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Journal articles on the topic 'THE NATIONAL CENTRE FOR THE PERFORMING ARTS'

Author: Grafiati

Published: 24 April 2022

Last updated: 30 July 2025

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1

Fang, Tony. "Impression of China National Centre for Performing Arts." Management and Organization Review 9, no. 2 (2013): 264. http://dx.doi.org/10.1111/more.12019.

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2

Poivert, Michel. "Le Centre national des arts plastiques." Revue de l'art N° 192, no. 2 (2016): 5–8. http://dx.doi.org/10.3917/rda.192.0005.

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3

Yanagisawa, Takahiko. "Japan’s new National Performing Arts Center." Journal of the Acoustical Society of America 103, no. 5 (1998): 2954. http://dx.doi.org/10.1121/1.422326.

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4

Noonan, James. "The National Arts Centre: Fifteen Years at Play." Theatre Research in Canada 6, no. 1 (1985): 56–81. http://dx.doi.org/10.3138/tric.6.1.56.

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This article reviews the history of theatre, English and French, at the National Art, Centre, Ottawa, since its opening in 1969. It examines the terms of reference for theatre as set out in the National Arts Centre Act and concludes that the Centre has been only partially successful in fulfilling its mandate to become a national theatre.

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5

Zhang, Jingjing. "A Study on the Factors Influencing Customer Satisfaction at the National Centre for the Performing Arts." Journal of Humanities and Social sciences 21 14, no. 2 (2023): 1959–74. http://dx.doi.org/10.22143/hss21.14.2.134.

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6

Day, Moira. "John Murrell at the Banff Centre." Canadian Theatre Review 136 (September 2008): 5–10. http://dx.doi.org/10.3138/ctr.136.001.

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John Murrell is a respected and acclaimed playwright, librettist, arts advocate, and mentor. Born in 1945 in Texas, he came to Alberta in 1968 to pursue a career in teaching and quickly emerged as one of the first significant playwrights of the bustling new professional theatre scene in the province. Accepting a position in 1975 as playwright-in-residence at Alberta Theatre Projects (ATP), he scored his first popular “hit” with Waiting for the Parade (1977) about five women in World War II Calgary. A second play, Memoir, depicting the closing year of Sarah Bernhardt's life, brought Murrell to

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7

Abdul Rahim, Suhaimi, and Nur Afifah Vanitha Abdullah. "Perkembangan Istana Budaya Sebagai Sebuah Panggung Negara di Malaysia (1999–2019)." Kajian Malaysia 42, no. 1 (2024): 291–314. http://dx.doi.org/10.21315/km2024.42.1.13.

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Since the establishment of Istana Budaya (IB) in 1999 as the national theatre house of Malaysia, its function has changed from a production house to a receiving house. Up to 2019, IB had been administered by six different ministries and led by five different directors. Both these changes have influenced the type of performance and production mode at IB as a world class performing arts centre. In the field of theatre management, this article studies IB under the sub-field of management of a performing arts institution. This article focuses on the reason for a performing arts institution to chan

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8

Ali, Walid, Syahrul Fithri Musa, Mohd Saad Omar, Muhammad Faisal Ahmad, and Atta Idrawani Zaini. "Portraying Theatre Locations in Kuala Lumpur, Malaysia: Transportation Accessibility for the Public." Semarak International Journal of Transportation and Logistics 1, no. 1 (2024): 45–57. https://doi.org/10.37934/sijtl.1.1.4557.

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The city centre of Malaysia is a key location for theatre and performing arts, drawing in a large audience. Venues like Istana Budaya, which hosts the National Musical of Malaysia, feature modern technology and unique performance styles. They are venues with diverse audience members from various economic groups. Marketing for performances in Istana Budaya is easier compared to other venue with the status of Malaysia’s National Theatre in addition to the its strategic location that has efficient public transport access; walkable nearby train station. Some other venues has limited public transpo

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9

Ali, Walid, Syahrul Fithri Musa, Mohd Saad Omar, Muhammad Faisal Ahmad, and Atta Idrawani Zaini. "Portraying Theatre Locations in Kuala Lumpur, Malaysia: Transportation Accessibility for the Public." Semarak International Journal of Transportation and Logistics 1, no. 1 (2024): 45–57. https://doi.org/10.37934/sijtl.1.1.4557b.

