Relevant bibliographies by topics / Theater of war

Contents

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

Academic literature on the topic 'Theater of war'

Author: Grafiati
Published: 4 June 2021
Last updated: 6 February 2022

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Journal articles on the topic "Theater of war"

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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 (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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Davenport, Meredith. "Theater of War." Visual Communication Quarterly 21, no. 4 (2014): 248–55. http://dx.doi.org/10.1080/15551393.2014.987279.

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Wood, Martin. "Theater of war." Consumption Markets & Culture 20, no. 4 (2016): 370–72. http://dx.doi.org/10.1080/10253866.2016.1149324.

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ashton, nigel j. "Cold War Political Theater." Diplomatic History 33, no. 3 (2009): 535–38. http://dx.doi.org/10.1111/j.1467-7709.2009.00789.x.

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Zawistowska, Monika. "Teatr czasu wojny 1939–1945 w świetle zadań i wartości." Dydaktyka Polonistyczna 15, no. 6 (2020): 202–12. http://dx.doi.org/10.15584/dyd.pol.15.2020.14.

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The publication describes the activity of Polish theater during the Second World War. It is an attempt to look at theater from the perspective of the tasks and values it presented in this particularly difficult period. The article describes the functioning of open and underground theaters and theaters operating in concentration camps. The above-mentioned activities cannot be reduced to one formula or a specific species. In these conditions, the artistic level and innovation of many performances amaze. Paradoxically, this most dramatic theater achieved its greatest autonomy during the occupation. It has become a useful tool for restoring human dignity and art.
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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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Wooster, Robert. "Theater of a Separate War." Annals of Iowa 77, no. 1 (2018): 85–87. http://dx.doi.org/10.17077/0003-4827.12457.

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van den Berg, Klaus. "The Geometry of Culture: Urban Space and Theatre Buildings in Twentieth-Century Berlin." Theatre Research International 16, no. 1 (1991): 1–17. http://dx.doi.org/10.1017/s0307883300009986.

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In her 1983 book, Semiotik des Theaters, Erika Fischer-Lichte referred to theatre as part of ‘die Geometrie der Kultur’, a network of relationships materialized in space that symbolizes cultural experience. The concept of the geometry of culture may enable us to show how, in an urban space, different strands of human activities find their expression in the outline of urban space. Lewis Mumford demonstrates in The City in History that political programmes, economic interests, and cultural concepts influence the city's organization as well as the functions which individual buildings take in the urban environment. Cultural historians and semioticians such as Mary Henderson, Monika Steinhauser, Michael Hays, and Marvin Carlson have adopted this perspective for their investigations of the history of theatre in various metropolitan areas. For example, Henderson studies the relationship between the theatres and the financial district in New York City; Michael Hays and Monika Steinhauser analyse particular urban monuments, such as the Lincoln Center in New York and the Paris Opera. Marvin Carlson analyses how theatre buildings have been integrated historically as public monuments in various urban settings. Within the context of such studies I will examine the spatial and aesthetic re-alignments that World War II forced upon the integration of theatre buildings in Berlin, taking as case studies four major theatres: the Theater am Schiffbauerdamm, the Deutsches Theater, the Schillertheater and the Volksbühne.
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Schewe, Manfred. "Drama und Theater in der Fremd- und Zweitsprachenlehre." Scenario: A Journal of Performative Teaching, Learning, Research I, no. 1 (2007): 142–53. http://dx.doi.org/10.33178/scenario.1.1.8.

