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1
Tzekakis, Emmanuel G., and Gottfried Schubert. "The acoustical design of a new open air theater in Thessaloniki, Greece." Journal of the Acoustical Society of America 105, no. 2 (February 1999): 1043. http://dx.doi.org/10.1121/1.424970.
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Witt, David, and Kristy Primeau. "Performance Space, Political Theater, and Audibility in Downtown Chaco." Acoustics 1, no. 1 (December 27, 2018): 78–91. http://dx.doi.org/10.3390/acoustics1010007.
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Chaco Canyon, NM, USA, was the center of an Ancestral Puebloan polity from approximately 850–1140 CE, and home to a dozen palatial structures known as “great houses” and scores of ritual structures called “great kivas”. It is hypothesized that the 2.5 km2 centered on the largest great house, Pueblo Bonito (i.e., “Downtown Chaco”), served as an open-air performance space for both political theater and sacred ritual. The authors used soundshed modeling tools within the Archaeoacoustics Toolbox to illustrate the extent of this performance space and the interaudibility between various locations within Downtown Chaco. Architecture placed at liminal locations may have inscribed sound in the landscape, physically marking the boundary of the open-air performance space. Finally, the implications of considering sound within political theater will be discussed.
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Weng, Lian Fen, Ming Gong, Zhen Hua Liu, and Xiao Bei Wang. "Reinforcement Technology of Space Grid Structure for Reconstruction of Shandong Qufu Xingtan Theater." Advanced Materials Research 243-249 (May 2011): 5487–90. http://dx.doi.org/10.4028/www.scientific.net/amr.243-249.5487.
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Shandong Qufu Xingtan Theater, originally built for an open-air theater, was designed as a one-time temporary structure with bolt ball junction double-layer regular pyramids grid structure roofing system. Because of the transformation of open-air structure system to an enclosed construction, some members of the space grid structure can not meet the required bearing capacity. According to the mechanical performance of space grid structures, the reinforcement methods of “circular steel jacketing” and “lateral support” are conducted, which are based on the analysis of the stress and stability characteristics of different grid members. By using the methods given above, the stress and slenderness ratio is decreased. The results indicate that the two reinforcement methods can reduce the difficulty in construction, shorten the construction period, and gain good economic and social benefit.
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Jakovljevic, Branislav. "Theater of Atrocities: Toward a Disreality Principle." PMLA/Publications of the Modern Language Association of America 124, no. 5 (October 2009): 1813–19. http://dx.doi.org/10.1632/pmla.2009.124.5.1813.
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In October 1992, the united nations security council requested the secretary-general to appoint an impartial commission to examine and record the atrocities committed in the wars in the former Yugoslavia. Two years later, this commission produced its final report. Some of the goriest pages in this catalogue of infamy are dedicated to the explosion on the Markale open-air market in central Sarajevo that took place around noon on Saturday, 5 February 1994. The report describes it as “the worst attack on civilians during the siege” of Sarajevo, citing that it killed at least 66 persons and wounded 197 (781). This explosion can be said to represent the turning point in the Bosnian war, which by that point had lasted some twenty-two months without any reasonable resolution in sight. David Binder, a New York Times reporter and the author of the most detailed account of this atrocity to date, writes that itprovoked the first engagement of NATO in European hostilities since it was founded four decades earlier and the first involvement of U.S. forces in combat in Europe since the beginning of the Cold War. Within days it also drew Russia into the hapless circle of Balkan problem-solvers, along with a unit of Russian peacekeeping troops—the first entry of Russia into the former Yugoslavia since Joseph Stalin's break-up with Josip Broz Tito in 1948. (70)
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Donelan, Jasper F. "Some Remarks Concerning Night Scenes on the Classical Greek Stage." Mnemosyne 67, no. 4 (July 1, 2014): 535–53. http://dx.doi.org/10.1163/1568525x-12341213.
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This paper examines ways in which the dramatists of the fifth century staged night scenes in an open-air, daytime theater, as well as how these scenes relate to the rest of their respective plays’ action. For want of archaeological evidence or treatises on dramatic production, the texts of the tragedies and comedies form the basis of the investigation, which aside from its focus on production techniques also has wider implications for the handling of time in Greek drama. A comparison of tragedy and comedy reveals differences in the two genres’ approaches to conveying ‘darkness’ to their audiences. This also holds true for the pseudo-Euripidean Rhesus, whose plot is set almost exclusively at night. Aristophanic comedy often uses props such as lanterns or torches to reinforce a verbally constructed nocturnal setting whereas tragedy, as far as we can tell, relies solely on spoken description.
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Wagner, Meike. "Performing in Crisis Mode: the Munich National Theater, the Great Exhibition and the Cholera Epidemic in 1854." Pamiętnik Teatralny 69, no. 4 (December 31, 2020): 39–61. http://dx.doi.org/10.36744/pt.561.
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In 1854, the city of Munich had arranged for the “First General German Industrial Exhibition” to promote German industry to the world and invited a global audience to the event. At the same time, Franz Dingelstedt, director of the National Theater, organized a festival displaying the finest actors from Germany. Right after the opening of the festival, cholera started raging in the city and leaving 3,000 deaths in the final count. The author sketches out the role of the theatre in this crisis, when Dingelstedt was ordered by the king to keep the theatre open at any cost. This appears awkward, in regard to the current global pandemic crisis where theaters have been identified as risk zones for infection and consequently closed down. Why was the theatre at the time considered a safe and appropriate place even helping to counter the disease?
