Relevant bibliographies by topics / Theater Drama Theater and society Theater

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

Academic literature on the topic 'Theater Drama Theater and society Theater'

Author: Grafiati
Published: 4 June 2021
Last updated: 14 February 2022

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Journal articles on the topic "Theater Drama Theater and society Theater"

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Djaha, Siti Susanti Mallida. "THE EMERGENCE OF NEW MEDIUM." Notion: Journal of Linguistics, Literature and Culture 1, no. 1 (May 30, 2019): 21. http://dx.doi.org/10.12928/notion.v1i1.712.

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This study aims at finding the development of new medium of drama in English literary history. From the very first emergence of drama, the plays that have been written were performed in the theater and in many kinds of theater were appears to represent some ideas from the society. As time passing by, these kind of theater had a kind of transformation to be the new medium that we called motion picture. This motion picture began with the silent movie, then it became the talking picture, and it was improved to be the cinema. In its development until today, which we had been known as the movie. This new medium emerged to replace the live theater performance especially in Edwardian era.
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Gerdova, T. S. "Theater Art in Oleksandrivsk (Zaporizhzhya): end of the 19th – beginning of the 20th сenturies." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 57, no. 57 (March 10, 2020): 228–45. http://dx.doi.org/10.34064/khnum1-57.14.

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Introduction. Theoretical background. The territorial formation and economic development of Оlexandrivsk and the district is associated with the activation of social, including artistic, life all aspects in the Russian Empire. The creative potential of small towns, including Olexandrivsk, has become a fertile ground for the development of the principles and means of theatrical and stage creativity. Theater, as the most democratic form of art, is directly connected with changes in public life. The theater significant social role and insufficient knowledge on it in the Olexandrivsk conditions and its district determined the relevance of the research topic. The researches by S. Voitkovsky (2014), G. Dadamyan (1987), M. Yevreinov (2019) constitute the scientific and theoretical basis of the work. The study of theatrical art in the Oleksandrivsk (Zaporizhzhya) region is based on the works of O. Antonenko (2017), S. Grushkina (2011), T. Martynyuk (2003). The aim of the research is to study the theater art in Olexandrivsk and the district of the same name as an integral phenomenon of a certain time. The tasks of the work are determine the origins of the theater art in the region, coverage of the features of this phenomenon, identification of theater companies’ organizational forms, study of the theater groups’ repertoire and genre priorities, consideration of theater art professionalization issues in the region. The methodology involves the application of the basic dialectic principles (to reveal the internal contradictions of the research subject and the sources of its development); historical principle (to study the theater’ development as a process of changes in existence’ some forms); comparative method (to identify the theater art characteristics in the region); source study method (to create an archival and historical base for studying the problem); axiological approach (to identify of the theater artistic troupes’ value orientations in the region). Results of the research. Historical materials contain a few facts about the theatrical entertainment of the local population long before the foundation of Olexandrivsk. Similar to the more inhabited neighboring regions, in these territories the existence of a folk theater is likely, the roots of which M. Yevreinov sees in magical actions, rituals and buffoonery. The researcher considers the theater of Russia, the roots of which are in the theatrical art of Europe, to be a counterbalance to folk theater. At the state level, these traditions have been inculcated since the 17th century. This process in the region began from the time of Olexandrivsk foundation. There are two most stable groups of theater collectives in the theater environment of the region. Domestic and foreign drama and opera troupes, which were guided by the Western European theater traditions, are made up the first group. Ukrainian artists’ association and local amateur drama circles that further developed the traditions of folk theater consisted the second group. They united by the idea of national dramatic art. The factors of theater collective’ differentiation in this region are the form of organization of theater business, repertoire and genre priorities, issues of professionalization. The sole proprietorship form is characteristic for the Western European tradition collectives. In Olexandrivsk and the district, the private enterprise was the dominant form, as the most active organization type of theater business. This type of enterprise does not have the conventions of imperial, state, municipal and other theaters in terms of repertoire and personnel relations. This provided it with freedom, mobility and ingenuity. The organizational form of the partnership is characteristic for the troupes oriented towards the traditions of folk theater. Democracy of this form manifested itself in collective decisionmaking. The next factor in differentiating theater groups is repertoire and genre priorities. The Western European tradition troupes gave preference to the works of Western European and Russian authors. Ukrainian authors’ works, Ukrainian song and dance folklore dominated in the repertoire of Ukrainian associations, which continued the traditions of folk theater. These groups preferred works of a pronounced national orientation. The repertoire differences between the two groups reflected to the methods and skills of acting. It is necessary to master Italian vocal technique, classic instrumental technique, conducting symphonic skills in the Western European tradition troupes. In Ukrainian troupes’ music and dramatic performances, universal training actor is needed, equally skillful in stage speech, the folk dance, the style of folk singing. The theater groups’ genre preferences repertoire related to an orientation towards the original artistic traditions. The Western European tradition’ collectives repertoire abounded in dramas, operas, operettas and the romances, arias, opera scenes in the concert departments. The Ukrainian folk-theater tradition repertoire dominated by music and drama plays, simple Ukrainian opera and Ukrainian folk songs, romances by domestic composers in concert departments. In Olexandrivsk and the district, questions of theater art’ professionalization were not publicly raised widely. Some striving for the performances artistic level increase we can saw in the practice of inviting famous artists for touring performances. Thanks to this, acting skills, methods of working on the role and the performance as a whole enriched. Invitations to participation in the performance of famous performers of the folk-theatrical tradition to Ukrainian troupes were episodic. An indicative fact of development was the director’s position emergence in the Western European tradition troupes. Conclusions. The peculiarity of theater art in the Olexandrivsk region is the absence of a local professional theater, represented, on the one hand, by the work of guest domestic and foreign troupes, on the other – by Ukrainian artistic societies and local amateur associations. The dominant groups of groups embodied two types of theater: Western European tradition and folk tradition. These types of theater functioned in various organizational forms. Dramatic and operatic corpses of the European tradition were characterized by a form of individual private enterprise; Ukrainian groups that developed the traditions of folk theater – a form of acting society. Theater troupes of these two traditions distinguished by their repertoire priorities. The core of the repertoire of the Western European tradition groups was the Russian and Western European authors’ works. The groups, which developed the folk theater, staged mainly plays by Ukrainian and local authors. The vector of theatrical art development in the Olexandrivsk and region is not clear enough at the historical period under consideration. An organized and purposeful movement towards the theater art professionalization in the region of this historical period is not visible. Certain facts of attracting famous artists and interaction with other groups as well as the emergence of the directed theater can be considered as elements of а professionalization.
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Vandenbroucke, Russell. "Violence Onstage and Off: Drama and Society in Recent American Plays." New Theatre Quarterly 32, no. 2 (April 13, 2016): 107–20. http://dx.doi.org/10.1017/s0266464x16000026.