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Zwischen dem Bereich Drama/Theater und dem Bereich Fremdsprachenvermittlung gibt es seit jeher Verbindungslinien. Zumindest war der Lehrer immer schon ein Akteur, der den Schülern etwas so ‘vorzuspielen’ versuchte, dass die Aufmerksamkeit des Lernerpublikums gebannt blieb; und eigentlich haben Lehrer und Schüler im fremdsprachlichen Unterricht immer schon ‘Theater’ gespielt, indem sie so taten, als ob die Unterhaltung in der fremden Sprache für sie natürlich sei. Der folgende Beitrag zeichnet wichtige Entwicklungsetappen des Brückenbaus zwischen den Bereichen Drama/Theater und Fremd-/Zweitsprachenlehre seit Mitte des 19. Jahrhunderts nach. Es wird davon ausgegangen, dass ‘Drama und Theater in der Fremd-/Zweitsprachenlehre’ sich nunmehr als eines der vielen Anwendungsfelder etabliert hat, die mit dem Fach- und Sammelbegriff ‘Applied Theatre’ erfasst werden. Der Begriff bezieht sich auf das breite Spektrum von Individuen, Gruppen und Institutionen, für die das Theater als Kunstform nicht reiner Selbstzweck ist, sondern zentraler Bezugspunkt und Inspirationsquelle für drama-/theaterbezogene Aktivitäten. Durch solche Aktivitäten sollen im jeweiligen Anwendungsfeld ganz bestimmte Ziele erreicht werden, im Falle des fremd- und zweitsprachlichen Unterrichts z.B. sprach-, literatur- und kulturbezogene Ziele. Dieser Beitrag versteht sich als kompakte Bündelung und insbesondere Aktualisierung von Überlegungen, die erstmalig in meinem Buch Fremdsprache inszenieren (1993) erschienen sind. Zur Ergänzung dieses kompakten Überblicks sei auf die umfangreiche Forschungsbibliographie auf der Homepage dieser Zeitschrift verwiesen. Zum Konzept ‘Applied Theatre’ vgl. z.B. Ackroyd 2000; Taylor 2003; Nicholson 2005. Zwischen dem Bereich Drama/Theater und dem Bereich Fremdsprachenvermittlung gibt es seit jeher Verbindungslinien. Zumindest war der Lehrer immer schon ein Akteur, der den Schülern etwas so ‘vorzuspielen’ versuchte, dass die Aufmerksamkeit des Lernerpublikums gebannt blieb; und eigentlich haben Lehrer und Schüler im fremdsprachlichen Unterricht immer schon ‘Theater’ gespielt, indem sie so taten, als ob die Unterhaltung in der fremden Sprache für sie natürlich sei. Der folgende Beitrag zeichnet wichtige Entwicklungsetappen des Brückenbaus zwischen den Bereichen Drama/Theater und Fremd-/Zweitsprachenlehre seit Mitte des 19. Jahrhunderts nach. Es wird davon ausgegangen, dass ‘Drama und Theater in der Fremd-/Zweitsprachenlehre’ sich nunmehr als eines der vielen Anwendungsfelder etabliert hat, die mit dem Fach- und Sammelbegriff ‘Applied Theatre’ erfasst werden. Der Begriff bezieht sich auf das breite Spektrum von Individuen, Gruppen und Institutionen, für die das Theater als Kunstform nicht reiner Selbstzweck ist, sondern zentraler Bezugspunkt und Inspirationsquelle für drama-/theaterbezogene Aktivitäten. Durch solche Aktivitäten sollen im jeweiligen Anwendungsfeld ganz bestimmte Ziele erreicht werden, im Falle des fremd- und zweitsprachlichen Unterrichts z.B. sprach-, literatur- und kulturbezogene Ziele. Dieser Beitrag versteht sich als kompakte Bündelung und insbesondere Aktualisierung von Überlegungen, die erstmalig in meinem Buch Fremdsprache inszenieren (1993) erschienen sind. Zur Ergänzung dieses kompakten Überblicks sei auf die umfangreiche Forschungsbibliographie auf der Homepage dieser Zeitschrift verwiesen. Zum Konzept ‘Applied Theatre’ vgl. z.B. Ackroyd 2000; Taylor 2003; Nicholson 2005.
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Levin, Aaron. "From Theater of War to Theater Stage, Soldiers Reveal Their Thoughts." Psychiatric News 46, no. 3 (2011): 1–26. http://dx.doi.org/10.1176/pn.46.3.psychnews_46_3_002.