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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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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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Song, Hee-young. "The reenactment of the mythical time and space in the Performing Arts, as an open-air epic theater and a medium of cultural memory: the case of the Cinéscénie of Puy du Fou, Vendée, France." Humanities Contens 44 (March 31, 2017): 175. http://dx.doi.org/10.18658/humancon.2017.3.44.175.
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OYAMA, Haruo. "Noh Performance Space as Open-air Theaters and Open Spaces." Journal of the Japanese Institute of Landscape Architects 50, no. 5 (1986): 221–26. http://dx.doi.org/10.5632/jila1934.50.5_221.
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Sulaiman, Shaharin Anwar, Nadrah Isa, Nina Irsyanizah Raskan, and Noor Farhane Che Harun. "Study of Indoor Air Quality in Academic Buildings of a University." Applied Mechanics and Materials 315 (April 2013): 389–93. http://dx.doi.org/10.4028/www.scientific.net/amm.315.389.
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ndoor Air Quality in educational environment is very important as it could interfere with the learning process. In this paper, the indoor air quality of selected lecture rooms of different sizes in an academic building was studied, involving measurements of indoor temperature, relative humidity, CO2 level and dust particles. A mixed result was observed on the relative humidity in the rooms. The levels of dust particles were observed acceptable although recorded higher in the small lecture room as compared to the lecture theater. The CO2 content in the lecture theatre was found to be higher than that in the small lecture room, and also exceeded the maximum recommended level. Overall, the results suggested that the lecture theatre needs attention in the aspect of Indoor Air Quality.
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Khaidi, Nor Azyan K. M., Siti M. Anua, Nurzafirah Mazlan, and Safaa N. Saud. "The Presence of Microbial Air Contaminants in the Operating Theatre at a Teaching Hospital in East Coast Malaysia." Open Biology Journal 9, no. 1 (February 16, 2021): 11–16. http://dx.doi.org/10.2174/1874196702109010011.
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Aim: The aim of this study is to determine the presence of microbial air contaminants in the operating theatre at a teaching hospital. Objective: Airborne microbial level in operation theatre is one of the significant risks in hospital as it can increase the surgical site infection and nosocomial infections. Background: Duo SAS Super 360 Air Sampler was used to collect the airborne samples in triplicate each for nutrient and MacConkey agar at eight operation rooms and two corridors for morning and evening sessions. Sampling was conducted for three months and repeated every two months. Microbiological culture, gram staining and biochemical tests such as catalase test, oxidase test, coagulase test, Triple Sugar Iron Agar test, urease test, citrate test, Sulfide, Indole, Motility test, Methyl Red Voges-Proskauer test, disc diffusion test, and Albert’s stain were performed on the pure isolated culture. Methods: Sampling was conducted for three months and repeated every two months. Microbiological culture, gram staining and biochemical tests such as catalase test, oxidase test, coagulase test, Triple Sugar Iron Agar test, urease test, citrate test, Sulfide, Indole, Motility test, Methyl Red Voges- Proskauer test, disc diffusion test, and Albert’s stain were performed on the pure isolated culture. Bacteria that were present in the operation rooms were Bacillus spp., Micrococcus spp. and Staphylococcus spp. while Pseudomonas aeruginosa and Acinetobacter baumannii were absent. The bacteria identified in the operation theater may also cause surgical site infections and nosocomial infections to the patients, although the microbial contamination in the air of the operation theatre is low. Results: The bacteria identified in the operation theater may also cause surgical site infections and nosocomial infections to the patients, although the microbial contamination in the air of the operation theatre is low. Conclusion: Strengthening surveillance on the hygienic condition of the operation theatre and routine sampling is strongly recommended to control all possible sources and types of infection.
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Gaby, Rosemary. "Venturing Outside: The Emergence of Australian Open-Air Theatre." Multicultural Shakespeare: Translation, Appropriation and Performance 8, no. 23 (November 30, 2011): 107–24. http://dx.doi.org/10.2478/v10224-011-0008-3.
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Nygaard, Jon. "Local, Open-Air Performances in Norway as Interdisciplinary Theatre." Theatre Research International 26, no. 2 (June 14, 2001): 172–80. http://dx.doi.org/10.1017/s0307883301000189.
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Each year local amateur actors in small, rural communities all over Norway stage a large number of open-air performances. Most of them are performed annually, and indeed some have been performed for almost fifty years. The interdisciplinary nature of these performances is founded on the principle of dugnad (community cooperation and participation) which brings to the performances local knowledges and skills. These productions thus attract large audiences because of their fusion of elements from theatre, music, dance, sport and crafts performed by skilled professionals turned amateur actors from the community. These interdisciplinary rituals are repeated annually by rural communities as the expression of local cultural disciplines harnessed together in performance.
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Iacona, Roberta, Kiran Chima, Ami Kotecha, and Amulya Saxena. "Surgical Perspectives for Pediatric Theater Teams during the SARS-CoV-2 Pandemic and Beyond: Narrative Review and Mandatory Tasks Guidelines." European Journal of Pediatric Surgery 31, no. 04 (June 20, 2021): 305–10. http://dx.doi.org/10.1055/s-0041-1731293.