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Direct and bloody violence has a long history on stage. In recent years, a different mode of violence can be distinguished in the work of prominent American playwrights – less direct than indirect, more covert than overt, and likely to affect a group rather than individuals. In this article Russell Vandenbroucke applies concepts from Norwegian sociologist and Peace Studies scholar Johan Galtung to examine structural and cultural violence in Suzan-Lori Parks's Father Comes Home from the Wars (Parts 1, 2, & 3) and traces similar representations of violence in Anna Deavere Smith's Fires in the Mirror, Tony Kushner's Angels in America, Lynn Nottage's Ruined, Ayad Aktar's Disgraced, The Laramie Project by Moisés Kauffman and the Tectonic Theater Project, and Tim Robbins's adaptation of Dead Man Walking by Sr Helen Prejean. These writers have in common the status of traditional outsiders – black, female, gay, Muslim – and this informs their engagement in the social and political vitality of the stage. The shift in focus of these plays from direct violence echoes observations in Steven Pinker's recent The Better Angels of Our Nature: Why Violence Has Declined. Russell Vandenbroucke is Professor of Theatre Arts at the University of Louisville and Director of its Peace, Justice, and Conflict Transformation programme. He previously served as Artistic Director of Chicago's Northlight Theatre. His publications include Truths the Hand Can Touch: the Theatre of Athol Fugard and numerous articles on South African theatre.
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Knapp, Bettina L., and Haiping Yan. "Theater & Society: An Anthology of Contemporary Chinese Drama." World Literature Today 74, no. 1 (2000): 237. http://dx.doi.org/10.2307/40155534.

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Mackerras, Colin. "Theater and Society: An Anthology of Contemporary Chinese Drama (review)." China Review International 7, no. 2 (2000): 564–68. http://dx.doi.org/10.1353/cri.2000.0092.