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Dissertations / Theses on the topic "Theater of war"

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Evans, Christine. "Art, war, and objects : reality effects in the contemporary theatre." View abstract/electronic edition; access limited to Brown University users, 2008. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3318314.

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Eschen, Nicole Marie. "Performing the past theatrical revisions of Cold War culture /." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1679292491&sid=12&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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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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Rawlings, Cara E. "The Civil War: A Collaboration in Direction and Choreography." VCU Scholars Compass, 2005. http://scholarscompass.vcu.edu/etd/751.

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This text is a partial record of the development of the Virginia Commonwealth University production of The Civil War: A Musical that opened on April 7, 2005 for a three-week run ending April 28, 2005. The greater part of the text is devoted to the evaluation of the underlying principles of direction and choreography applied in the creation of an artistically aid financially successful production of this size. Included in the evaluation of The Civil War: A Musical are analyses of the directors' --Patti D'Beck and David Leong --individual creative processes, aesthetics, and working styles. The result of this evaluation and analysis is a compilation of the fundamental principles of direction and choreography applied The Civil War: A Musical as a methodology for the creation of theatre. Further reflections on collaboration and artistry serve as the culmination of lessons inherent in both the creation of the Theatre VCU production of The Civil War: A Musical and in the author's three years of study in the VCU Master of Fine Arts program in Theatre Pedagogy with an emphasis in Movement Direction and Choreography.
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Saddler, Sarah Louise. "Bill Cain's 9 Circles: Dramaturgically Re-Evaluating an American Understanding of Military and Individualism." Miami University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=miami1371465573.

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Lovell, Neal T. "Theater level operations other than war modeling : applications of decision making theory." Thesis, Monterey, California. Naval Postgraduate School, 1994. http://hdl.handle.net/10945/28601.

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Approved for public release; distribution is unlimited
This paper presents an automated model for generating courses of action in support of an Operations Other Than War (OOTW) simulation. The model simulates the decision making of a theater level staff in the OOTW humanitarian assistance mission environment. The model uses probabilistic forecasting models and Bayesian techniques to predict what the state of a region in the theater will be some time in the future. Decision tree structures and the forecasting module are used to solve the decision making problem using expected utility. The model uses pairwise comparisons of utility attributes to obtain a decision maker's preference structure, This structure is applied over a multi-attribute utility function and the decision tree. to find the optimal course of action for some region of the theater at a specific time. Some variations on Lanchester's attrition equations are used to model attrition, the effect of civilians in a combat zone, and the effect of rules of engagement. The model was tested using data representative of Somalia in late 1992. The results indicated the best approach in this instance is to initially provide a high level of aid to reduce the civilian starvation rates then transition to a more aggressive posture with a strong force in readiness to retaliate for attacks by opposing forces
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Keane, Thomas J. "Analysis of fuel tanker assets available in a dual multi-theater war (MTW)." Thesis, Monterey, Calif. : Springfield, Va. : Naval Postgraduate School ; Available from National Technical Information Service, 2000. http://handle.dtic.mil/100.2/ADA378033.

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Thesis (M.S. in Management) Naval Postgraduate School, March 2000.
Thesis advisor(s): Tudor, Rodney E. ; Edwards, Lee. "March 2000." Includes bibliographical references (p. 93-97). Also available online.
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Buis, Katelyn J. "Surviving Antigone: Anouilh, Adaptation and the Archive." Bowling Green State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1392378901.

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Vrtis, Catherine Ann Peckinpaugh. "Gentleman Johnny Plays War: John Burgoyne and The Blockade of Boston." VCU Scholars Compass, 2007. http://scholarscompass.vcu.edu/etd/1151.