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The city centre of Malaysia is a key location for theatre and performing arts, drawing in a large audience. Venues like Istana Budaya, which hosts the National Musical of Malaysia, feature modern technology and unique performance styles. They are venues with diverse audience members from various economic groups. Marketing for performances in Istana Budaya is easier compared to other venue with the status of Malaysia’s National Theatre in addition to the its strategic location that has efficient public transport access; walkable nearby train station. Some other venues has limited public transpo

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10

Churchill, Emily, Laura Griffiths, and Helen Roberts. "The National Resource Centre for Dance, University of Surrey." Dance Chronicle 32, no. 3 (2009): 490–98. http://dx.doi.org/10.1080/01472520903275802.

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11

Dotlačilová, Petra. "Molière en costumes (Molière in Costumes), curated by Véronique Meunier-Delissnyder." Studies in Costume & Performance 8, no. 1 (2023): 121–27. http://dx.doi.org/10.1386/scp_00089_5.

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Review of: Molière en costumes (Molière in Costumes), curated by Véronique Meunier-Delissnyder Centre national du costume de scène (CNCS) (National Centre for Stage Costume), Moulins, 26 May–6 November 2022

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12

Anderson, Margot. "Dance Overview of the Australian Performing Arts Collection." Dance Research 38, no. 2 (2020): 149–67. http://dx.doi.org/10.3366/drs.2020.0305.

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The Dance Collection at Arts Centre Melbourne traces the history of dance in Australia from the late nineteenth century to today. The collection encompasses the work of many of Australia's major dance companies and individual performers whilst spanning a range of genres, from contemporary dance and ballet, to theatrical, modern, folk and social dance styles. The Dance Collection is part of the broader Australian Performing Arts Collection, which covers the five key areas of circus, dance, opera, music and theatre. In my overview of Arts Centre Melbourne's (ACM) Dance Collection, I will outline

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13

Hudek, Zuzu. "Vestuario Para La Escena 2022, curated by Edyta Rzewuska and Jerildy Bosch, Vestuario a Escena MX." Studies in Costume & Performance 8, no. 1 (2023): 128–31. http://dx.doi.org/10.1386/scp_00090_5.

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14

Salter, Denis. "Le Théâtre Petit à Petit, Order Minus Power." Canadian Theatre Review 55 (June 1988): 15–22. http://dx.doi.org/10.3138/ctr.55.002.

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In 1977, after studying theatre together at university, Annie Gascon, Danielle Hotte, and Claude Poissant founded le Théâtre Petit à Petit. With shoe-string budgets and minimal facilities, they explored a number of theatrical styles, doing everything petit à petit or little by little. Today the company is run collaboratively by Marie-France Bruyère, François Camirand, René Richard Cyr, Annie Gascon, Claude Poissant, and Denis Roy, and is celebrating its tenth anniversary with a remarkable season of both revival productions like Claude Poissant’s Ce qui reste du désir and new work like Fantômes

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15

Fadhel, Almuwail. "Current State and Prospects of Theatre Education Development in the Kingdom of Saudi Arabia." Bulletin of Kyiv National University of Culture and Arts. Series in Arts, no. 46 (May 22, 2022): 150–54. https://doi.org/10.31866/2410-1176.46.2022.258630.

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The purpose of the article is to identify the features and trends of modern theatre education in the context of the cultural policy of the Kingdom of Saudi Arabia based on the analysis of the national strategy in culture, the activities of the Theatre and Performing Arts Commission and the King Abdulaziz Centre for World Culture. Methods. The use of the method of theoretical analysis contributed to the study of scientific sources on the issue of theatre education in Saudi Arabia; the method of methodological and systematic analysis made it possible to reveal the purpose, objectives, and conten

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16

Duchesne, Scott. "Ottawa The Canadian Improv Games Finding (out) the Vision." Canadian Theatre Review 77 (December 1993): 74–77. http://dx.doi.org/10.3138/ctr.77.011.