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Wichmann-Alczak, Elizabeth. "Theater and Society: An Anthology of Contemporary Chinese Drama (review)." Theatre Journal 54, no. 2 (2002): 325–26. http://dx.doi.org/10.1353/tj.2002.0066.

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Suyadi, Suyadi. "LAKON BANGSAWAN SUMATRA UTARA, TINJAUAN SINTAKTIKA." MEDAN MAKNA: Jurnal Ilmu Kebahasaan dan Kesastraan 17, no. 2 (December 3, 2019): 180. http://dx.doi.org/10.26499/mm.v17i2.2140.

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The performance of drama bangsawan not only carries social, economic, and political missions. The role of drama bangsawan is increasingly important and strategic in organizing the life of the nation, state, and society. In addition to playing a role to explore the cultural and artistic values that we have, royal drama can also play a role in encouraging the realization of complete human development, which also means not only teaching material/physical, but also very useful to order the mental and spiritual of every human being. This paper presents the syntactic aspects of the drama bangsawan in North Sumatra. The syntactic aspect which is part of Charles Morris's semiotic theory explores the nature and pattern of stories of aristocratic plays. This review succeeded in discovering the existence of the aristocratic theater in North Sumatra and its shape patterns. This folk theater originally took place among the aristocrats in the Serdang Sultanate and eventually became the property of most people. The aristocratic form or concept of the show was maintained even though it was no longer played at the Palace, as the palaces in the former North Sumatra Residency after the Social Revolution collapsed. This theater should be inherited as a non-fine cultural form belonging to North Sumatra.
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Tulyantsev, Andrey. "Dnipropetrovsk Ukrainian academic youth theater in the contemporary sociocultural context." Музикознавча думка Дніпропетровщини, no. 18 (November 12, 2020): 5–15. http://dx.doi.org/10.33287/222013.

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The purpose of this article is concentrated by researcher into revealing of the particularity for modern theater on the example Dnipropetrovsk Ukrainian academic youth theater. The author studies performances for young people that the theater has in its repertoire. The dialogue between the theater and the audience has its own scientific interest for the author. The author uses the most effective methods of scientific research. The author has a need to understand the peculiarities of the style of acting and directing. It is also necessary to understand the general style of the theater. This position is significant, because there is a specificity in the interpretation of theatrical performance. Scientific novelty. This article has its own peculiarity. The author aims to determine for the first time the main provisions of the activities of the Ukrainian academic theater for youth from the Dnieper. To achieve this goal, the author of the article makes an analysis in which there is a specific meaning of the theater's activities, the subject of this research. Theater is analyzed as an artistic value. The author assesses the state of the collective as a theater historian. The activity of the theater is analyzed in the context of the functioning of modern theater culture. This is what makes it possible to understand the features of the historical phenomenon. It combines the present with the past. It aims to understand the perspective of contemporary theater time in the future. Methods. The performances of this theater have the characteristics of a synthetic genre. These performances have the ability to explain the nature of the interaction between theater and music. Therefore, research methods are based on the synthesis of various areas of scientific activity. In which there are various scientific disciplines. Specifically: the structural system of the history of the theater, the use of analytical methods in the analysis of drama, direction, skill of actors, singing, orchestra work, scenography. The author explores their analogies and connections, what unites them and what is opposition. Conclusions. The performances of the Ukrainian academic theater for young people from Dnipro are of different genres. The principles of the dialogue between the theater system and the audience, which exists in mutual exchange, are revealed in these performances. The author notes the real mutual cooperation between the theater and the audience. At the same time, there is an addition of one dramatic tradition to another. You can also observe how professional directors worked with the texts of the plays. The fact of how the structure and style of the performance is changing is significant. The academic professional artistic transformation of vocational performances in modern society is essential relevant.
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TOMA, Florin. "THE CONVENTIONAL APPROACH OF DRAMATIC SITUATIONS TO THE DISADVANTAGE OF THE ORGANIC APPROACH FROM A HUMAN PERSPECTIVE." International Multidisciplinary Scientific Conference on the Dialogue between Sciences & Arts, Religion & Education 4, no. 1 (December 7, 2020): 123–28. http://dx.doi.org/10.26520/mcdsare.2020.4.123-128.

