Relevant bibliographies by topics / Theater in theater

Contents

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

Academic literature on the topic 'Theater in theater'

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

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Journal articles on the topic "Theater in theater"

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Morozova, Irina Pavlovna. "Theatre activity in the southern Urals at the initial period of the thaw." Samara Journal of Science 6, no. 4 (December 1, 2017): 169–73. http://dx.doi.org/10.17816/snv201764211.

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The paper deals with the problems of theatre activity development in the southern Urals at the initial period of the thaw. The research objective is to define what changes happened in the theatre activity in the Southern Urals after Stalins repressions in 1953-1964. For the research the author used periodicals, archival documents, books about the theater. The research has shown that after Stalins personality cult exposure there were big theater changes in the southern Urals. People became more interested in the theatre. It was in Bashkiria where the theater developed greatly. The paper examines the creative activity of theatres in the southern Urals, Orenburg Region and Bashkortostan, reveals specific features and problems in the functioning of the studied institutions in the era of the thaw, studies repertoire policy of theaters. The repertoire updated and new theaters opened. Actors and directors found new forms of art self-expression. Drama art stops being the weapon of the political propaganda. The author has no opportunity to carry out a comparative analysis of this research with other researches as the subject has not been investigated by anybody yet.
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Veksler, Asya F. "Nadezhda Bromley and Boris Sushkevich: Actors, Directors, Vakhtangov Followers (Materials for a Creative Biography)." Observatory of Culture 17, no. 5 (November 12, 2020): 526–37. http://dx.doi.org/10.25281/2072-3156-2020-17-5-526-537.

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Boris Sushkevich and Nadezhda Bromley (Sushkevich-Bromley) are remarkable theatrical figures, actors and directors whose lot was connected with the bright and dramatic periods of our country’s theatrical life from the beginning to the middle of the 20th century. They devoted a part of their professional life to the 1st Studio of the Moscow Art Theatre (from 1919 — Moscow Art Academic Theatre), which later became a separate theater (Moscow Art Academic Theatre II, 1924—1936). Since the middle of the 1930s, they worked in leading Leningrad theaters — the Leningrad State Academic Drama Theater (Alexandrinsky Theatre) and the New Theater (1933—1953, now the Saint Petersburg Lensoviet Theatre). This article introduces little-studied archival sources of biographical nature related to the work of these outstanding cultural figures.Nadezhda Nikolayevna Bromley was a heiress of the Bromley — Sherwood creative dynasties, which had made a significant contribution to Russian culture. She joined the troupe of the Moscow Art Theater in 1908, performed on the stage of the 1st Studio (1918—1924), was one of the leading actresses of the Moscow Art Academic Theatre II after its separation, participated in its Directing Department being in charge of the literary part. Generously gifted by nature, N. Bromley wrote poems, short stories, novels; her fictional works “From the Notes of the Last God” (1927) and “Gargantua’s Descendant” (1930) earned critical acclaim. Two plays by N. Bromley were staged in the Moscow Art Academic Theatre II. One of them — the full of hyperbole and grotesque “Archangel Michael” — was passionately accepted by E.B. Vakhtangov and A.V. Lunacharsky, though never shown to a wide audience. At the Leningrad State Academic Drama Theater and the New Theater, N. Bromley not only successfully played, but also staged performances based on the works by A.P. Chekhov, A. Tolstoy, M. Gorky, F. Schiller, and W. Shakespeare.Boris Mikhailovich Sushkevich, brought up by the Theater School of the Moscow Art Academic Theatre and in the Vakhtangov tradition of the playing grotesque, is one of the most interesting and original theater directors of his time. His directorial work in the play “The Cricket on the Hearth” based on a Christmas fairy tale by Charles Dickens became the hallmark of the 1st Studio (and later of the Moscow Art Academic Theatre II as well). This play remained in the theatre’s repertoire until January 1936. B. Sushkevich was a recognized theatre teacher — with his help, the Leningrad Theater Institute (now the Russian State Institute of Performing Arts) was established in 1939. Together with N. Bromley, he managed to fill the New Theater with bright creative content and make it a favorite of the Leningrad audience.This research expands the understanding of a number of yet unexplored aspects of the history of theater in our country and recreates the event context of the era.
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Agaeva, Ekaterina V., Tikhon S. Sergeev, and Renata V. Mikhailova. "THE PROBLEM OF TRAINING THEATER PERSONNEL FOR CHUVASHIA IN THE 20–30s OF THE XX CENTURY." Vestnik Chuvashskogo universiteta, no. 2 (June 25, 2021): 5–10. http://dx.doi.org/10.47026/1810-1909-2021-2-5-10.