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John Burgoyne, a British general during the American Revolution, is best known for his defeat by the Continental Army at Saratoga. In addition to serving as a general,Burgoyne was a playwright. While in Boston during the blockade following the Battle ofBunker Hill Burgoyne combined his interests, writing a satire of the war. The Blockade of Boston, Burgoyne's play, was first presented as an afterpiece to a production of The Busybody on January 8, 1776 (Silverman 292).Accounts of the performance differ in detail, but the central event is consistent: during the performance a soldier walked out on stage and announced that the rebels were attacking a British position. The audience of British military personnel, believing the statement to be a part of the performance, stayed in their seats to enjoy the show, only to then realize their mistake a moment later and rush off in great confusion. Most of the surviving records of this event are from the view of the delighted revolutionaries, who published accounts of it in their newspapers and pamphlets, to the lasting humiliation of the men involved with the production.I first encountered the story of Burgoyne's Blockade of Boston while working as a teaching assistant in an undergraduate theatre history class. The professor, Noreen Barnes, was lecturing on American theatre in the eighteenth century when she told the story of the interrupted first performance. I was intrigued by the story, and so when I wrote a paper on a disrupted performance for a historiography class, I chose to research the topic. I discovered that The Blockade of Boston, in addition to being a great story in its own right, could serve as a lens to examine the history of the period, opening questions of race, gender, and just what it means to be an American.
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Hwang, Seunghyun. "Remaking the American Family:Asian Americans on Broadway during the Cold War Era." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1403302910.

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Books on the topic "Theater of war"

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Theater of war. New Press, 2002.

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Maples, Holly. Culture war: Conflict, commemoration and the contemporary Abbey Theatre. Peter Lang, 2011.

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Nicoletti, Susi. Nicht alles war Theater: Erinnerungen. List, 1997.

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Theatres of war: French committed theatre from the Second World War to the Cold War. University of Exeter Press, 1998.

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Cold War theatre. Routledge, 1992.

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U.S. Army Command and General Staff College. Sustainment in the theater of war. US Army Command and General Staff College, 2007.

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Allen, Patrick D. Secondary land theater model. Rand, 1987.

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1971-, Hughes Jenny, and Balfour Michael 1966-, eds. Performance in place of war. Seagull Books, 2009.

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Theater Shoes: Shoes #4. Random House, 1994.

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Streatfeild, Noel. Theater Shoes: Shoes #4. Random House, 1994.

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Book chapters on the topic "Theater of war"

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Braun, Juliane. "Theater of War." In American Cultures as Transnational Performance. Routledge, 2021. http://dx.doi.org/10.4324/9781003048947-11.

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Dawson, Linda. "Space as the Next Theater of War." In War in Space. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-93052-7_2.

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Dawson, Linda. "The Environment of Space as a Theater of War." In War in Space. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-93052-7_3.

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Yeager, Suzanne M. "Racial Imagination and the Theater of War." In A Companion to British Literature. John Wiley & Sons, Ltd, 2014. http://dx.doi.org/10.1002/9781118827338.ch6.

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Mantoan, Lindsey. "Not Just “Over There”: Theater of the Real and Iraqi Voices." In War as Performance. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-94367-1_4.

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Meyerson, Jessica A. "Theater of War: American Propaganda Films During the Second World War." In Propaganda. Palgrave Macmillan UK, 1995. http://dx.doi.org/10.1007/978-1-349-23769-2_12.

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Filho, José Monserrat. "Outer Space as Private Property and Theater of War?" In Private Law, Public Law, Metalaw and Public Policy in Space. Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-27087-6_7.

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"Theater." In Civil War America. Routledge, 2013. http://dx.doi.org/10.4324/9780203095164-37.

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"THEATER OF WAR:." In Staging Ground. Penn State University Press, 2014. http://dx.doi.org/10.5325/j.ctv14gp5jj.14.

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"Theater of War:." In Deconstructing Dr. Strangelove. Potomac Books, 2020. http://dx.doi.org/10.2307/j.ctv10sm8sx.13.