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AbstractThis is a narrative review during the ongoing coronavirus disease 2019 (COVID-19) pandemic to streamline workflow of pediatric surgical patients in operating theaters and for theater teams involved in their management. Pediatric patient anxiety in theaters, aspects of communication, and optimizing vision during surgery during the pandemic have also been addressed. The COVID-19 pandemic has led to the creation of pathways in the surgical management of patients. As the pandemic progressed, hospitals developed pathways to offer increased protection to staff during procedures. This narrative review provides a clear perspective in the management of pediatric patients in operating theaters. Guidelines received from National Health Authorities and Societies affiliated with surgery, endoscopic surgery, anesthesiology, and endoscopy were carefully reviewed regarding their recommendations and data emerging from reports on COVID-19 were selected to compile the pathways specific for pediatric patients and staff. The workflow pathways have been successfully implemented during the pandemic and include a section on patients for endoscopy as well as approach to endoscopic surgery and open procedures. Theater room ergonomics that were successful during the pandemic have been outlined along with identification of areas specific to the pediatric patient anxiety, interteam communication/identification, and visor-related vision. The guidelines used successfully during the pandemic for pediatric theater teams can be used or adapted for formulating local hospital guidelines in other centers that could be valuable in patient management beyond the pandemic.
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Kopecký, Jiří, and Lenka Křupková. "The “Slavic spirit” and the opera scene in Olomouc, 1830–1920." Studia Musicologica 58, no. 3-4 (December 2017): 341–61. http://dx.doi.org/10.1556/6.2017.58.3-4.4.
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In 1830, a new theater building was opened in the Olomouc Upper square. The stable theatrical life enriched enormously the cultural life of the city and encouraged the development of publishing activities in the field of music journalism and publishing. The public debates on the artistic value of theater performances, on abilities of particular artists and on other subjects gained new quality after the 1860 October diploma because Czechs living in and around the traditional German town put pressure on theater directors and demanded Czech plays on the stage. The fights for the national repertoire on the stage of the Olomouc Provincial Theater are demonstrated in this essay in two contrary ways: at first, the introduction of Czech dramas into the German scene during the 1860s is discussed, then the intensive promotion of German operas during the 1880s and 1890s when internationally played Slavonic operas were performed in all theaters. The director Carl König (1862–1868) offered a contract to many artists who were able to speak both German and Czech, so he could open an independent subscription for the Czech public. The relatively tolerant atmosphere allowed König’s company to give performances in both languages and connect the Olomouc theatrical life to the Prague Provisional Theater. However, Czech nationalism was getting stronger during the 1870s and provoked competitive and unfriendly reactions on German side. The arguments for refusal of Smetana’s and Tchaikovsky’s operas by the directors of the Olomouc theaters are discussed on the basis of archival sources as well as articles published in contemporary periodicals.
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Savell, Shelia C., Allyson A. Arana, Kimberly L. Medellin, Vikhyat S. Bebarta, Crystal A. Perez, Lauren K. Reeves, Alejandra G. Mora, and Joseph K. Maddry. "Descriptive Analysis of Cardiac Patients Transported by Critical Care Air Transport Teams." Military Medicine 184, no. 7-8 (February 27, 2019): e288-e295. http://dx.doi.org/10.1093/milmed/usy426.
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Abstract Introduction Critical Care Air Transport Teams (CCATTs) transport critically ill patients within and out of theaters of combat operations. Studies of the CCATT population reveal as many as 35% of patients have a non-trauma diagnosis, of which more than half are cardiac. The purpose of this retrospective study was to describe the epidemiology of critically ill patients with cardiac diagnoses evacuated from theater via CCATT. Materials and Methods We conducted a retrospective review of 290 medical patients with a primary cardiac diagnosis transported from any theater of operation to Landstuhl Regional Medical Center, Germany from January 2007 to April 2015. Results The majority of patients were male with an average age of 46 ± 11 years, US contractors (47%, n = 137), followed by US Active Duty (32%, n = 93). Patients had an average BMI of 29 ± 5; 62% of cardiac patients were either overweight or obese. The most common cardiac diagnoses were ST elevation myocardial infarction, Non-ST elevation myocardial infarction, and angina. Pre-flight vital signs indicate overall patients were stable prior to evacuation, with the majority receiving supplemental oxygen and only 5% requiring mechanical ventilation. Eighty-one percent of patients experienced at least one cardiac event during flight, however less than 5% required adjustment to oxygen or ventilator settings. Conclusions Critically ill cardiac patients make up a significant portion of patients transported out of the combat theater. These patients are older, overweight and have identified risk factors for cardiac morbidity. More strenuous pre-deployment screening for risk factors and prevention strategies could minimize the use of military resources to evacuate these patients from the combat theater.
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Balme, Christopher B. "Cultural Anthropology and Theatre Historiography: Notes on a Methodological Rapprochement." Theatre Survey 35, no. 1 (May 1994): 33–52. http://dx.doi.org/10.1017/s0040557400002544.