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Ottawa 1974: two high school students crash an Improvisation workshop wearing loincloths and wielding cardboard spears. Ottawa, March 1993: the theatre of the National Arts Centre was filled to its nine-hundred-seat capacity with avid fans, alumni, and the merely curious, to witness the finals of the Canadian Improv Games. The event was given national coverage via YTV.

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17

Hardcastle, Anne, and Sara Graefe. "Looking Back." Canadian Theatre Review 60 (September 1989): 35–42. http://dx.doi.org/10.3138/ctr.60.010.

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Sara Graefe, 19, has just completed her first year at Queen’s University. She is majoring in Drama. Her three plays: Hunky Dory (1985), Gimme Some Truth (1986) and Sadly As I Tie My Shoes (19871 were winners in the National Arts Centre Young Playwrights Search

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18

Prickett, Stacey. "National Resource Centre for Dance, Current Awareness Bulletin on CD-Rom." Dance Research 21, no. 1 (2003): 63–64. http://dx.doi.org/10.3366/1290944.

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19

Jiménez‐Dianderas, Carlos R., and Manuel Panduro‐Manrique. "Acoustical design of the National Center for the Performing Arts of Perú." Journal of the Acoustical Society of America 90, no. 4 (1991): 2238. http://dx.doi.org/10.1121/1.401567.

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20

Jimenez‐Dianderas, Carlos R., and Manuel Panduro‐Manrique. "Acoustical design of the National Center for the Performing Arts of Peru." Journal of the Acoustical Society of America 89, no. 4B (1991): 1898. http://dx.doi.org/10.1121/1.2029435.

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21

Frazier, J. Todd. "HARNESSING ARTS IN MEDICINE FOR STRENGTH IN AGE: CASE STUDY, CENTER FOR PERFORMING ARTS MEDICINE, HOUSTON METHODIST." Innovation in Aging 3, Supplement_1 (2019): S29. http://dx.doi.org/10.1093/geroni/igz038.113.

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Abstract In the 1970’s hybrid arts and humanities programs began developing within healthcare systems across the country. Today, the National Organization for Arts in Health (NOAH) represents a network of hundreds of programs with a major focus of serving older people and their caregivers. This presentation will provide an overview of this rapidly developing network along with a multimedia overview of a comprehensive arts and medicine hospital based program in the Texas Medical Center: Houston Methodist Hospital’s System Center for Performing Arts Medicine one of NOAH’s founding members. The C

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22

Ruprecht, Alvina. "Co-production and the NAC." Canadian Theatre Review 108 (October 2001): 4–9. http://dx.doi.org/10.3138/ctr.108.001.

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The following is the edited text of an interview with Marti Maraden, director of English-language theatre at the National Arts Centre (NAC), conducted by Alvina Ruprecht at the NAC on Friday 25 May 2001. The taped interview was transcribed by Claire Tansey and edited by Ric Knowles, Marti Maraden, Alvina Ruprecht and Diana Tyndale.

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23

Hutcheon, Linda, and Michael Hutcheon. "Opera and National Identity: New Canadian Opera." Canadian Theatre Review 96 (September 1998): 5–8. http://dx.doi.org/10.3138/ctr.96.001.

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Much has changed on the Canadian stage since 1969, when composer Barbara Pentland lamented to Musicanada that “[w]hat comes from outside the country must de facto be superior. Prime example: the opening of our multi-million-dollar ‘National’ Arts Centre with an imported French ballet company dancing to a score by a Greek composer conducted by an American born in Germany” (qtd. in Kallmann and Potvin 1033). In fact, by 1969 things were already changing – at least on the operatic stage. The centennial year 1967 had made government money available for commissions, and as a result there was an exp

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24

Jones, Peter Blundell. "Reflections on the competition for National Centre for Popular Music, Sheffield." Architectural Research Quarterly 1, no. 4 (1996): 16–27. http://dx.doi.org/10.1017/s1359135500003043.