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This study aims to present some arguments that would highlight the difference in the approach of a dramatic text from a literary, conventional perspective and from an organic, violently subjective one. The analysis of drama from an acting perspective involves a set of difficulties and peculiarities resulted especially from its dual nature, because it is in the same time literature (fiction), as well as theater (action, show). The completion of a dramatic text involves, most often, its transformation into a show, but also into a processually-objective reality through the actor's creativity. The logical mechanisms typical to the acting creation process can often be inhibited by the need to exert self-control, due to a pattern of thinking extensively promoted in contemporary society, and that mostly aims success instead of encouraging an honest journey of self-discovery through theatre
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Hauptfleisch, Temple. "Eventifying Identity: Festivals in South Africa and the Search for Cultural Identity." New Theatre Quarterly 22, no. 2 (April 19, 2006): 181–98. http://dx.doi.org/10.1017/s0266464x0600039x.

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Festivals have become a prominent feature of theatre in South Africa today. More than forty such annual events not only provide employment, but constitute a socio-cultural polysystem that serves to ‘eventify’ the output of theatre practitioners and turn everyday life patterns into a significant cultural occasion. Important for the present argument is the role of the festivals as events that foreground relevant social issues. This is well illustrated by the many linked Afrikaans-language festivals which arose after 1994, and which have become a major factor not only in creating, displaying, and eventifying Afrikaans writing and performance, but also in communicating a particular vision of the Afrikaans-speaking and ‘Afrikaner’ cultural context. Using the Klein Karoo Nasionale Kunstefees in Oudtshoorn as a case study, in this article Temple Hauptfleisch discusses the nature, content, and impact of this particular festival as a theatrical event, and goes on to explore the polysystemic nature of the festival phenomenon in general. Temple Hauptfleisch is a former head of the Centre for South African Theatre Research (CESAT) and Chair of the University of Stellenbosch Drama Department. He is currently the director of the Centre for Theatre and Performance Studies at Stellenbosch and editor of the South African Theatre Journal. His recent publications include Theatre and Society in South Africa: Reflections in a Fractured Mirror (1997), a chapter in Theatrical Events: Borders, Dynamics, Frames (2003), and one on South African theatre in Kreatives Afrika: Schriftstellerlnnen über Literatur, Theater und Gesellschaft (2005).
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Dissertations / Theses on the topic "Theater Drama Theater and society Theater"

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Taub, Lora E. "Enterprising drama : the rise of commercial theater in early modern London /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 1998. http://wwwlib.umi.com/cr/ucsd/fullcit?p9835408.

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Regele, Thomas R. "Constructing the present by recasting the past : perceptions and expressions of las dos Españas in the refundición /." view abstract or download file of text, 2005. http://wwwlib.umi.com/cr/uoregon/fullcit?p3181123.

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Thesis (Ph. D.)--University of Oregon, 2005.
Typescript. Includes vita and abstract. Includes bibliographical references (leaves 191-197). Also available for download via the World Wide Web; free to University of Oregon users.
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Toure, Jean-Marie. "Théâtre et liberté en Afrique noire francophone de 1930-1985." Villeneuve d'Ascq : Presses universitaires du Septentrion, 1999. http://books.google.com/books?id=2l1cAAAAMAAJ.

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Amato, Danielle Anna. "Collage corporeality : body and technology in contemporary American performance /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC IP addresses, 2003. http://wwwlib.umi.com/cr/ucsd/fullcit?p3099913.

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Bastani, Nava Corinne. "A project proposal for the formation of People's Theatre : a community drama project for the moral development and empowerment of the youth in Hout Bay /." Link to the online version, 2007. http://hdl.handle.net/10019/1670.

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Odhiambo, Christopher. "Theatre for development in Kenya : in search of an effective procedure and methodology." Thesis, Stellenbosch : Stellenbosch University, 2005. http://hdl.handle.net/10019.1/20919.