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After a century of carefree source research conducted against the background of positivist objectivism, theatre historiography now finds itself in the throes of a methodological paradigm shift. Quite independent of its historical disciplinary affiliations, whether as an extension of literary criticism of the various national literatures or as a subsidiary of the historical sciences, theatre historiography is no longer able to resist engagement with fundamental and increasingly complex methodological debates. Particularly in North America there has been a broad discussion on the crisis of traditional, positivist theatre history. The result has been to open up theater historiography to other approaches such as semiotics and diverse theories and methodologies of a poststructuralist provenance. Despite this intensifying and often broad-ranging methodological debate there have been hitherto hardly any attempts to bring theatre history into a dialogue with historical anthropology or ethnohistory, both of which are strongly influenced by the methodologies of cultural anthropology. The deficit is all the more remarkable as these areas have ignited a veritable explosion of interest amongst historians and ethnologists which has transcended the narrow disciplinary borders of both fields of scholarship.
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Newbury, Michael. "Polite Gaiety: Cultural Hierarchy and Musical Comedy, 1893-1904." Journal of the Gilded Age and Progressive Era 4, no. 4 (October 2005): 381–407. http://dx.doi.org/10.1017/s1537781400002760.
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In 1903, Alan Dale, the theater critic for the New York American and Journal, when contemplating the state of the American stage, came to the conclusion that “the only national theatre I can find, after severe cogitation, is that beautiful, flip, and classic commodity known as musical comedy.” Dale pointed out that musical comedy's exorbitant popularity was a recent development, emerging only in the previous five or ten years, and that his anointing of the form as the national theater would not sit well with more serious-minded devotees of drama. “Well read gentlemen with heavy minds,” wrote Dale, would prefer different sorts of productions, plays that “mere commercial managers don't want to stage and mere amusement seekers don't want to see.” Seeking an improbable bridge over this cultural divide, Dale suggested that “[Henrik] Ibsen might air his neat little views on heredity in happy verse set to music…[His] favorite subject of maggots on the brain” could feature a “chorus of pretty girls disguised as maggots.”
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Astolfi, Arianna, Elena Bo, Francesco Aletta, and Louena Shtrepi. "Measurements of Acoustical Parameters in the Ancient Open-Air Theatre of Tyndaris (Sicily, Italy)." Applied Sciences 10, no. 16 (August 15, 2020): 5680. http://dx.doi.org/10.3390/app10165680.
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The emerging field of archaeoacoustics is attracting increasing research attention from scholars of different disciplines: the investigation of the acoustic features of ancient open-air theatres is possibly one of its main themes. In this paper, the outcomes of a measurement campaign of acoustical parameters in accordance with ISO 3382-1 in the ancient theatre of Tyndaris (Sicily) are presented and compared with datasets from other sites. Two sound sources were used (firecrackers and dodecahedron) and their differences were analysed. A very good reproducibility has been shown between the two measurement chains, with differences on average of 0.01 s for reverberation time T20, and less than 0.3 dB for Clarity C50 and C80 and for sound strength. In general, results show that the reverberation time and strength of sound values are relatively low when compared with other theatres because of the lack of the original architectural element of the scaenae frons. When combining this effect with the obvious condition of an unroofed space, issues emerge in terms of applicability of the protocols recommended in the ISO standard. This raises the question of whether different room acoustics parameters should be used to characterise open-air ancient theatres.
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Bo, Elena, Louena Shtrepi, David Pelegrín Garcia, Giulio Barbato, Francesco Aletta, and Arianna Astolfi. "The Accuracy of Predicted Acoustical Parameters in Ancient Open-Air Theatres: A Case Study in Syracusae." Applied Sciences 8, no. 8 (August 17, 2018): 1393. http://dx.doi.org/10.3390/app8081393.
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Nowadays, ancient open-air theatres are often re-adapted as performance spaces for the additional historical value they can offer to the spectators’ experience. Therefore, there has been an increasing interest in the modelling and simulation of the acoustics of such spaces. These open-air performance facilities pose several methodological challenges to researchers and practitioners when it comes to precisely measure and predict acoustical parameters. Therefore this work investigates the accuracy of predicted acoustical parameters, that is, the Reverberation Time (T20), Clarity (C80) and Sound Strength (G), taking the ancient Syracusae open-air theatre in Italy as a case study. These parameters were derived from both measured and simulated Impulse Responses (IR). The accuracy of the acoustic parameters predicted with two different types of acoustic software, due to the input variability of the absorption and scattering coefficients, was assessed. All simulated and measured parameters were in good agreement, within the range of one “just noticeable difference” (JND), for the tested coefficient combinations.
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Grzegorzewska, Małgorzata. "Shakespeare’s curtain: The stage revealed or the stage re-veiled?" Cahiers Élisabéthains: A Journal of English Renaissance Studies 99, no. 1 (April 11, 2019): 13–22. http://dx.doi.org/10.1177/0184767819835557.
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This article takes advantage of Jean-Luc Marion’s post-phenomenological reflection in order to analyse the different modes of seeing and looking suggested in William Shakespeare’s plays. It highlights the difference between the indoor stage, where the audience’s attention is focused on the lighted and framed space of the stage, and an open-air performance, which struggles to wrest attention from the spectator’s gaze. A theological turn in the argument accounts for the transition from the description of a concealment/discovery space in Elizabethan theatre to what the author defines as the ‘space of revelation’ recreated in contemporary theatre.