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For many years, architects in the United Kingdom have looked enviously at the competition system in the German speaking countries and Scandinavia. Now, with the introduction of a major public buildings programme partially funded by the new National Lottery, competitions are becoming more common in Britain. This paper opens with some reflections on the advantages and disadvantages of competitions. It then describes the conduct and outcome of a single Lottery-funded competition for the design of a building for which there were no precedents and in which issues of content and image were major pre

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25

Brook, Richard. "The National Computing Centre: “White Heat,” Modernization, and Postwar Manchester." Journal of the Society of Architectural Historians 79, no. 4 (2020): 438–58. http://dx.doi.org/10.1525/jsah.2020.79.4.438.

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26

Brook, Richard. "The National Computing Centre: “White Heat,” Modernization, and Postwar Manchester." Journal of the Society of Architectural Historians 79, no. 4 (2020): 438–58. http://dx.doi.org/10.1525/jsah.2020.79.4.438.

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27

Alcorn, Emmy. "Notes from a Maritime Kitchen Talk on Lighting: Leigh Ann Vardy in Conversation with Emmy Alcorn." Canadian Theatre Review 107 (June 2001): 16–20. http://dx.doi.org/10.3138/ctr.107.003.

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Leigh Ann Vardy is a Halifax-based lighting designer who has created lighting for many Nova Scotia theatre companies, including Neptune, Eastern Front, Jest in Time, Mulgrave Road, the Atlantic Theatre Festival, Alive Theatre, Elsinore Theatre Company and Ships Company. Outside Nova Scotia, she lit shows at Great Canadian Theatre Company, Factory Theatre, the National Arts Centre (in co-production with Eastern Front) and the LSPU Hall in Newfoundland.

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28

Hanna, Gay P., Pamela Saunders, and Niyati Dhokai. "CREATING STRENGTH IN AGE: HARNESSING THE POWER OF ARTS AND HUMANITIES NETWORKS." Innovation in Aging 3, Supplement_1 (2019): S29. http://dx.doi.org/10.1093/geroni/igz038.110.

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Abstract Arts and Humanities networks harness social capital in the service of older populations creating strength in age. This symposium will feature presentations in aging, arts, education, health and humanities exemplifying enormous and often underutilized resources readily available to engage older people across the spectrum of aging to combat decline and frailty at cognitive and physiological levels. Presenters will describe innovative partnership projects such as Sound Health, an initiative developed by the National Institutes of Health and the John F. Kennedy Center for the Performing A

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29

Mackay, Toby, and Simone Brott. "Le Corbusier and Crowds: Un centre national de réjouissances populaires de 100,000 participants, 1936." Architectural Theory Review 23, no. 2 (2019): 233–55. http://dx.doi.org/10.1080/13264826.2019.1656268.

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30

Jones, Chris. "Archives of the Dance (20): The Archive of the National Resource Centre for Dance." Dance Research 19, no. 1 (2001): 91–105. http://dx.doi.org/10.3366/1290858.

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31

Skyllstad, Kjell. "Creating a Culture of Peace. The Performing Arts in Interethnic Negotiations." Journal of Intercultural Communication 2, no. 2 (2000): 1–07. http://dx.doi.org/10.36923/jicc.v2i2.379.

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The Norwegian national institute for music dissemination (Rikskonsertene) initiated a three year school research project "Resonant Community" (1989 - 92). The project aimed at creating an understanding for the cultural traditions of immigrant communities in the Norwegian capital, and preventing discriminatory attitudes through an art program related to cultural traditions of the various immigrant groups.The project further aimed at releasing and promoting the artistic talents and ressources in these communities through cooperation with leading artists from countries of origin in the fields of

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32

McDonald, Larry, Arthur Milner, and Patrick McDonald. "Starting from Scratch: Politics, Playwriting and Zero Hour." Canadian Theatre Review 53 (December 1987): 43–48. http://dx.doi.org/10.3138/ctr.53.009.