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Thesis (DPhil)--University of Stellenbosch, 2004.
ENGLISH ABSTRACT: This is a study of Theatre for Development (TfD) in Kenya. It is an attempt to map out and describe different manifestations of the practice which would, in a way, act as a critical model for practitioners and other stakeholders. However, this is in no way an attempt to provide a rigid all-purpose theoretical model, but nonetheless to offer ways, through a description of aspects of Theatre for Development, within which and through which social and behavioural transformations in this eclectic field may take place. To this end, case studies of a few indicative and contrasting examples of Theatre for Development will be used to provide a mirror which will enable its practitioners to reflect upon and critique their own practices as a way of achieving optimum effectiveness. The works of Paulo Freire and Augusto Boal provide the study with a theoretical model in which its basic assumptions and arguments are tested and developed. These two authors, whose works are related in many ways, privilege the use of participatory approaches in the process of creating critical consciousness and promoting change in the individual and in society; these are fundamental requirements in any meaningful practice of Theatre for Development. The findings of this study reveal the discursive and eclectic state of the practice of Theatre for Development in Kenya as originating from a multiplicity of factors such as the skills (or lack thereof) of the practitioners, government interference and the prescriptive agenda and demands of the project funding bodies, institutions and agencies as well as the proliferation of NGOs using Theatre for Development but lacking its foundational philosophy and methodology. This study therefore suggests that, for the enterprise to be more effective and efficient there is a serious need to reflect critically on its procedures and methodology in order to improve and guide its operation. These fundamental aspects include collaborative research, codification, interactive participation, and facilitation and intervention, and are not prescriptive matters but descriptive, arrived at through a critical analysis of a number of Theatre for Development activities in Kenya. Ultimately the research process has thus highlighted a number of weaknesses and strengths in the practice of Theatre for Development in Kenya. Because Theatre for Development is a performance event, the study utilised both quantitative and qualitative research methods. This was necessary, because the study depended on a bibliographical review, unstructured interviews and action research, where the researcher participated in Theatre for Development projects, happenings and related activities
AFRIKAANSE OPSOMMING: Hierdie is ‘n ondersoek na Teater vir Ontwikkelling in Kenya. Dit poog om die verskillende manifestasies van die praktyk te karteer en beskryf waardeur dit, tot ‘n mate, a kritiese model vir praktisyns en aandeelhouers kan dien. Die onderneming is egter op geen wyse ‘n soeke na ‘n rigiede, allesomvattende teoretiese model nie, maar bied tog ‘n beskrywing van aspekte van Teater vir Ontwikkelling waarbinne en waardeur transformasie van sosiale optrede en handeling in hierdie eklektiese veld kan plaasvind. Met dit in gedagte word na ‘n aantal toepaslike en kontrasterende gevallestudies van Teater vir Ontwikkelling gekyk om ‘n perspektief te ontwikkel wat praktisyns in staat sal stel om hulle eie praktyke krities en effektief te kan evalueer. Die werk en geskrifte van Paulo Freire en Augusto Boal verskaf die teoretiese model vir hierdie ondersoek, wat die basiese beginsels en uitgangspunte daarvan in die Afrika-konteks uittoets en ontwikkel. Hierdie skrywers, wie se werke nou verband hou met mekaar, gee voorkeur aan ‘n interaktiewe, deelnemende benaderings tot die ontwikkelling van ‘n kritiese bewussyn en die stimulering van verandering by die individu en in die gemeenskap. Dié benaderings is fundamenteel tot enige sinvolle aanwending van Teater vir Ontwikkelling. Daar is bevind dat die beoefening van Teater vir Ontwikkelling in Kenia uiters eklekties en uiteenlopend van aard is en dat hierdie stand van sake toegeskryf kan word aan ‘n verskeidenheid faktore, insluitend die vaardighede (of tekort aan vaardighede) van praktisyns, inmenging deur die regering, voorskriftelike agendas en vereistes gestel deur borge en befondsingsagentskappe, edm. ‘n Ander faktor is die geweldige toename in nie-regeringsorganisasies (NGO’s) wat van Teater vir Ontwikkelling gebruik maak terwyl hulle nie oor die basiese filosofiese en metodologiese kennis en opleiding beskik nie. Die bevinding is dus dat sodanige programme slegs meer effektief en doeltreffend bedryf kan word indien daar ernstig besin word oor fundamentele prosedures en metodologieë, om aan die verdere bedryf van die program(me) rigting te kan gee en uitkomste te verbeter. Fundamentele aspekte hierby betrek sou insluit spannavorsing, samewerking, kodifisering, interaktiewe deelname, fasilitering en intervensie, wat nie voorskriftelik is nie, maar beskrywend en rigtinggewend van aard, afgelei uit ‘n kritiese ontleding van ‘n aantal Teater vir Ontwikkelling aktiwiteite in Kenia. Die navorsing het dus uiteindelik ‘n aantal sterk- en swakpunte in die praktyk van Teater vir Ontwikkelling in Kenia belig. Omdat Teater vir Ontwikkelling ‘n aanbiedings-gebeurtenis (“performance event”) is, het die ondersoek beide kwantitatiewe en kwalitatiewe navorsingsmetodes gebruik. Dit was nodig omdat die ondersoek gebruik gemaak het van formele literatuurstudie, sowel as ongestruktureerde onderhoude en aksienavorsing, waartydens die navorser self deelgeneem het aan van die Teater vir Ontwikkelling projekte, gebeure en aktiwiteite.
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Tener, John V. "Exhibiting the Victorians: Melodrama and Modernity in Post Civil War American Show Prints." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu149259715322474.