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Norman, Sally Jane. "Theater and ALife Art: Modeling Open and Closed Systems." Artificial Life 21, no. 3 (August 2015): 344–53. http://dx.doi.org/10.1162/artl_a_00175.
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The live art of theater remains curiously missing from ALife art history, despite the fact that its very existence is poised on the cusp of the living and the artificial, and on the modeling of life as artefact—what can be called the containment-versus-continuity dilemma. How far one seeks to affirm autonomy of the creative artwork or, in contrast, how far one seeks to affirm its continuity with its supposed real-life contexts is a question that has forever haunted theater, and that has naturally come to haunt ALife and ALife arts. Investigation of the boundary separating observers from modeled systems is as core to research into the live art of theater as to ALife research. This brief article seeks to open up discussion on links between ALife, ALife art, and the live art of theater, through key thematic threads that traverse these domains: their modeling of universes, the open or closed nature of the resultant modeled systems, and their implications with respect to observers, definitions, and instantiations of life regarding non-life or death as well as attributions of liveness to emergent synthetic biology and metamaterials.
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Aebi, M., and R. Gunzburg. "OOT: The Open Operating Theatre." European Spine Journal 20, no. 6 (May 4, 2011): 825. http://dx.doi.org/10.1007/s00586-011-1832-4.
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ISEKI, Hiroshi, Yoshihiro MURAGAKI, Ryoichi NAKAMURA, Norihiko OZAWA, Hiroki TANIGUCHI, Tomokatsu HORI, and Kintomo TAKAKURA. "Intelligent Operating Theater Using Intraoperative Open-MRI." Magnetic Resonance in Medical Sciences 4, no. 3 (2005): 129–36. http://dx.doi.org/10.2463/mrms.4.129.
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Phipps, Alison M. "Risking Everything: Political Theatre for Mass Audiences in Rural Germany." New Theatre Quarterly 15, no. 2 (May 1999): 109–22. http://dx.doi.org/10.1017/s0266464x0001280x.
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In the south-west German village of Hayingen, the playwright-director Martin Schleker presents large open-air productions of politically sensitive yet entertaining plays to mass audiences on an annual basis. This article explores the element of risk in Schleker's work: his use of purely amateur performers; his job-creation schemes for young people; and his left-wing and often anti-Catholic stance on issues such as racism and nuclear arms before often deeply conservative, culturally Catholic audiences. Schleker's work is situated in the wider context of the state-funded, civic theatres in Germany, and of the tradition of open-air ‘Naturtheater’ which is particularly strong in the Swabian region. Some assumptions surrounding such binary divides as amateur-professional and high art-entertainment are also explored. Data for this article was collected in the Hayingen ‘Naturtheater’ during a period of ethnographic research supported by the Leverhulme Trust. Having completed her doctorate at Sheffield University, Alison Phipps has been working as a lecturer in the Department of German – and in particular in the Centre for Intercultural Germanistics – at Glasgow University since October 1995. She has published in the areas of her research interests, which include contemporary German theatre and performance research, Ethnographic approaches to language education, and popular German culture and intercultural studies.
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Kvasnytsia, Roksoliana. "Scenography as a Design Component of Presentation spaces for Fashion Shows." Bulletin of Lviv National Academy of Arts, no. 41 (December 26, 2019): 57–64. http://dx.doi.org/10.37131/2524-0943-2019-41-05.
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Competition for the attention of consumers in the modern fashion industry makes the problem of finding new effective means of marketing communications a topical issue. Fashion designers are interested in creating conditions of high quality for a vivid demonstration of new collections, it enables to increase the popularity of the brand, to strengthen the prestige on the market, to attract the attention of potential customers to the products. Modern trends demonstrate how often designers prefer original and unusual locations for defile, which are oriented on maximally spectacular design planning of the presentation space, in order to stand out against the background of the general information flow in any way. Various studies were devoted to this problem directly or indirectly, its various aspects were studied in many papers, but the peculiarities of forming scenography for fashion defile in different types of locations were not brought together as one of the design planning problems, which determined the topic of the study. The purpose of the article is to demonstrate the significance of scenography in modern design planning of demonstration spaces, to reveal the peculiarities of the monumental and decorative design of fashion shows. The article deals with the main types of scenery for outdoor and indoor location: interior, landscape, special and project ones. It has been defined what kind of differences exist between the scenery for fashion shows and theatrical and cinematic scenery. It has been determined under which principles the decorative design of presentation spaces is formed. • The scenery on the demonstration site shall look flawless, since the audience often stands very close and interacts with objects, unlike theatrical stage or cinema, where it may look “conditional”. And there is, also, photo and video shooting. Thus, performance, use of materials and detalization of decoration require high quality. • Additional equipment, namely stage structures, illumination systems, sound equipment, is visually open to the audience on the fashion shows and it also requires a comprehensive approach with decorative design. In the cinema and theater, these things remain off screen, are not visually active. • Installation and disassembly of scenery in a short time frame, since it is installed only for the duration of the show, often in the leased spaces. It is usually one-time. • Scenery at the outdoor locations in the open air on fashion shows requires special decorative objects, scale observed towards space, and professional illumination, due to photo and video shooting. • Objective decorative filling shall provide ecological, functional and aesthetic comfortability, these factors determine the general comfort. Hence, the decorative design of the environment facilitates the disclosure of the main theme of the collection, the concept as a whole, provides performance with a certain form, enhances the impact of the show on the audience, determines the style of the performance. It is an indisputable fact that the decorative design, created by highly skilled experts for fashion shows, does not cease to astonish and captivate. Theatricalization of fashion shows and the development of modern technologies have led to the creative search and implementation of the most unexpected ideas of scenery, stage-properties and props. This article opens the following prospects in the study of the design of demonstration spaces: to study the specifics of use of new technologies in modern scenography and their influence on the formation of the artistic image of Ukrainian fashion defile.
