which is impossible in reality without careful perception. The author has found that playback theater as a paratheater system of drama is a rather interesting and important means of socialization and re-socialization of the personality, it can be used in any group of people to solve problems of a wide range. The article describes in detail the content of the playback theater application, namely: social integration of individual subgroups into society; social and psychological adaptation of personality; social-psychological and therapeutic support for people who are in emotional and psychological state; creation of a more favorable social and psychological climate for the team; social and psychological support in complex events; development of personal qualities of children in educational institutions; social and psychological support of people in recreational activities; playback theater as a means of creating space for social networking. Prospects for further research on the topic of the article are to study the attitude of the audience to the performances of the playback theater, the search for the means of expression of the actors, the impact of playback on the children's audience.
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SILVA, Jessé Guimarães da. "Happenings e Aqui e Agora – Diálogos entre Abordagem Gestáltica e o Living Theatre." PHENOMENOLOGICAL STUDIES - Revista da Abordagem Gestáltica 26, no. 1 (2020): 98–109. http://dx.doi.org/10.18065/rag.2020v26n1.9.

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The present article aims to propose a reflection on the concepts involved in the experience here and now treated by the Gestalt approach. To do so, based on the avant-garde proposal of Living Theater, a group founded by Julien Beck and Judith Molina in 1947, such a debate will have as an analytical device the theatrical performance methodology called happening. From a look at the experience of the theater group and the resumption of bibliographic references that address the definition and characteristics of this concept, the proposal is to assume experience here and now in its continuous processuality marked by immediate and unique human experiences. From this point of view, there is a significant relevance of certain terms, such as contact, experience, spontaneity and improvisation in dealing with the present experience.
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Rodriguez, Chantal. "Is One Octopus Enough?" Theater 49, no. 1 (February 1, 2019): 6–21. http://dx.doi.org/10.1215/01610775-7253739.

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Likening Latinx theater to many octopuses with many legs, Chantal Rodriguez reflects on the 2017 Encuentro de las Américas Festival, hosted in Los Angeles by the Latino Theater Company, which included the first international convening of the Latinx Theatre Commons. Rodriguez describes current and emerging trends in Latinx theater across the Americas as expressed over the course of two panel discussions and among small-group participants. Recounting how these geographically diverse conveners responded to questions concerning Latinx aesthetics, political activism, funding, festivals, and inclusion, Rodriguez unpacks the festival’s predominant question: “What can we do together that we can’t do alone?”
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Dissertations / Theses on the topic "Squat Theatre (Theater group)"

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Williams, David Anthony English Media &amp Performing Arts Faculty of Arts &amp Social Sciences UNSW. "Undoing theatre: forced entertainment and 'the formless'." Awarded by:University of New South Wales, 2007. http://handle.unsw.edu.au/1959.4/37397.

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This thesis examines the theatre of Sheffield-based theatre group Forced Entertainment in terms of what art historian Robert Hewison terms 'Social Surrealism'. This term describes a politically engaged series of art practices that developed in Britain under Margaret Thatcher in the late nineteen-eighties. 'Social Surrealist' theatre makers adopted a radically different set of aesthetic strategies to the more traditional leftist political theatre tradition of 'social realism'. While Hewison links these practices to the so-called 'classical' Surrealism theorised by Andr?? Breton, I will argue that a more appropriate and useful Surrealist lineage to account for Forced Entertainment's theatre can be found in the writings of Andr?? Breton's main Surrealist rival, Georges Bataille. This thesis focuses on Bataille's notion of 'the formless' or formlessness, that which undoes and unravels the security and fixity of form, and uses this as a theoretical concept to account for the aesthetics and unravelling theatre practice of Forced Entertainment. This thesis then examines a selection of theatre works by Forced Entertainment, tracing the ways in which these works undo theatre using formlessness.
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Parsons, Rosemary Frances. "Group devised theatre a theoretical and practical examination of devising processes /." Master's thesis, Australia : Macquarie University, 2007. http://hdl.handle.net/1959.14/71211.