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Gibbs, Jenna Marie. "Performing the temple of liberty slavery, rights, and revolution in transatlantic theatricality (1760s-1830s) /." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1554940031&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Brand, Amelda. "Gemeenskapsgebaseerde teater : 'n Suid-Afrikaans georienteerde ondersoek." Thesis, Stellenbosch : Stellenbosch University, 2002. http://hdl.handle.net/10019.1/52858.

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Thesis (MDram)--University of Stellenbosch, 2002.
ENGLISH ABSTRACT: Creative expression is influenced by social structures and the political climate of the day. Therefore theatre as a social structure has been directly influenced by colonialism and apartheid. Restricting legislation had a limiting influence on cultural activities and freedom of creative expression. The following terms all refer to community based theatre activities: Community Theatre, Popular Theatre, Theatre for Development, People's Theatre and sometimes Workshop Theatre. Community theatre in post-colonial African countries take place in locations easily accessible to the communities it serves. These activities make use of creative techniques that the target communities can identify with. The subject-matter is generally relevant and is therefore accessible. The conscientisation- and mobilisation-potential of community theatre become evident in post-colonial African countries. The uses of this term in South Africa is closely connected with the above, but the applications in practice are more diverse because of a longer period of Western influence. Popular Theatre encapsulates theatre activities focussing on mass-appeal and popular entertainment as well as theatre activities by and for marginalised communities. "Popular Theatre" activities that take place within marginalised communities make use of collective creative approaches that are aimed at community conscientisation and mobilisation. Like Community Theate and Popular Theatre, Theatre for Development is theatre for, by and of the people (marginalised people, ordinary workers and the unemployed). Certain Theatre for Development projects approach the target communities with pre-planned agendas and creative subject-matter. Theatre for Development, like other community based theatre forms, are aimed at conscientisation, mobilisation and organisation to encourage political liberation and promote a higher standard ofliving. Workshop Theatre encourages people to express themselves by using a democratic and collective creative approach. These characteristics are also present in the previously mentioned theatre forms. Community Theatre, Popular Theatre and Theatre for Development can all be categorised as community based theatre and the terms are interchangable in pracitce.
AFRIKAANSE OPSOMMING: Politieke omstandighede en daaglikse gebeure beïnvloed die keuse van uitdrukkingsvorme. Kolonialisme en veral die apartheidsbeleid in Suid-Afrika het sosiale strukture, waaronder teater, beïnvloed. Wetgewing en beperkte infrastruktuur het kulturele aktiwiteite, kreatiewe uitdrukking en kulturele vloei beperk. Gemeenskapsgebaseerde teateraktiwiteite in Suid-Afrika word meestal benoem met die volgende terme: Gemeenskapsteater, Populêre Teater, Teater vir Ontwikkeling, "People's Theatre", asook Werkswinkelteater wat in Suid-Afrika soms sosio-polities van aard is. Gemeenskapsteater in post-koloniale Afrika-lande is ten opsigte van vorm en inhoud vir die teikengemeenskap toeganklik en vind plaas in maklik bereikbare ruimtes. Die bewusmakings- en mobiliseringspotensiaal van Gemeenskapsteater kom sterk na vore in post-koloniale Afrika-lande. Die gebruike van die term "Gemeenskapsteater" in Suid- Afrika sluit by bogenoemde aan, maar het ook meer diverse toepassings wat by ontwikkelde lande se beskouings aansluit. Populêre Teater ondervang teateraktiwiteite wat fokus op massa-aanhang, sowel as teateraktiwiteite wat gemik is op gemarginaliseerdes. In laasgenoemde konteks is dit gerig op bemagtiging en word 'n kollektiewe skeppingsproses gebruik. Teater vir Ontwikkeling is soos Gemeenskapsteater en Populêre Teater, teater vir, deur en van "die mense" (gemarginaliseerdes, massa gewone werkers en werkloses). Anders as Gemeenskapsteater kan daar 'n voorafopgestelde agenda of gekose onderwerp wees. Soos ander gemeenskapsgebaseerde teater strewe dit na bewusmaking, mobilisasie en organisasie ter wille van bevryding en verhoogde lewensstandaarde in gemarginaliseerde gemeenskappe. Werkswinkelteater het 'n demokratiese en kollektiewe skeppingsproses wat selfvertroue en die vermoë tot uitdrukking aanmoedig. Dit is 'n eienskap wat ook teenwoordig is in die voorafgenoemde teatervorme. Teateraktiwiteite wat met die terme Gemeenskapsteater, Populêre Teater en Teater vir Ontwikkeling benoem word, kan gekatagoriseer word as gemeenskapsgebaseerde teater en is dikwels in die praktyk omruilbaar.
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Bosnak, Judith Ernestine. "Shaping the Javanese play improvisation of the script in theatre performance /." [S.l. : s.n.], 2006. http://catalog.hathitrust.org/api/volumes/oclc/150381068.html.