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In the 1920s Chuvashia was developing rapidly, and the growth in the number of cultural institutions was observed. The cadres of the creative intelligentsia were in demand, but there were no field-oriented specialized educational institutions in the republic. The issue of training specialists began to be dealt with at the level of state and party bodies. One of the first to open was the theater studio, which gave the opportunity to strengthen the staff of two republican theaters. Moderate funding allocated to support the theater arts, and the entire culture as a whole, of course affected its quality. But the enthusiasm of I.S. Maksimov-Koshkinsky, I.A. Slobodsky and other people of art allowed to continue the work of personnel training. In the 1920s and 1930s, training of creative intelligentsia cadres reached a new qualitative level. Financing of cultural institutions, provision with qualified teaching staff, regulation of admission, training, and graduation in educational institutions yielded positive results. In 1935, a theater vocational school was opened in Cheboksary. In 1934, a special collective farm-state farm department was opened at the extramural department of the State Institute of Theater Arts, and a little later, in 1940, a specialized Chuvash theater studio was opened. The activity of the theater school was curtailed, but specialists training was successfully conducted by the studio under GITIS (the Russian University of Theatre Arts). In the pre-war years, 6 new theaters were opened in the republic. The national creative intelligentsia was formed.
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Khubulova, Svetlana. "FORMATION OF THE NEW THEATER IN TIMES OF THE REVOLUTION AND CIVIL WAR ON TEREK." History, Archeology and Ethnography of the Caucasus 15, no. 1 (March 19, 2019): 22–27. http://dx.doi.org/10.32653/ch15122-27.

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Abstract. The article is devoted to the problem of the state of theatre life in the Terek region in 1917-1920, which is little studied in the regional historiography. The author introduces into the scientific circulation a corpus of new archival documents, which makes it possible to reconstruct the main activities of local theaters, to consider the influence of Moscow touring groups on the theatrical repertoire and audience preferences in the Terek region. The author dwelled on the difficulties experienced by theater companies in the difficult conditions of the revolution, the Civil War and the post-war devastation. The analysis of the documents allowed us to identify new forms of theatrical art, including workers, amateur and national theatrical societies, which fit well into the concept of educating the “new” Soviet person. In the conditions of the most fierce ideological battles, theaters were given the task of introducing the broad masses to art, who had previously been far from it and preferred simpler forms of leisure. In this regard, the repertoire of theaters was represented not only by classical works but also by revolutionary plays of mediocre quality. By trial and error, the theater acquired a new repertoire in a new environment, a spectator who was to educate and instill a good taste for highly artistic theatrical productions. The role of M. Bulgakov in the development of the proletarian theater is also interesting: the plays written by him had ideological fullness and in quality were much higher than those that were present in the repertoire of local theaters. Thanks to the writer’s efforts, the Ossetian Youth Studio was founded in Vladikavkaz, which became the basis of the future professional theater.
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Szuster, Magdalena. "Theater Without a Script—Improvisation and the Experimental Stage of the Early Mid-Twentieth Century in the United States." Text Matters, no. 9 (December 30, 2019): 374–92. http://dx.doi.org/10.18778/2083-2931.09.23.

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It was in the mid-twentieth century that the independent theatrical form based entirely on improvisation, known now as improvisational/improvised theatre, impro or improv, came into existence and took shape. Viola Spolin, the intellectual and the logician behind the improvisational movement, first used her improvised games as a WPA worker running theater classes for underprivileged youth in Chicago in 1939. But it was not until 1955 that her son, Paul Sills, together with a college theater group, the Compass Players, used Spolin’s games on stage. In the 1970s Sills made the format famous with his other project, the Second City. Since the emergence of improv in the US coincides with the renaissance of improvisation in theater, in this paper, I will look back at what may have prepared and propelled the emergence of improvised theater in the United States. Hence, this article is an attempt to look at the use of improvisation in theater and performing arts in the United States in the second half of the 20th century in order to highlight the various roles and functions of improvisation in the experimental theater of the day by analyzing how some of the most influential experimental theaters used improvisation as a means of play development, a component of actor training and an important element of the rehearsal process.
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Agratina, Elena E. "Jean-Honoré Fragonard’s Work and the Theatre Culture of the 18th Century." Observatory of Culture 16, no. 4 (September 13, 2019): 406–17. http://dx.doi.org/10.25281/2072-3156-2019-16-4-406-417.