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Skorokhodova, P. S. "«Heritage of the Arts Theater» is on Open Access." Bibliotekovedenie [Library and Information Science (Russia)], no. 2 (April 28, 2014): 28–31. http://dx.doi.org/10.25281/0869-608x-2014-0-2-28-31.
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The author reveals the significance of the Digital Project «Heritage of the Arts Theater», which presents in the form of E-books over 40 publications of the Moscow Arts Theater named after A. Chekhov. There are described the features of the project and the details of information organization, associated mainly with the large amounts of material. The results of the work are presented in the form of references, electronic publications and programs.
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Saro, Anneli. "Mobility and Theatre: Theatre Makers as Nomadic Subjects." Nordic Theatre Studies 27, no. 1 (May 12, 2015): 90. http://dx.doi.org/10.7146/nts.v27i1.24242.
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This article discusses the pros and cons of theatrical mobility, investigating situ- ations where theatre is breaking its traditional practices of being local and urban by becoming mobile, international and rural. The main features in this context are guest performances at home and abroad, the importation of guest directors, performers, designers et cetera, and finally, site-specific and open-air productions. The structure of the analysis is based on these features, partly derived from the historical development of theatre but partly also from the aim of contrary thinking, insisting that contrary to the widespread assumption of nomadism as something indigenous or postmodern, nomadic attitudes can also be detected in quite traditional forms of theatre making and living. While touring at home and abroad provides opportunities for theatre makers to practice nomadic life style, summer theatre creates an opportunity for spectators to experience nomadism in more local spaces. The above mentioned features are analysed in the context of Estonian theatre, drawing occasional parallels with the neighbouring country of Finland. Each section goes through three periods of Estonian theatre history; 1) the period before the Second World War when theatres belonged to societies; 2) the period between 1940 and 1991 when Estonia was a part of the Soviet Union and all theatrical activities were subject to state control; 3) the period of independence and globalization. Since each period had a different imprint on theatrical mobility, the phenomenon will be investigated in relation to the political, social and cultural contexts, using Bruno Latour’s concept of actor-network-theory as a methodological tool.
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Barkas, Nicolaos. "Open‐air theatre in the centre of the city: Acoustic design and noise environment control." Journal of the Acoustical Society of America 123, no. 5 (May 2008): 3354. http://dx.doi.org/10.1121/1.2933925.
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Humphreys, H. "Theatre air and operating conditions." Journal of Hospital Infection 31, no. 2 (October 1995): 154–55. http://dx.doi.org/10.1016/0195-6701(95)90172-8.
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Hummelen, W. M. H. "Doubtful Images." Theatre Research International 22, no. 3 (1997): 202–18. http://dx.doi.org/10.1017/s0307883300017016.
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The earliest Dutch illustrations of indoor theatrical performances date from the seventeenth century, and portray the activities of itinerant professional actors or plays performed in fixed areas, in chambers of rhetoric (Het Wit Lavendel in Amsterdam) and in what may be classed as their successors: the Nederduytsche Academie (1617–37) and Jacob van Campen's Theatre (1637–65). There are also between thirty and forty illustrations of open-air theatre performances given by non-professional actors (mostly rhetoricians), in paintings and prints of the sixteenth and seventeenth centuries. Sometimes one cannot be entirely sure as to whether the illustrated scene contains a theatrical performance or even a stage. These are the ‘doubtful images’ of my title.
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Peck, James, Peter Brook, David Cole, and Phillip B. Zarrilli. "The Open Door: Thoughts on Acting and Theater." TDR (1988-) 41, no. 2 (1997): 171. http://dx.doi.org/10.2307/1146634.
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Sonmez, H., B. Gurkan, and B. Sonmez. "Engineering characteristics of Ankara Greywacke under the foundation of the Beytepe open air theatre, Ankara, Turkey." Environmental Geology 55, no. 3 (September 1, 2007): 485–97. http://dx.doi.org/10.1007/s00254-007-0994-1.
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Dettenkofer, Markus, M. Scherrer, V. Hoch, H. Glaser, G. Schwarzer, J. Zentner, and F. D. Daschner. "Shutting Down Operating Theater Ventilation When the Theater Is Not in Use: Infection Control and Environmental Aspects." Infection Control & Hospital Epidemiology 24, no. 8 (August 2003): 596–600. http://dx.doi.org/10.1086/502260.