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Conference papers on the topic "Theater of war"

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Shi, Donghui, Jozef Zurada, Waldemar Karwowski, and Jian Guan. "Data Stream Models for Predicting Adverse Events in a War Theater." In Hawaii International Conference on System Sciences. Hawaii International Conference on System Sciences, 2019. http://dx.doi.org/10.24251/hicss.2019.142.

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Bolling, Robert H. "The joint theater level simulation in military operations other than war." In the 27th conference. ACM Press, 1995. http://dx.doi.org/10.1145/224401.224785.

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Quick, Darrell A., and Mark A. Roth. "A development methodology for adding map-based graphics to the theater war exercise." In the 20th conference. ACM Press, 1988. http://dx.doi.org/10.1145/318123.318315.

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Bannò, Mariasole, and Giorgia Maria D'Allura. "Art-based methods: Theatre Teaches and Business Theatre." In Fifth International Conference on Higher Education Advances. Universitat Politècnica València, 2019. http://dx.doi.org/10.4995/head19.2019.9249.

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The paper aims to investigate the use of arts in teaching, specifically the art of theater, to provide the new skills searched from the job market. Our work compares the two experiences of the Theatre Teaches performed at University of Brescia and of Business Theatre at University of Catania. The idea of the paper is based on the scientific collaboration among the two co-authors involved, during the last 10 years, on the development of innovative method of teaching focused on non- technical skills. After depicting the incumbent needs of non-technical skills searched from the job market, the comparison on the use of theatre in the two Universities highlighted how both methods support the development of relational, cognitive and managerial soft skills, even if in a different way: when using Theatre Teaches the major skills concern the cognitive ones, while when using Business Theatre the major skills concern the relational ones. Furthermore, it emerges that Theatre Teaches is more effective with cognitive engagement while Business Theatre with emotional engagement. Both are effective in the behavioral engagement (i.e. physical participation in an activity), which emerges as the distinctive characteristic of theatre art-based method.
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Chupeau, Bertrand, Ayoub Massoudi, and Frédéric Lefèbvre. "In-theater piracy: finding where the pirate was." In Electronic Imaging 2008, edited by Edward J. Delp III, Ping Wah Wong, Jana Dittmann, and Nasir D. Memon. SPIE, 2008. http://dx.doi.org/10.1117/12.762580.

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Melchior, Siri, Andrew Ruhemann, and Sian Rees. "The dog who was a cat inside." In ACM SIGGRAPH 2003 video review on Electronic theater program. ACM Press, 2003. http://dx.doi.org/10.1145/1006032.1006046.

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Novelli, Francesco. "Castle Garth in Newcastle (UK): processes of transformation, integration and discharge of a fortified complex in an urban context." In FORTMED2020 - Defensive Architecture of the Mediterranean. Universitat Politàcnica de València, 2020. http://dx.doi.org/10.4995/fortmed2020.2020.11548.