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The article, for the first time, exami­nes the work of the master of the 18th century Jean-Honoré Fragonard (1732—1806) within the context of the theatre culture of that time. Being a student of François Boucher (1703—1770), who was working as a theater decorator for a long time, Fra­gonard from his youth had the opportunity to join the world of theater. The painter’s passion for the stage greatly influenced the thema­tic and figu­rative composition of his works. Early histo­rical pain­tings of Fragonard, such as “Jeroboam Sacrifi­cing to Idols” (1752, School of Fine Arts, Paris), were crea­ted under the influence of Baroque thea­ter and decorative art and opera productions. Undoubtedly, Fragonard’s familiarity with theatre was promoted by his long stay in Italy, where the famous families of theater decorators Bibiena and Galliari was wor­king at that time. The article pays special attention to the process of planning and execution of the painting “The High Priest Coresus Sacrificing Himself to Save Callirhoe” (1765, Louvre), made not without regard to the opera “Callirhoe”, popular in Paris in the 18th century. It was theater that inspired the master to create his famous costume series of “Fantasy Portraits”, one of which depicted Marie-Madeleine Guimard (1743—1816), who not only had posed for the artist, but also ordered him to design her own mansion conceived as a temple of Terpsichore, the Muse of dance. In addition, Fragonard was the author of several panoramic genre paintings conveying the atmosphere of the then popular street theater. Works of this brilliant master exem­plify the relationship of arts that determined the nature of the cultural environment of that era and requires constant attention from modern researchers.
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Cull Ó Maoilearca, Laura. "Die Gleichsetzung von Theater und Philosophie: Laruelle, Badiou & Gesten der Autorität in der Philosophie des Theaters." Performance Philosophy 3, no. 2 (December 21, 2017): 487. http://dx.doi.org/10.21476/pp.2017.32179.

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In diesem Artikel werde ich François Laruelles Begriff der ‚Non-Standard‘ Ästhetik untersuchen, um eine kritische Perspektive auf Alain Badious vielfältige Äußerungen über die Philosophie des Theaters zu entwickeln. Während es zunächst so erscheint, als ob Badiou in Werken wie In Praise of Theatre (2015) aufgeschlossen gegenüber dem eigenen Denken des Theaters wäre und tatsächlich die Funktion der Philosophie im Verhältnis zu einem ontologischen Privileg zurückzustufen würde, das (von ihm) nun der Mengentheorie zugesprochen wird, werde ich aufzeigen, dass eben dieses Wohlwollen, aus einer Laruellschen Perspektive, eine andere Form von philosophischem Authoritarismus konstituiert. Das heißt, während Badiu bekanntermaßen das Theater als „ein Ereignis des Denkens“ beschreibt, „das direkt Ideen hervorbringt“ (Badiou 2009, 121), wird dieser Text von Laruelle ausgehend argumentieren, dass Badiou sich zuletzt als Autorität über das positioniert, was als Theater im „eigentlichen Sinne“ gilt (vgl. Badiou 2015, 72); sein eigenes Denken in performativer Weise als normative Ausnahme und als Türhüter dieser Ausnahme festlegt.
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Vukajlov, Ljiljana, Aleksandra Milinkovic, Dijana Brkljac, and Olivera Dobrivojevic. "Evaluation model of the quality of theater locations: Case study - Novi Sad, Serbia." Facta universitatis - series: Architecture and Civil Engineering 15, no. 2 (2017): 225–38. http://dx.doi.org/10.2298/fuace170206017v.

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With the development of information technologies and weakening of the economic power of citizens in the Republic of Serbia, interest in classical theater has decreased. As a result of their reduced activity, theater facilities are gradually deteriorating, and some are being adapted while others are being closed. The main objective of this paper is to evaluate the quality of significant urban parameters, to observe the possibilities for improvement of the functioning of theaters, and to propose concrete measures for revitalization of their surroundings. The efficiency and validity of a defined research methodology were tested on three representative examples, the Serbian National Theater, the Youth Theater, and the Novi Sad Theater, located in Novi Sad in Serbia. Upon recognition of the current state of the spatial, physical, functional and ecological conditions of the areas surrounding the representative theaters, the current problems were recorded, and measures are proposed that would be necessary for the theaters? revitalization.
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Kułakowska, Katarzyna, Katarzyna Kalinowska, Olga Drygas, and Michał Bargielski. "Individual and Community Crises in a Pandemic: The Social Theater of Ambulatory Care." Pamiętnik Teatralny 69, no. 4 (December 31, 2020): 63–84. http://dx.doi.org/10.36744/pt.455.