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For over a decade, The Great Canadian Theatre Company has combined a commitment to political theatre with the demands of surviving as Ottawa’s most successful anglophone alternative to the National Arts Centre. Known nationally for the 1983 tour of Sandinista!, GCTC has performed numerous collective creations, docudramas and agit-props – many written by playwright-in-residence Arthur Milner – for community and labour groups. Larry McDonald talks to Arthur Milner and GCTC’s artistic director Patrick McDonald about their collaboration.

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33

Beauchamp, Hélène. "Theatre of Commitment in Francophone Canada." Canadian Theatre Review 108 (October 2001): 83–85. http://dx.doi.org/10.3138/ctr.108.014.

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It is not a new festival, but it has changed its name from the rather descriptive “Les 15 jours de la dramaturgie des régions” (reviewed in CTR 102) to the more catchy “Festival du Théâtre des Régions” (FTR). Founded by the Association des Théâtres francophones du Canada (ATFC) and the Théâtre français of the National Arts Centre (NAC), the Festival exists to bring together those professional companies and artists who write, create and produce theatre in French from Vancouver to Moncton and Caraquet. The Festival provides a showcase for selected productions, as well as precious time for discus

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34

Johnston, Denis, and Jerry Wasserman. "Surviving in Vancouver / 1: The New Play Centre: Twenty Years On." Canadian Theatre Review 63 (June 1990): 25–28. http://dx.doi.org/10.3138/ctr.63.005.

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As Vancouver’s New Play Centre (NPC) celebrates its twentieth anniversary, western Canada’s premier play development organization can’t decide whether to revel in its substantial accomplishments or worry about its ongoing identity crisis. On the plus side it has plenty to celebrate. Two decades of script development and, to a lesser extent, new play production have helped nurture a thriving theatrical culture in British Columbia, and given first exposure to plays and playwrights of national reputation.

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35

Di Castro, Andrea. "Art and New Technology in Mexico: The National Center for the Arts." Leonardo 39, no. 4 (2006): 371–72. http://dx.doi.org/10.1162/leon.2006.39.4.371.

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The author chronicles the history of Mexico's Centro Nacional de las Artes (National Center for the Arts) in Mexico City, and in particular the Multimedia Center, a space dedicated to the creation and teaching of the arts and preservation of cultural heritage through the use of new technologies such as CD-ROMs, the Internet and teleconferencing, as well as exhibitions. After 10 years of operation, the Multimedia Center faces new types of challenges as the new technologies become successfully integrated into creative practice. In response to the changing environment, the center is moving toward

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36

Kportufe, Gloria Esi, Dickson Adom, Ruth Owusu-Antwi, and Steve Kquofi. "The Roles of Performing Arts in Depression Care at KATH: Towards a Culturally Sensitive Model." Journal of Innovation in Educational and Cultural Research 6, no. 2 (2025): 361–69. https://doi.org/10.46843/jiecr.v6i2.2225.

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In most developing countries like Ghana, very little attention is paid to depression due to the lack of mental health education, which has resulted in the high levels of stigmatization faced by persons living with cognitive conditions. Coupled with the negative perceptions about the condition, the few mental health facilities in the country are under-resourced. This study aimed to identify the existing depression treatment models at Komfo Anokye Teaching Hospital (KATH) and examine the roles of selected performing arts in depression care to guide the creation of a culturally sensitive depressi

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37

McCaw, Kim. "Winnipeg Close-ups / 3, Seizing the Centre." Canadian Theatre Review 66 (March 1991): 25–31. http://dx.doi.org/10.3138/ctr.66.005.

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Kim McCaw was born in 1952 in Prince Albert, Saskatchewan, where he lived until his family moved to Saskatoon when he was twelve years old. It was while at high school in Saskatoon that Kim discovered his interest in the theatre, an interest he continued to pursue when the family later moved to Regina. After high school Kim enrolled in the bfa program at the University of Victoria and two years later he was accepted at the National Theatre School, from which he graduated in 1974. The following couple of years he spent as an actor living in Toronto, returning to Regina when Ken Kramer offered h

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38

Mair, Elizabeth. "Prince Edward Island / 1: Theatre: Who’s It For?" Canadian Theatre Review 48 (September 1986): 19–22. http://dx.doi.org/10.3138/ctr.48.003.