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Thesis (MPhil)--Macquarie University, Division of Society, Culture, Media and Philosophy, Department of Critical and Cultural Studies, 2007.
Bibliography: leaves 241-251.
Introduction -- Re-devising theatre: towards a genealogy of devising practice -- Pre-devising: group formation, development and games -- Devising theatre: This is not an exit -- Conclusion.
This non-traditional thesis explores the practical and theoretical processes of group-devised theatre. The research informing this thesis is derived from two interrelated components - a practical project in group devising, and a theoretical study of alternative theatre, devising methodologies, and performance theory. -- Chapter One defines "devising" before tracing its origins through the development of experimental practices from the historical avant-garde to the present day. These practices include radical disruptions to discursive language and structure, increased multimedia, reconsiderations of the performer's function and the use of improvisation. This genealogy is argued to be a "literature of practice" capable of informing contemporary devising projects, as well as helping to establish the position of devising within contemporary performance theory. -- Chapter Two examines how creative collaborators begin to form and function as a devising group, a period I theoretically term "pre-devising". By examining the experiences of my group, gaps in devising literature concerning group formation and composition are identified, complemented by an investigation into the role of theatre games in building ensemble. -- Chapter Three draws upon the genealogy of devising, devising literature and performance theory to interrogate the process of devising our production, This Is Not An Exit. The theoretical and practical problems of our methods are explored. These methods include organising the group as an artistic democracy, developing naturalistic characters, and establishing a "postmodern aesthetic". By analysing our experiences, this chapter attempts to illustrate the complex tangle of influences informing contemporary performance practitioners, and highlight areas ripe for future critical research.
Mode of access: World Wide Web.
251 leaves
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Whitaker, Janelle. "A Whole New World: A study on the impact the Disney Theatrical Group has made on Broadway theatre and Times Square over the past 20 years." University of Akron / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=akron1514644833674716.

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Foster, Michael E., and n/a. "The Praxis of Theatre Directing: An Investigation of the Relationship Between Directorial Paradigms and Radical Group Theatre in Australia Since 1975." Griffith University. School of Arts, 2004. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20040810.091417.

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The thesis investigates the field of Theatre practice variously referred to as alternative, non-mainstream, avant-garde, community or fringe theatre. I have suggested the term 'Radical Group Theatre' - a term which, I believe, best encompasses the sector formerly represented by this diverse body of theatre practice. I focus on the relationship between theoretical and practical paradigms, and debates surrounding them; theatre making processes; and directorial practice in a theatre form which has emerged as a distinctive set of characteristics, ideological frameworks and practices in the Australian context. The work is strongly informed by the perspectives and practices of a range of major contributors to the field. It notes the inadequacy of conventional analytics and established understandings of the theory/practice nexus for exploring Radical Group Theatre, and establishes an alternate set of frameworks. These enable fresh engagement with the development and current praxis of an important theatre form which has not previously been considered as a whole field yet has taken particularly exciting directions in Australia over the past three decades. Methodology and objectives: An important aspect of the study is the way in which the research methodology parallels the practice under investigation. That is, the practice of Radical Group Theatre in Australia mirrors the 'Reflective Reflexive Loop' which I propose as the pre-eminent principle of the praxis. The methodology has developed out of my Masters degree research which was an interrogation of my directorial practice in the field of Youth/Community theatre, 1976-1989. I was further interested to analyse the field of group theatre to determine whether common key principles identified as characteristics of the form in the earlier study constituted the basis for an analytical model of Radical Group Theatre praxis. The investigation for this thesis began with a project designed to synthesise the essential qualities of directorial practice: the qualities of the good director, the major influences on practice, and the expectations participants have regarding the function of the director. The preliminary findings formed the basis for a comparative study which sought answers to the key questions as they apply to a pre-professional radical theatre setting - university student theatre. This project gave birth to the focus questions of the study which established the theoretical and methodological frames for the thesis.
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Harrick, Stephen. "From the Avant-Garde to the Popular: A History of Blue Man Group, 1987-2001." Bowling Green State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1447855816.

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Rough, William W. "Walter Richard Sickert and the theatre c.1880-c.1940." Thesis, University of St Andrews, 2010. http://hdl.handle.net/10023/1962.