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Castle Garth is the name of the fortified area once enclosed within the castle walls. In the fifteenth century Newcastle became a county in its own right, however, the Garth, being within the castle walls, remained part of the County of Northumberland. The Great Hall, a building separate from the Castle Fortress (the “Keep”), which in later years became known as the “Old Moot Hall”, was used by courts that sat at regular intervals in every county of England and Wales. The Fortress then became a prison for the County and was used as such until the early nineteenth century. Beginning in the fifteenth century, unlicensed traders, taking advantage of the fact that the city authorities had no jurisdiction over the Garth area, settled there with their commercial activities. From the time of Charles II (1630-1685), the area then became famous for its tailors and shoemakers, who grew particularly abundantly on the path known as “Castle Stairs”. In 1619 the fortified complex was rented by James I to the courtier Alexander Stephenson, who allowed the civilian houses to be built inside the castle walls. After the civil war, new houses were added until, towards the end of the eighteenth century, Castle Garth had become a distinct and densely populated community, with a theater, public houses and lodgings. The main urban transformations were started in the early nineteenth century with the construction of the new Moot Hall called County Court. From 1847 to 1849 the fortified enclosure was partially compromised by further intersections with the infrastructure for the construction of the railway viaduct, thus interrupting direct access from the Castle guarding the Black Gate. Despite the development of the contemporary city has affected the preservation of the ancient fortified palimpsest, a strong consolidated link is still maintained by the sedimentation of values ​​of material and immaterial culture. The proposed contribution intends to present this process of integration between fortified structure and city highlighting today the state of the art, the conservation, restoration and enhancement initiatives undertaken in the last forty years.
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Ormanlı, Okan. "Relationship Between Movie Theaters and Audience During the Pandemic: “Beyoğlu 1989 E-Bulletin” as an Example." In COMMUNICATION AND TECHNOLOGY CONGRESS. ISTANBUL AYDIN UNIVERSITY, 2021. http://dx.doi.org/10.17932/ctcspc.21/ctc21.028.

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Covid-19, a disease that transformed into a pandemic at the beginning of 2020, caused catastrophic results in the world and Turkey. There have been some restrictions on trade, education, tourism, and art. Daily life was not interrupted but some services and events that they have not primary functions (for some people) like “art” were on the verge of stopping and carried to the digital platforms. In this context, some corporations opened their archives and sometimes actual events to the public free of charge or for a certain amount of money. Art, which has always had “healing”, “mediating” and “unifying” effects, was consumed by the billions of people through digital devices. Considering art is both a sector and an industry, the unexpected phenomenon of Covid-19, which is a kind of crisis that occurs one in a hundred years and takes longer than expected, led to the temporary or permanent closure of some art and culture institutions. Due to these results, some supportive programs have been organized by official or non-official institutions to solve financial problems. In Turkey, all the movie theaters closed down on the 16th of March 2020 by the Ministry of Internal Affairs. Some halls opened in July and August, however, because of lack of audience and of the increasing number of patients they have closed down again in November. 2019 was a bad year for the sector yet 2020 was even worse with the decline of the audience by the ratio of %90. Before the pandemic, there were some problems in terms of halls. In this context, some movie theaters tried to find solutions not to lose the audience and find financial support. Beyoğlu Movie Theater that began operating in 1989, had some financial problems before the pandemic. The managers of the hall created a project called “Beyoğlu 1989”, which was a kind of electronic bulletin, and started sending e-mails to the subscribers. This project, which was implemented for the first time in Turkey, has reached the 57th issue and 800 subscribers today and has turned into a kind of weekly electronic-digital cinema newspaper that is also promoted on the Instagram account of the Beyoğlu cinema with 45 thousand followers. The broadcast also follows the cinema agenda and undertakes the task of a written-visual archive. In conclusion, a movie theater that started operating in the analog age, today use all the possibilities and utilities of the digital age and also with the help of its owners and followers, creates a communication ecology to prevent the shutdown. The aim of this article is to examine an electronic bulletin (also a film magazine) “1989”, which is first in Turkey, with the qualitative method.
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9

Koch, Renate. "Marcel Prawy und das erste Broadway-Musical im Österreich der Nachkriegszeit." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.57.

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Marcel Prawy, born in Vienna, graduated in law. In 1936, the couple Kiepura/Eggerth engaged him as private assistant. Two years later Jan Kiepura helped him to emigrate to New York. In 1943, after his employment ended, Prawy joined the US Army. Finally he returned as an elite soldier to Vienna and began his pioneering work for ‘Broadway Musicals’. In 1955, he was appointed dramaturge at the ‘Wiener Volksoper’. One year later in February, Kiss Me, Kate was performed in two Austrian theatres. The Viennese version was produced by Prawy himself and staged by Heinz Rosen. In Graz André Diehl directed the orchestration by conductor Rudolf Bibl on the basis of a piano score. Prawy relied on a mixture of Austrian theatre luminaries and American actors. In the Volksoper 183 performances took place – Graz had only 16. The reviews for the Viennese premiere reaffirmed the cheers. The criticism of the Graz production did not receive the same attention as Prawy’s production did.
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10

Dimarogonas, Andrew D. "Mechanisms of the Ancient Greek Theater." In ASME 1992 Design Technical Conferences. American Society of Mechanical Engineers, 1992. http://dx.doi.org/10.1115/detc1992-0301.