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This article offers a preliminary diagnosis of Polish social theaters with regard to the crises of the individual and the community during the Covid-19 pandemic. The interpretive framework is Lidia Zamkow’s concept of the theater of ambulatory care, which allows us to locate the activity of social theaters in the context of Michel de Certeau’s tactics and Jack Halberstam’s low theories. The theater of ambulatory care recognizes the needs of individuals and communities in a pandemic crisis and reacts to them in different ways. We distinguish and describe three ideal types of diagnoses and the resulting treatments that theaters of ambulatory care use in a pandemic: therapy, conjuring, and revolution. The article is based on materials collected during two studies: a funded research project on the anthropological and social activity of the Węgajty Theater, carried out at the Institute of Art of the Polish Academy of Sciences, and a survey among theater staff during the pandemic, initiated by the Zbigniew Raszewski Theater Institute in Warsaw. (Trans. K. Kułakowska)
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Warstat, Matthias. "Ästhetik der Anwendung: Thesen zur gegenwärtigen Relation von Theater und Alltag." Paragrana 26, no. 2 (November 27, 2017): 26–41. http://dx.doi.org/10.1515/para-2017-0018.

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AbstractDas Verhältnis von Theater und Alltag ist heute im Wandel begriffen. Als Ereigniskunst ist das Theater mit seinen Praktiken des Hervorhebens und Zeigens traditionell um Außeralltäglichkeit bemüht: Es will seinem Publikum etwas Besonderes bieten, das aus den Routinen des Alltags herausragt. Von daher besteht eine Art natürlicher Distanz zwischen Theater und Alltag, die aber überbrückt werden kann und historisch von vielen (etwa sozialrealistischen oder dokumentarischen) Theaterformen auch schon in Frage gestellt oder überwunden wurde. In jüngster Zeit, so die These dieses Beitrags, ist in verschiedenen Regionen und Bereichen von Theater eine neue, entschiedene Hinwendung zum Alltag feststellbar. Diverse Theaterformen sind nicht nur selbst auf Alltagstauglichkeit ausgerichtet, sondern sollen in den Alltag breiter Bevölkerungsschichten aktiv intervenieren. Dies gilt insbesondere für jene vielfältigen Formen, die unter den Sammelbegriff ‚Applied Theatre‘ gefasst werden. Applied Theatre verändert die globale Theaterlandschaft im großen Stil und mit ambivalenten Folgen, die gerade in der Relation von Theater und Alltag besonders auffallen. Wenn Theater in die Routinen des Alltags eingreift, stellen sich ethische, politische und ästhetische Fragen, die in diesem Beitrag erörtert werden.
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Dissertations / Theses on the topic "Theater in theater"

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Recklies, Donald F. "Spectacle and illusion : the mechanics of the horse race on the theatrical stage, 1883-1923 /." The Ohio State University, 1985. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487259580263868.

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Fantasia, Josephine Vita. "Entrepreneurs, empires and pantomimes : J. C. Williamson's pantomime productions as a site to review the cultural construction of an Australian theatre industry, 1882 to 1914." University of Sydney, 1996. http://hdl.handle.net/2123/1617.

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Doctor of Philosophy
'Entrepreneurs, Empires and Pantomimes' examines how Williamson influenced the form and content of one theatrical genre within his theatrical empire between 1882 and 1914. As the frontispiece signals in spectacular fashion, the pantomime was a vitally popular dramatic form. I believe that my findings have serious implcations for the formation of an Australian theatre industry with regard to the 'development'of Australian drama. Ironically, as J.W. Gough points out in 'The Rise of the Entrepreneur' (1969), the word 'entrepreneur' first appeared in the 'Oxford English Dictionary' in 1897 as referring to "the director or manager of a public musical institution: one who 'gets up' entertainments, especially musical performances."
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Metzger, Stephanie. "Theater und Fiktion : Spielräume des Fiktiven in Inszenierungen der Gegenwart /." Bielefeld : Transcript, 2010. http://deposit.d-nb.de/cgi-bin/dokserv?id=3391365&prov=M&dok_var=1&dok_ext=htm.