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Books on the topic "Theater Drama Theater and society Theater"

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Berger, Verena. Theater und Sprache: Das katalanische Theater zwischen Diktatur und Demokratie. Wien: Edition Praesens, 1999.

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Applied drama: The gift of theatre. New York: Palgrave Macmillan, 2005.

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Eversmann, Peter, Jan Bloemendal, and Elsa Strietman. Drama, performance and debate: Theatre and public opinion in the early modern period. Leiden: Brill, 2012.

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Xi ju he yu Xinjiapo de she hui ju chang: Wen hua gan yu yu yi shu zi zhu xing = Drama box and the social theatre of Singapore : cultural intervention and artistic autonomy. Xinjiapo: Nan yang li gong da xue zhong hua yu yan wen hua zhong xin, 2011.

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Thatcher's theatre: British theatre and drama in the eighties. Westport, Conn: Greenwood Press, 1999.

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Ziolkowski, Theodore. Scandal on stage!: European theater as moral trial. Cambridge, UK: Cambridge University Press, 2009.

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Theatre in ancient Greek society. London: Routledge, 1994.

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Raṅgakarma aura mīḍiyā. Naī Dillī: Takshaśilā Prakāśana, 2002.

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Obamefi, Olu. Politics and aesthetics: Essays in drama, theatre and performance. Ilorin, Nigeria: Haytee Press and Publishing Co. Ltd., 2008.

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Freshwater, Helen. Theatre & audience. Houndmills, Basingstoke, Hampshire, UK: Palgrave Macmillan, 2009.

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Book chapters on the topic "Theater Drama Theater and society Theater"

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Giacomucci, Scott. "Sociodrama, Activism, and Role Training to Empower Communities." In Social Work, Sociometry, and Psychodrama, 373–92. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-33-6342-7_19.

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AbstractThis chapter will highlight the use of role-playing, especially sociodramaand role trainingin community empowerment and social activist movements. Historical context will be provided for the traditions of using drama, theater, and role-play in social work and social activismincluding Jacob Moreno’s vision of the theater as a modality for societal change. The sociodramatic approach will be outlined with focus on its utility in community settings as an experiential and communal experience of social action. Multiple examples of sociodrama or role training in communities are depicted with an emphasis on its adaptability for different settings and its effectiveness at empowering people. Examples include its application with youth, law enforcement, intergenerational dialogues, domestic violence response teams, undocumented immigrant communities, social work students, and to empower advocacy with employers, insurance providers, funders, or policy makers.
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Acree, William. "Playing Creole: circus dramas, the theater marketplace, and urban society in Argentina and Uruguay." In Performances that Change the Americas, 20–37. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003043638-2.

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Drewes, Miriam. "Theater jenseits des Dramas: Postdramatisches Theater." In Handbuch Drama, 72–84. Stuttgart: J.B. Metzler, 2012. http://dx.doi.org/10.1007/978-3-476-00512-0_6.

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Kittstein, Ulrich. "Episches Theater." In Handbuch Drama, 296–304. Stuttgart: J.B. Metzler, 2012. http://dx.doi.org/10.1007/978-3-476-00512-0_31.

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Speicher, Hannah. "4.3 Shoppen und Ficken von Mark Ravenhill als prototypisches In-yer-face-Drama (2. Ebene, Textanalyse)." In Theater, 154–69. Bielefeld, Germany: transcript Verlag, 2021. http://dx.doi.org/10.14361/9783839456170-015.