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AbstractObjective:In hospital operating rooms (ORs), specially conditioned air is supplied to protect patients from airborne agents that may cause infections. This study investigated whether it is hygienically safe to shut down the air supply at night if measures are taken to ensure a timely restart before surgery is performed.Design:Experimental study.Setting:Neurosurgical OR of a German university hospital.Methods:The ventilation system was switched off and restarted after 10 hours. Particles suspended in the air near the operating table were counted, OR temperature was measured, and settle plates were exposed and incubated.Results:In 13 investigations, a median of 1.3 × 104 particles 0.5 μm/m3 or greater (range, 5.8 × 103 to 1.1 × 105) were documented immediately after restart in the morning. After 10 minutes and subsequently, no test showed a particle count exceeding the threshold limit of 1.0 × 104 particles 0.5 μm/m3 or greater recommended by the German Society of Hygiene and Microbiology. Only a few colony-forming units (CFU) were detected per settle plate (median, 0 CFU/60 cm2; range, 0 to 8) and OR temperatures quickly reached normal levels.Conclusions:Shutting down OR ventilation during off-duty periods does not appear to result in an unacceptably high particle count or microbial contamination of the OR air shortly after the system is restarted. Because substantial energy and cost savings are likely, this should be considered in hygienically safe heating, ventilation, and air conditioning systems. However, normal ventilation should be established at least 30 minutes before surgical activity.
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Williamson, David T., and Timothy P. Barry. "The Design and Evaluation of a Speech Interface for Generation of Air Tasking Orders." Proceedings of the Human Factors and Ergonomics Society Annual Meeting 44, no. 22 (July 2000): 750–53. http://dx.doi.org/10.1177/154193120004402266.
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This paper discusses the design, implementation, and evaluation of a prototype speech recognition interface to the Theater Air Planning (TAP) module of Theater Battle Management Core Systems (TBMCS). This effort was in support of a Kenney Battlelab Initiative proposal submitted to the Command and Control Battlelab at Hurlburt Field, FL to assess the operational benefits of speech recognition for data entry applications in a Joint Air Operations Center environment. Several factors contributing to the design of the “TAPTalk” speech interface included interviews with subject matter experts, speech system selection, grammar development, and integration into TAP, which required only minor modification of existing software. Results from the two week operational assessment with sixteen subjects from the Command and Control Training and Innovation Group, numbered Air Forces, Navy, and Marine Corp indicated that the Theater Air Planning process could be accomplished significantly faster with no increase in error rates. Subjectively, the sixteen planners unanimously agreed that the TAPTalk speech interface was a valuable addition to TAP and would recommend its inclusion in a future upgrade. Recommendations for further improving the TAPTalk system are discussed.
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Thomas, Stephanie, Rish Palmer, Edward Phillipo, and Geoffrey Chipungu. "Reducing bacterial contamination in an Orthopedic Theatre ventilated by natural ventilation, in a Developing Country." Journal of Infection in Developing Countries 10, no. 05 (May 31, 2016): 518–22. http://dx.doi.org/10.3855/jidc.7436.
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Introduction: All surgical procedures have the potential for infection and some of the main sources are contamination from airborne particles, theatre personnel and the theatre environment. There is strong evidence that the use of ultra-clean air flow systems in orthopedic operating theatres reduces the incidence of deep sepsis after surgery. In the developing world however, this is often an unrealistic solution. The aim of this study was to establish baseline levels of contamination in a working orthopedic theatre, at the Queen Elizabeth Central Hospital, Blantyre, Malawi. To feedback results to the theatre team, promote infection prevention discussion and work with the team to implement workable and realistic goals to improve the intra-operative environment. Methodology: Samples were collected from theatre equipment available at the time of surgery, from theatre water and theatre air using passive air sampling techniques. Samples were immediately transferred to the Central Microbiology Laboratory for culture on basic culture media. Results: Bacterial contamination of theatre equipment, intra-operative theatre air and water was detected. Results were discussed with the theatre and infection prevention team who were receptive to feedback with regards to infection prevention strategies and keen to develop simple measures which could be put in place to change practice. Conclusions: In this setting, we suggest that implementing workable and realistic goals such as, establishing baseline rates of bacterial contamination and introduction of strict protocols for asepsis and theatre etiquette, may reduce bacterial contamination rates and subsequent intra-operative infection in the absence of expensive engineering solutions.
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Fox, C., and A. Whyte. "Theatre air sampling—ignorance is bliss!" Journal of Hospital Infection 30, no. 1 (May 1995): 80–82. http://dx.doi.org/10.1016/0195-6701(95)90256-2.
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Peterson, Eugene H. "Annie Dillard: With Her Eyes Open." Theology Today 43, no. 2 (July 1986): 178–91. http://dx.doi.org/10.1177/004057368604300204.
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“Annie Dillard prays with her eyes open. She says, Spread out your hands, lift up your head, open your eyes, and we'll pray… She gets us into the theater that Calvin told us about, and we find ourselves in the solid biblical companionship of psalmists and prophets who watched the ‘hills skip like lambs’ and heard the ‘trees clap their hands,’ alert to God everywhere.”
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Noguera, Hector. "The Parallel Chile: an Open Letter to Eugenio Barba." New Theatre Quarterly 6, no. 23 (August 1990): 261–65. http://dx.doi.org/10.1017/s0266464x00004565.