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Crouch, Kristin A. "Shared Experience Theatre exploring the boundaries of performance /." Columbus, Ohio : Ohio State University, 2003. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1054738772.

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Thesis (Ph. D.)--Ohio State University, 2003.
Title from first page of PDF file. Document formatted into pages; contains xi, 365 p.; also includes graphics. Includes abstract and vita. Advisor: Lesley K. Ferris, Dept. of Theatre. Includes bibliographical references (p. 353-365).
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Gallagher, Kelsey B. "So Much Better: A Lighting Design Approach for a Production of Legally Blonde: The Musical." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1555414324698267.

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Midthun, Amy L. "Manipulating the Stage: A Comparison of the Government-Sponsored Theaters of the United States and Nazi Germany." Ohio : Ohio University, 2002. http://www.ohiolink.edu/etd/view.cgi?ohiou1040072155.

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Harris, John Rogers Sr. "The performance of black masculinity in contemporary black drama." The Ohio State University, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=osu1054742668.

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Rutherford, Cassandra. "Building theatres/theatre buildings : reinventing Mull Theatre." Thesis, University of Glasgow, 2014. http://theses.gla.ac.uk/5254/.

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Mull Theatre is a professional touring theatre company based on a small island off the west coast of Scotland. In 2008 the company relocated from a small converted cow byre which seated 42 people to a new purpose-built venue –Druimfin - on a different part of the island. The move was made possible through a grant from the Scottish Arts Council in 2006, which was awarded on the expectation that the new building would be a ‘production centre’ as opposed to a theatre. That is to say the emphasis in the design of the new space was to be placed on the production rather than the reception of the theatrical event. This stands in contrast to the expectation of many theatre attendees that the new space would continue as it had been – as a place to go and see a theatre production - but that it would do so out of a much larger, more comfortable and better equipped venue. Building Theatres/Theatre Buildings stems from a three year Collaborative Doctoral Award between Mull Theatre and the University of Glasgow, which was funded by the Arts and Humanities Research Council (AHRC). Using the partnership that emerged from this award, the thesis explores what was potentially lost and gained in the move in order to draw conclusions about the wider relationship between spaces of performance and the creation of theatrical meaning in relation to small and medium scale touring theatre. It also uses the company’s dual identity as a touring company with its own permanent building to extend the discussion and to examine the wide range of venues which currently form the rural touring circuit in Scotland. By bringing together primary fieldwork from a pivotal moment in the company’s identity alongside current dialogues regarding theatre space and touring theatre, this research provides new knowledge about this often overlooked theatre company, its buildings and its role within contemporary Scottish theatre and small scale rural touring.
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Shelton, Rebecca S. "Paint manager for 2008-2009 academic year and paint charge for three sisters and twelfth night." [Kent, Ohio] : Kent State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=kent1241724077.

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Nogar, Julianne K. "Costume Design and Production for Legally Blonde the Musical book by Heather Hach,Music and Lyrics by Nell Benjamin and Laurence O’Keefe." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1555364601372494.

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Books on the topic "Theater in theater"

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Hertzberger, Herman. Chassé Theater Breda =: Theatre Breda. Rotterdam: Uitgeverij 010 Publishers, 1995.

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Girshausen, Theo. Ursprungszeiten des Theaters: Das Theater der Antike. Berlin: Vorwerk 8, 1999.

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Roca, Núria. Theater. Hauppauge, NY: Barron's, 2004.

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Little, Jean. Theater. Austin, Tex: Steck-Vaughn Library, 1990.

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Malam, John. Theater. Lincolnwood, Ill: Peter Bedrick Books, 2000.

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Meier, Herbert. Theater. München: Piper, 1993.

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Gronemeyer, Andrea. Theater. Hauppauge, N.Y: Barron's, 1996.

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Knigge, Adolph Franz Friedrich Ludwig von. Theater. Hannover: Fackelträger, 1993.

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Breton, Gaëlle. Theater. Stuttgart: Karl Krämer, 1991.

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Theater. New York: Atheneum Books for Young Readers, 1996.

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Book chapters on the topic "Theater in theater"

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Burghardt, Charlotte. "Stadt- und Staatstheater in Bewegung? Zur Rolle von öffentlich subventionierten Theatern in der Stadtgesellschaft und den veränderten Erwartungen des Publikums." In Cultural Governance, 261–77. Wiesbaden: Springer Fachmedien Wiesbaden, 2021. http://dx.doi.org/10.1007/978-3-658-32159-8_19.