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Schößler, Franziska. "Drama und Theater." In Einführung in die Dramenanalyse, 1–18. Stuttgart: J.B. Metzler, 2012. http://dx.doi.org/10.1007/978-3-476-00505-2_1.

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Odegaard, Marianne. "Science Theater/Drama." In Encyclopedia of Science Education, 928–30. Dordrecht: Springer Netherlands, 2015. http://dx.doi.org/10.1007/978-94-007-2150-0_336.

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Herrmann, Leonhard, and Silke Horstkotte. "Drama und Theater." In Gegenwartsliteratur, 161–76. Stuttgart: J.B. Metzler, 2016. http://dx.doi.org/10.1007/978-3-476-05464-7_10.

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Odegaard, Marianne. "Science Theater/Drama." In Encyclopedia of Science Education, 1–3. Dordrecht: Springer Netherlands, 2012. http://dx.doi.org/10.1007/978-94-007-6165-0_336-3.

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Niefanger, Dirk. "Drama und Theater." In Barock, 139–83. Stuttgart: J.B. Metzler, 2006. http://dx.doi.org/10.1007/978-3-476-00180-1_6.

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Conference papers on the topic "Theater Drama Theater and society Theater"

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Zeglin, Garth, Aaron Walsman, Laura Herlant, Zhaodong Zheng, Yuyang Guo, Michael C. Koval, Kevin Lenzo, et al. "HERB's Sure Thing: A rapid drama system for rehearsing and performing live robot theater." In 2014 IEEE Workshop on Advanced Robotics and its Social Impacts (ARSO). IEEE, 2014. http://dx.doi.org/10.1109/arso.2014.7020993.

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Iannace, Gino, and Umberto Berardi. "Acoustic virtual reconstruction of the Roman theater of Posillipo, Naples." In 173rd Meeting of Acoustical Society of America and 8th Forum Acusticum. Acoustical Society of America, 2017. http://dx.doi.org/10.1121/2.0000607.

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Spanoudakis, N. S., A. Vafidis, A. Paganis, N. Andronikidis, N. Hatzidakis, and V. Niniou-Kindeli. "Geophysical Survey at the Area of the Ancient Theater of Aptera." In 8th Congress of the Balkan Geophysical Society. Netherlands: EAGE Publications BV, 2015. http://dx.doi.org/10.3997/2214-4609.201414164.

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Postma, Barteld N. J., and Brian F. G. Katz. "Influence of visual rendering on the acoustic judgements of a theater auralization." In 173rd Meeting of Acoustical Society of America and 8th Forum Acusticum. Acoustical Society of America, 2017. http://dx.doi.org/10.1121/2.0000575.

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Melnikov, Anton, Marcus Maeder, Monika Gatt, Michael Scheffler, and Steffen Marburg. "Development of a novel sound pressure level requirement for characterizing noise disturbances from theater and opera stages." In 173rd Meeting of Acoustical Society of America and 8th Forum Acusticum. Acoustical Society of America, 2017. http://dx.doi.org/10.1121/2.0000638.

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Komarov, A. V. "THE EXPERIENCE OF E-LEARNING OF ACTING SKILLS DURING GUARANTINE ON THE EXAMPLE OF THE THEATER-STUDIO «GLAGOL»." In Digital society: problems and prospects of development. Voronezh State University of Forestry and Technologies named after G.F. Morozov, Voronezh, Russia, 2021. http://dx.doi.org/10.34220/dsppd2021_84-88.

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This article continues the analysis of distance learning in the teenage association "GLAGOL". Currently, there is an increased interest in the field of e-learning, especially during the quarantine period. The article describes the experience of using social networks Vkontakte, Zoom, Discord for organizing online educational process, video and photo hosting Youtube, Instagram, Tik Tok for publishing reporting materials by students in the period from March 2020 to January 2021. A number of problems were identified during the experimental online work and effective recommendations for their elimination were developed.
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Friedrich, M., M. Boos, and L. J. "Silent Operating Theater Optimization System (SOTOS): A New Noise Reduction and Information Management System—Effects on Stress, Concentration, Well-being, and Communication of OT Crews." In 50th Annual Meeting of the German Society for Thoracic and Cardiovascular Surgery (DGTHG). Georg Thieme Verlag KG, 2021. http://dx.doi.org/10.1055/s-0041-1725655.

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