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The Charlottetown Festival at PEI’s Confederation Centre promotes itself as the Canadian home of Broadway-style musical theatre. With the exception of Anne of Green Gables and Johnny Belinda, however, few shows done at the Centre have reflected substantial Canadian content. Although the festival has been active for over 20 years and is technically the foremost producer of all-Canadian musicals, it has yet to evolve a distinctively Canadian form of musical theatre, preferring to make use of the ready-made Broadway structures transplanted, with minor adaptations, to accommodate Canadian content

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39

Vaze, Bageshree. "South Asian Theatre in Toronto." Canadian Theatre Review 94 (March 1998): 10–13. http://dx.doi.org/10.3138/ctr.94.002.

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For most aspiring thespians in Canada, Toronto is the place to be. Montreal may be home to the National Theatre School, but Toronto is where artists flock for work. Boasting more than 10 000 live shows in the past year, Canada’s most populous city is the third largest theatre centre in the English-speaking world, after New York and London.

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40

Cramer, Steve. "Ideological Anxiety, National Transition and the Uncanny in The Omega Factor." Journal of British Cinema and Television 13, no. 1 (2016): 61–79. http://dx.doi.org/10.3366/jbctv.2016.0296.

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This article examines the BBC Scotland series The Omega Factor (1979), with a view to illustrating the ways in which the series used its supernatural genre to interrogate the ideological transitions of its era. In particular, the article will examine the ways in which Scotland's cultural landscape and history is misrecognised through the eyes of characters from the metropolitan English centre, who journey into a Kristevan uncanny in their experience of otherness in Scottish characters and landscapes. The ways in which The Omega Factor diverged from generic precedents set by contemporary Englis

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41

Macpherson, Rod. "Saskatoon Reopening the Carlton Trail." Canadian Theatre Review 51 (June 1987): 70–72. http://dx.doi.org/10.3138/ctr.51.009.

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As File caught fire in its progress from Montreal’s Centaur Theatre to the National Arts Centre via Edmonton’s Citadel last January through March, two western theatre companies began to ship live entertainment down an overland trade route of the 1800s, establishing what they hope will be a trade route for quality Canadian drama that stretches right across the Prairies and eventually reaches the Pacific. Twenty-Fifth Street Theatre in Saskatoon and Theatre Network in Edmonton have embarked on the first Carlton Trail Theatre Festival, a joint venture which saw the two companies exchange producti

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42

Antoniou, Michaela. "Aristophanes’ The Birds, the Epidaurus Festival, and the Onassis Cultural Centre." New Theatre Quarterly 34, no. 3 (2018): 272–82. http://dx.doi.org/10.1017/s0266464x18000258.

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In this article, Michaela Antoniou offers a close analysis of Nikos Karathanos's 2016 production of Aristophanes’ The Birds, which was staged at the Epidaurus Festival with the support of the Onassis Cultural Centre. She argues that the context embodies Eric Hobsbawm's concept of the ‘invented tradition’, and examines its often problematic relation to the Centre, which, as a powerful and economically independent organization, occupies a dominant position in the field of theatre in Greece. The essential parameters and scope of Karathanos's performance aesthetics are analyzed through the lens of

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43

Calvo Manuel, Ana. "Conservation in the Nineteenth Century." Ge-conservacion 6 (December 11, 2014): 102–3. http://dx.doi.org/10.37558/gec.v6i0.250.

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Reseña del libro: Conservation in the Nineteenth CenturyArchetype Publications in association with the National museetof Denmark and CATS (Centre for Art Technological Studies andConservation), Copenhagen. London, 2013.232 páginas, 220x300 mm.ISBN: 978-1-904982-91-3.

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44

Carter, Alexandra. "Archives of the Dance (22): Pioneer Women – Early British Modern Dancers (The National Resource Centre for Dance, University of Surrey)." Dance Research 28, no. 1 (2010): 90–103. http://dx.doi.org/10.3366/drs.2010.0005.