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Abstract The word Mechanism is a derivative of the Greek word mechane (which meant machine, more precisely, machine element) meaning an assemblage of machines. While it was used for the first time by Homer in the Iliad to describe the political manipulation, it was used with its modern meaning first in Aeschylos times to describe the stage machine used to bring the gods or the heroes of the tragedy on stage, known with the Latin term Deus ex machina. At the same time, the word mechanopoios, meaning the machine maker or engineer, was introduced for the man who designed, built and operated the mechane. None of these machines, made of perishable materials, is extant. However, there are numerous references to such machines in extant tragedies or comedies and vase paintings from which they can be reconstructed: They were large mechanisms consisting of beams, wheels and ropes which could raise weights up-to one ton and, in some cases, move them back-and-forth violently to depict space travel, when the play demanded it. The vertical dimensions were over 4 m while the horizontal travel could be more than 8 m. They were well-balanced and they could be operated, with some exaggeration perhaps, by the finger of the engineer. There is indirect information about the timing of these mechanisms. During the loading and the motion there were specific lines of the chorus, from which we can infer the duration of the respective operation. The reconstructed mechane is a spatial three- or four-bar linkage designed for path generation.
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Reports on the topic "Theater of war"

1

Weaver, Brett H. War Termination: A Theater CINCs Responsibility. Defense Technical Information Center, 1997. http://dx.doi.org/10.21236/ada442789.

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2

Davis, Michael H. Apache Force Structure for a Two Major Theater War Strategy. Defense Technical Information Center, 1998. http://dx.doi.org/10.21236/ada345712.

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Wall, Alan R. Theater Missile Defense in World War II - Some Operational Art Considerations. Defense Technical Information Center, 1999. http://dx.doi.org/10.21236/ada363065.

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Ryan, Michael A. Exploiting Peace Operations to Reduce Risk in the Second Major Theater War. Defense Technical Information Center, 2001. http://dx.doi.org/10.21236/ada394273.

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Christie, R. A. The United States' Second Major Theater of War: A Bridge Too Far? Defense Technical Information Center, 2000. http://dx.doi.org/10.21236/ada432180.

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Smith, Tyler C., Thomas E. Corbeil, Margaret A. Ryan, Jack M. Heller, and Gregory C. Gray. In-Theater Hospitalizations of US and Allied Personnel During the Gulf War. Defense Technical Information Center, 2004. http://dx.doi.org/10.21236/ada430180.

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Sellers, Priscilla. Incorporation of Indigenous Forces in Major Theater War: Advantages, Risks and Considerations. Defense Technical Information Center, 2004. http://dx.doi.org/10.21236/ada423740.

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Woods, John D. Joint Air Operations Integration of MAGTF Aviation into the Theater Air War. Defense Technical Information Center, 1994. http://dx.doi.org/10.21236/ada280625.

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Campbell, Charlotte H., Roy C. Campbell, Laura A. Ford, David M. Pratt, and Daniel e. Deter. The COBRAS Synthetic Theater of War Exercise Trial: Summary and Report of Findings. Defense Technical Information Center, 1998. http://dx.doi.org/10.21236/ada359935.

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Partan, Matthew A. Soviet Assessments of the Theater Balance of Forces: A Case Study of the Beginning Period of War. Defense Technical Information Center, 1986. http://dx.doi.org/10.21236/ada269702.

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