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ZusammenfassungAngesichts einer vielfältiger werdenden Gesellschaft und gleichzeitig stetig rückläufiger Besuchszahlen stellt sich die Frage, welche Bedeutung Theater in der Stadtgesellschaft haben. Wer ist der Motor für mögliche Veränderungen in den Häusern und welche Erwartungen und Wünsche richtet das Publikum an seine Theater? Anhand von qualitativen Interviews mit Mitarbeitenden aus denStädtischen Theatern Chemnitz,demTheater für Niedersachsenin Hildesheim und demMaxim Gorki Theaterin Berlin und unterstützt durch eine Spielzeitanalyse, beleuchtet dieser Beitrag die Binnenperspektive der Theater.
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Sood, Sara Owsley, and Athanasios V. Vasilakos. "Digital Theater: Dynamic Theatre Spaces." In Handbook of Multimedia for Digital Entertainment and Arts, 423–45. Boston, MA: Springer US, 2009. http://dx.doi.org/10.1007/978-0-387-89024-1_19.

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Schneider, Helmut J. "Theater." In Bonner Enzyklopädie der Globalität, 1039–49. Wiesbaden: Springer Fachmedien Wiesbaden, 2017. http://dx.doi.org/10.1007/978-3-658-13819-6_85.

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Edie, James M. "Theater." In Contributions to Phenomenology, 693–98. Dordrecht: Springer Netherlands, 1997. http://dx.doi.org/10.1007/978-94-017-5344-9_156.

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Frohn, Elke Sofie. "Theater." In Metzler Lexikon Religion, 479–83. Stuttgart: J.B. Metzler, 2000. http://dx.doi.org/10.1007/978-3-476-03704-6_134.

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Dox, Donnalee. "Theater." In Encyclopedia of Sciences and Religions, 2230–39. Dordrecht: Springer Netherlands, 2013. http://dx.doi.org/10.1007/978-1-4020-8265-8_1437.

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Frohn, Elke Sofie. "Theater." In Metzler Lexikon Religion, 1643–47. Stuttgart: J.B. Metzler, 2005. http://dx.doi.org/10.1007/978-3-476-00091-0_526.

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Schneider, Helmut J. "Theater." In The Bonn Handbook of Globality, 947–56. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-319-90382-8_18.

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Shigeto, Nuki. "Theater." In Handbook of Phenomenological Aesthetics, 331–37. Dordrecht: Springer Netherlands, 2009. http://dx.doi.org/10.1007/978-90-481-2471-8_66.

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Gödde, Susanne. "Theater." In A Companion to the Archaeology of Religion in the Ancient World, 333–48. Chichester, UK: John Wiley & Sons, Ltd, 2015. http://dx.doi.org/10.1002/9781118886809.ch25.

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Conference papers on the topic "Theater in theater"

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Oosthuizen, Patrick H. "A Numerical Study of the Effect of Inlet Vent Position and Size on the Velocity and Temperature Distributions in a Smaller Naturally Ventilated Theater in Canada." In ASME 2014 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2014. http://dx.doi.org/10.1115/imece2014-36781.

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Many smaller churches and similar buildings in Canada have been converted into small theaters. Such theatres are often not fitted with an air-conditioning system. For performances in the fall these theaters sometimes rely on buoyancy driven natural ventilation to moderate the indoor air temperature. Such ventilation systems usually involve near floor inlet vents and a roof level air discharge system. A preliminary numerical study of the effect of inlet vent position and size on the performance of such a system has been undertaken. A simple model of a typical theater building of the type considered has been used. The heat generated by the audience has been represented by a uniform heat flux distributed over the audience area. Inlet vents have been assumed to be located low on the side walls of the theater and the air-flow leaving the theatre has been assumed to be through vents at the top of a chimney system. The flow has been assumed to be steady and symmetrical about the vertical center-line through the building. The Boussinesq approach has been adopted. The standard k-epsilon turbulence model has been used. The solution has been obtained using the commercial CFD solver ANSYS FLUENT©.
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2

Semenov, Igor Vitalievich. "Saratov - theater city." In V International Research-to-practice conference for pupils, chair Vera Alekseevna Pishkova. TSNS Interaktiv Plus, 2019. http://dx.doi.org/10.21661/r-486321.