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Pioneer Women was an AHRC-funded project based on archives held at the National Resource Centre for Dance, University of Surrey. This article focuses on the two largest collections, that of Madge Atkinson and Natural Movement, and Ruby Ginner's Revived (later Classical) Greek Dance. Their work is situated within the broad cultural context of the early 20th century, and the archival holdings are evaluated for their potential in offering a re-conceptualisation of early British modern dance.

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45

Skelling Desmeules, Marie-Eve. "Les expériences de professionnalisation en contexte de formation artistique : le cas du cirque." Travail, formation et professionnalisation 57, no. 1 (2023): 181–200. http://dx.doi.org/10.7202/1102019ar.

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This article suggests a better understanding of the professionalization experiences in two higher education contexts in the performing arts: the National Circus School (Canada) and the National Circus Arts Center (France). This qualitative-interpretive research (2018-2020) is based on the concept of experience, on the Theory of activity, and on a large dataset of annotated observations, individual interviews, and focus groups. This paper invites readers to consider existing literature as well as the experiences and testimonials of participants to shed light on the diversity of forms profession

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46

So, Hwa, Dal-Woo Kim, and Sang Cheul Nam. "Research on the Establishment of Namwon National Gugak Center and Performing Arts Activities of Dance Troupe." Korean Journal of History for Physical Education, Sport, and Dance 22, no. 3 (2017): 93–105. http://dx.doi.org/10.24826/khspesd.22.3.7.

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47

Pflaeging, Jana, and Hartmut Stöckl. "Tracing The Shapes of Multimodal Rhetoric: Showing the Epistemic Powers of Visualization." Visual Communication 20, no. 3 (2021): 397–414. http://dx.doi.org/10.1177/14703572211010370.

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This visual essay seeks to substantiate and illustrate the tenet that formal–structural elements in graphic design carry rhetorical functions. Based on a National Geographic feature article, the authors demonstrate methods for ‘measuring’ layout, colour and typography, and show the results in infographic visualizations. At the same time, the study showcases the epistemic value of these visualizations. The perspective adopted puts the double-page centre-stage.

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48

Ben Jerbania, Imed, J. Andrew Dufton, Elizabeth Fentress, and Ben Russell. "Utica’s urban centre from Augustus to the Antonines." Journal of Roman Archaeology 32 (2019): 66–96. http://dx.doi.org/10.1017/s1047759419000060.

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Since 2010, a team from the Tunisian Institut National du Patrimoine and the University of Oxford1 has been investigating Utica’s monumental centre, located at the tip of the promontory on which the city is built (fig. 1). The range and scale of architectural elements littering this area were remarked upon by most antiquarian investigators of the site. Nathan Davis, working at the site in 1858, noted that, despite the fact that it “had been ransacked for building materials”, this part of the city was covered with “marble and granite shafts, capitals, and cornices, of every order, size, and dim

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Koo, Hae Na, and Seung In Kim. "A Comparative Study on Performing Arts Visualization OTT Platform User Experience - Focusing on National Theater of Korea and Seoul Arts Center -." Journal of Cultural Product & Design 76 (March 30, 2024): 61–70. https://doi.org/10.18555/kicpd.2024.76.006.

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Colman, Xan, and Tamara Searle. "Performing Resistance in Burma." TDR/The Drama Review 53, no. 1 (2009): 141–46. http://dx.doi.org/10.1162/dram.2009.53.1.141.

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Art—or at least the kind we most like to write about—is almost always political, whether it is inter/national or personal; and though TDR has already taken this up in its “War and Other Bad Shit” issue, the topic remains center stage. In his review of Dutch theatre troupe Dood Paard's medEia, Jacob Gallagher-Ross notes the emergence of “a new age of the chorus” in which spectatorship becomes inseparable from paralyzed witnessing and Medea's tragedy is reconceived as a metaphor for the West's tragic relations with the East. Laurietz Seda explores Guillermo Gómez-Peña's recent performance/instal

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