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Prior to his career as a painter, Walter Richard Sickert (1860-1940) was employed for a number of years as an actor. Indeed the muse of the theatre was a constant influence throughout Sickert’s life and work yet this relationship is curiously neglected in studies of his career. The following thesis, therefore, is an attempt to address this vital aspect of Sickert’s œuvre. Chapter one (Act I: The Duality of Performance and the Art of the Music-Hall) explores Sickert’s acting career and its influence on his music-hall paintings from the 1880s and 1890s, particularly how this experience helps to differentiate his work from Whistler and Degas. Chapter two (Act II: Restaging Camden Town: Walter Sickert and the theatre c.1905-c.1915) examines the influence of the developing New Drama on Sickert’s works from his Fitzroy Street/Camden Town period. Chapter three (Act III: Sickert and Shakespeare: Interpreting the Theatre c.1920-1940) details Sickert’s interest in the rediscovery of Shakespeare as a metaphor for his solution to the crisis in modern art. Finally, chapter four (Act IV: Sickert’s Simulacrum: Representations and Characterisations of the Artist in Texts, Portraits and Self-Portraits c.1880-c.1940) discusses his interest in the concept of theatrical identity, both in terms of an interest in acting and the “character” of artist and self-publicity. Each chapter analyses the influence of the theatre on Sickert’s work, both in terms of his interest in theatrical subject matter but also in a more general sense of the theatrical milieu of his interpretations. Consequently Sickert’s paintings tell us much about changing fashions, traditions and interests in the British theatre during his period. The history of the British stage is therefore the backdrop for the study of a single artist’s obsession with theatricality and visual modernity.
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Anderson, Jillian Rene. ""Yes, and...!" assessing the impact of theatre-based improvisational training and a simulation on work group behavior /." Oxford, Ohio : Miami University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1217826279.

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House, Melanie J. "Their Place on the South African Stage:The Peninsula Dramatic Society and the Trafalgar Players." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1291211511.

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Omar, Yasmin. "Exploring cognitively challenged children’s response to puppet theatre addressing grief, within a group intervention." Thesis, 2014. http://hdl.handle.net/10210/11242.

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M.Ed. (Educational Psychology)
There is a dire need within the South African context for psychological interventions (Landsberg, Kruger & Nel, 2005). Keeping this in mind, group interventions may prove to be a most beneficial and effective choice as it provides the opportunity to address several individuals systematically and simultaneously (Babbie, 2011). Smaller groups provide an opportunity of learning from others and the comfort of knowing that you are not alone. I was therefore interested in exploring cognitively challenged children’s response to puppet theatre addressing grief, within a group intervention. The theoretical framework employed in this study is the socio-cultural framework. Based on the work of Lev Vygotsky, which deals with the concept that the cognitive development of a child depends upon his/her response to the influences of the culture and society he/she is born in (Berk, 1997). His observation was that the social interaction brings about a gradual change in the way a child thinks, feels and behaves and this is variable from one culture to another. I take these views of knowledge being actively and continuously constructed and reconstructed with the impact and influence of social environments (Donald, Lazarus & Lolwana, 2010) in order to explore the collaborative understanding of grief. The aim of this study was to explore cognitively challenged children’s response to puppet theatre addressing grief, within a group intervention. Puppet theatre presented an opportunity to work with children through ‘play’, thus forming an alliance with the children in a non-threatening manner (Granot, 2005). With the focus being on the puppets, not on the children, their responses to grief was observed and resulted in group discussions. As Glăveanu (2010) points out, creative acts are simultaneously forms of externalisation and cultural expression. Malchiodi (1998), stresses the importance of considering developmental delays, especially with the cognitively impaired, when working creatively with children. The research followed a phenomenological research design through purposive sampling of seven children from a Gauteng (South Africa) school for children with cognitive challenges. Data was collected through the means of unstructured group interviews and observations. In observing their experiences with puppet theatre in a group intervention, the aim was to explore their responses and understanding of grief. Narrative analysis of the data collected provided themes to guide my findings. The study found that group intervention did prove useful with creating awareness amongst the cognitively challenged participants by allowing them to connect with their emotions. Puppet theatre also proved effective in externalizing cognitively challenged children’s exploration of grief. Through the emergence of this research communities will be better informed to the value of group intervention and the advantages of puppet theatre with cognitively challenged children.
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Mattos, Justina T. "The development of Hawaiʻi's Kumu Kahua Theatre and its core repertory : the "local" plays of Sakamoto, Lum and Kneubuhl." 2002. http://wwwlib.umi.com/dissertations/fullcit/3045433.

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Books on the topic "Squat Theatre (Theater group)"

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Anna, Koós, and Artists Space (Gallery), eds. Squat Theatre. New York: Artists Space, 1996.

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The Latino Theatre Initiative/Center Theatre Group papers, 1980-2005. Los Angeles: UCLA Chicano Studies Research Center Press, 2010.

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Idoye, Patrick E. Theatre and social change in Zambia: The Chikwakwa Theatre. Lewiston: Edwin Mellen Press, 1996.