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The article covers the history of the development of theatrical art in Saratov: from its origins to the present. The theaters of Saratov are listed, prominent theatrical figures are mentioned. Attention is drawn to the fact that the year 2019 is declared the Year of the Theater in Russia.
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Chandler, Corey D., Gloria Lo, and Anoop K. Sinha. "Multimodal theater." In CHI '02 extended abstracts. New York, New York, USA: ACM Press, 2002. http://dx.doi.org/10.1145/506443.506642.

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Lorig, Gray. "Electronic theater." In ACM SIGGRAPH 92 Visual Proceedings. New York, New York, USA: ACM Press, 1992. http://dx.doi.org/10.1145/131340.260553.

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"Theater Missile Defense." In Space Programs and Technologies Conference. Reston, Virigina: American Institute of Aeronautics and Astronautics, 1995. http://dx.doi.org/10.2514/6.1995-4000.

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Bryce, Renee, and Vicki Allan. "Mystery Bug Theater." In 2011 24th IEEE-CS Conference on Software Engineering Education and Training (CSEE&T). IEEE, 2011. http://dx.doi.org/10.1109/cseet.2011.5876109.

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Velho, Luiz. "VR Kino+Theater." In 2019 IEEE Conference on Virtual Reality and 3D User Interfaces (VR). IEEE, 2019. http://dx.doi.org/10.1109/vr.2019.8797795.

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Felidre, Wagner, Leonardo Furtado, Daniel A. da Costa, Bruno Cartaxo, and Gustavo Pinto. "Continuous Integration Theater." In 2019 ACM/IEEE International Symposium on Empirical Software Engineering and Measurement (ESEM). IEEE, 2019. http://dx.doi.org/10.1109/esem.2019.8870152.

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Lewis, Matthew. "Bowen virtual theater." In the SIGGRAPH 2003 conference. New York, New York, USA: ACM Press, 2003. http://dx.doi.org/10.1145/965333.965389.

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Barnes, Jaclyn, Maryam FakhrHosseini, Eric Vasey, Zackery Duford, Joseph Ryan, and Myounghoon Jeon. "Child-Robot Theater." In HRI '17: ACM/IEEE International Conference on Human-Robot Interaction. New York, NY, USA: ACM, 2017. http://dx.doi.org/10.1145/3029798.3036643.

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Reports on the topic "Theater in theater"

1

Newman, J. L. Theater Missile Defense. Fort Belvoir, VA: Defense Technical Information Center, May 1998. http://dx.doi.org/10.21236/ada351808.

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Medlock, Glenn, and Christopher M. Stacy. Pacific Theater Operations. Fort Belvoir, VA: Defense Technical Information Center, January 2011. http://dx.doi.org/10.21236/ada559809.

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NICHOLS RESEARCH CORP HUNTSVILLE AL. Theater Missile Defense. Fort Belvoir, VA: Defense Technical Information Center, March 1990. http://dx.doi.org/10.21236/ada219432.

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Harmatz, Howard I. Joint Theater Missile Defense. Fort Belvoir, VA: Defense Technical Information Center, January 1996. http://dx.doi.org/10.21236/ada309658.

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Krahling, William M. Expeditionary Theater Opening Strategy. Fort Belvoir, VA: Defense Technical Information Center, March 2013. http://dx.doi.org/10.21236/ada589227.

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Nehrkorn, Thomas, Rose N. Hoffman, Jeanne Sparrow, Min Yin, and Stan Ryckman. Theater Analysis Procedures (TAP). Fort Belvoir, VA: Defense Technical Information Center, November 1997. http://dx.doi.org/10.21236/ada340975.

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Meyer, S. Soviet Style Theater Assessments. Fort Belvoir, VA: Defense Technical Information Center, September 1989. http://dx.doi.org/10.21236/ada269791.

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Canavan, G. H. Theater SBI cost-effectiveness ratios. Office of Scientific and Technical Information (OSTI), November 1993. http://dx.doi.org/10.2172/10190169.

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Pate, Steven W. Transforming Logistics: Joint Theater Logistics. Fort Belvoir, VA: Defense Technical Information Center, March 2006. http://dx.doi.org/10.21236/ada448696.

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Carnot, Russell S. Theater CINCs--Warriors or Politicians,. Fort Belvoir, VA: Defense Technical Information Center, June 1995. http://dx.doi.org/10.21236/ada298573.

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