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Mukhopadhyay, Kuntal. Theatre and politics: A study of group theatre movement of Bengal, 1948-1987. Calcutta: Bibhasa, 1999.

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The story of Unity Theatre. New York: St. Martin's Press, 1989.

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The story of Unity Theatre. London: Lawrence & Wishart, 1989.

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A documentary history of the African Theatre. Evanston, Ill: Northwestern University Press, 1998.

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Dark voices: The genesis of Roy Hart Theatre. Woodstock, Conn: Spring Journal Books, 2000.

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Wendy, Smith. Real life drama: The Group Theatre and America, 1931-1940. New York: Grove Weidenfeld, 1990.

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Smith, Wendy. Real life drama: The Group Theatre and America, 1931-1940. New York: Knopf, 1990.

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Book chapters on the topic "Squat Theatre (Theater group)"

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Chinoy, Helen Krich. "Odets in Clurman’s Theater." In The Group Theatre, 147–64. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137294609_10.

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Chinoy, Helen Krich. "Lee Strasberg: Artist of the Theater." In The Group Theatre, 81–94. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137294609_6.

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"‘PURE HORROR IN SPIRITUAL SQUAT BY THE SQUAT THEATRE’." In Mickery Theater, 232–34. Amsterdam University Press, 2011. http://dx.doi.org/10.2307/j.ctt6wp746.67.

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"‘PIP SIMMONS THEATRE GROUP RE-OPENS MICKERY’." In Mickery Theater, 227–29. Amsterdam University Press, 2011. http://dx.doi.org/10.2307/j.ctt6wp746.64.

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"AN DIE MUSIK BY THE PIP SIMMONS THEATRE GROUP." In Mickery Theater, 209–11. Amsterdam University Press, 2011. http://dx.doi.org/10.2307/j.ctt6wp746.58.

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"‘RACISM OF AMERICAN CULTURE IN GROUNDBREAKING THEATRE BY WOOSTER GROUP’." In Mickery Theater, 252–54. Amsterdam University Press, 2011. http://dx.doi.org/10.2307/j.ctt6wp746.77.

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"Towards a Rich Theatre: Where Does the Wooster Group Take Technology? Where Does Technology Take Theatre Performance?" In Theater und Medien / Theatre and the Media, 417–24. transcript-Verlag, 2008. http://dx.doi.org/10.14361/9783839410646-041.

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Nanney, Lisa. "Experimental Drama and Soviet Constructivist Theater." In John Dos Passos and Cinema, 11–24. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781942954873.003.0002.

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By the time he served in World War I, Dos Passos was well-versed in classical and contemporary visual art and a practiced painter. The war revealed to him how organizations and forces—such as governments, corporations, the press, and the military—could subvert individual self-determination, so he brought his visual aesthetics to bear on his early writing to seek artistic methods that could combine non-verbal aesthetics with political ideas, could transcend current literary forms, and could move readers to engaged interaction and activism. Like his early anti-war novels One Man’s Initiation: 1917 (1920) and Three Soldiers (1921), his experimental plays and set designing with the New Playwrights Theatre group, which he co-founded in New York in the mid-1920s, responded to the expanded aesthetic potentials of modernism. His early dramas, such as The Garbage Man (1927), reflect his increasing awareness that the theater had to create an innovative, immersive experience to compete as a cultural and political force with film, which was rapidly assuming unparalleled power as public entertainment both in the U.S. and Russia.
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Atkins, Joseph B. "From the Lexington Stage to a New York Park Bench." In Harry Dean Stanton, 33–50. University Press of Kentucky, 2020. http://dx.doi.org/10.5810/kentucky/9780813180106.003.0004.

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This wide-ranging chapter follows Harry Dean Stanton in his first years after military service. He returned to Lexington, Kentucky, and enrolled at the University of Kentucky, eventually making his way to the university's Guignol Theatre where a performance as Alfred Doolittle in Pygmalion convinced him to pursue a career in acting. He continued his studies at the prestigious Pasadena Playhouse in California, spending several years there before signing up with a traveling, all-male chorus group that took him across the country. Like many actors, including his fellow Kentuckian and future friend Warren Oates, Harry Dean tried to put his training to work in New York City, but after spending more time on park benches than the stage he joined with the Strawbridge Children's Theater and was back traveling cross-country. He tired of this before long, and it was back to California, this time for good.
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Conference papers on the topic "Squat Theatre (Theater group)"

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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.

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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.
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