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On 11 September 1973 the Chilean armed forces, led by General Augusto Pinochet, overthrew the democratically elected Socialist–Communist coalition government of President Salvador Allende Gossens. The coup marked the beginning of severe repression against leftists, trade unionists, journalists, and artists, many of whom were exiled, killed, or merely ‘disappeared’ after being arrested. This letter focuses on the years following the coup: it was written almost one year before the plebiscite on 5 October 1988 when Chileans voted against Pinochet continuing in power as president for another eight years, preparing the way for the elections of December 1989. Despite these hopeful developments – and previous coverage of theatre under the dictatorship, by Catherine Boyle in NTQ 15 (1988) and Enzo Cozzi in NTQ 22 (1989) – we felt it important to publish this moving account by a Chilean actively involved in the struggle, written to Eugenio Barba following the UNESCO-sponsored meeting on Latin American theatre they both attended in Lima, Peru, in April 1987. Its author, Hector Noguera, is a professor in the Theatre Department of Santiago's Catholic University as well as director of the university's professional theatre company, a founding member of several independent groups where he continues to direct and act, and president of the International Theatre Institute in Chile.
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Ioannidis, D., A. Tsagkovits, and A. Rokade. "Minimising aerosol spread during endoscopic sinus and skull base surgery. Experimental model evaluation of the efficacy of the microscope drape method." Journal of Laryngology & Otology 134, no. 9 (September 2020): 804–10. http://dx.doi.org/10.1017/s0022215120001838.
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AbstractBackgroundEndoscopic sinus and anterior skull base surgery is considered particularly high risk for severe acute respiratory syndrome coronavirus-2 transmission in the operating theatre setting. In this context, the use of a microscope drape method is proposed, to minimise aerosol spread in the wider operating theatre environment.MethodsThe efficacy of the method is assessed with a simulation model, using a CMI Concept Air Trace MK2 smoke generator for aerosol generation and a Fluke 985 air particle counter to measure air particles sized 0.3–10 μm in the operating theatre environment.ResultsAerosol spread was contained almost to baseline levels with the application of the drape barrier and the negative pressure created using suction within the drape.ConclusionThe method is an efficient adjunct that could reduce the risk of aerosol shedding and viral transmission to the operating theatre team. It potentially allows faster operating theatre turnover and more liberal use of powered instruments during endonasal surgery.
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Sukaj, Silvana, Giuseppe Ciaburro, Gino Iannace, Ilaria Lombardi, and Amelia Trematerra. "The Acoustics of the Benevento Roman Theatre." Buildings 11, no. 5 (May 19, 2021): 212. http://dx.doi.org/10.3390/buildings11050212.
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During the Imperial Roman period, thousands of theatres were built. The theatres have three principal elements: the scene building (actor position), the orchestra and the cavea (spectator seating). The theatres were built without a roof, so they were open-air spaces. The theatres were abandoned afterward the barbarian invasions, and during the Middle Ages, homes were built inside the cavea. The theatres were rediscovered during the Renaissance period. Today, ancient theatres are the center of cultural events and are used for various kinds of shows. This work discussed the acoustics of the Roman theatre of Benevento, which was built during the Imperial Age. The theatre was destroyed after the barbaric invasion and it was rebuilt in the first half of the 1900s. The theatre was opened in 1957, and today it is the center of social and cultural activities. Acoustic measurements were carried out according to ISO 3382 standard, placing an omnidirectional sound source on the scene building and in the orchestra, with the measurement microphones along three directions in the cavea. The acoustic characteristics in various seating areas of the cavea were evaluated. Therefore, it possible to understand in which sectors of the theatre the acoustic characteristics are optimal for different types of theatrical performances.
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Kurmalasari, Tety, Abdul Rahim Hamdan, and Satria Agust. "The Role of Mantra in Theater Makyong." Asian Culture and History 9, no. 2 (August 10, 2017): 71. http://dx.doi.org/10.5539/ach.v9n2p71.
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The research is based on the study of literature. The problem of this research was uses of the spell in theater makyong. The study of uses of the spell in theater makyong is assumed so interesting, because until now theater makyong has still been using spell used by the Panjak chairman to chase away the evil and averse evil before the show begins which is well-known as the ceremony of the"discard wet" or "open land". The spell in theater makyong consists of swearing, the evil, and averse evil spells related to ceremonies open land or discard wet, installing fabric spell, advanced series spell, make-up spell, perindang voice spell and pembungkam (speechless) spell. The sources of the data in this research were obtained from litelature and the Tanjungpinang Art Conservatory Foundation which has kept preserving Theater Makyong till now. The technique of collecting data was done by using the observation technique, interview, and recording elicited from the Panjak chairman, especially about the spell. The data were analyzed by using the collecting data technique. Relating to the research findings, there were seven spells associated with the stage opening ceremony and wet soil or waste opening ceremony and five spells associated with inner preparations existing in theater makyong. The use or the role of spell was as a protection.
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D’Orazio, Dario, Anna Rovigatti, and Massimo Garai. "The Proscenium of Opera Houses as a Disappeared Intangible Heritage: A Virtual Reconstruction of the 1840s Original Design of the Alighieri Theatre in Ravenna." Acoustics 1, no. 3 (September 1, 2019): 694–710. http://dx.doi.org/10.3390/acoustics1030041.
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In a Historical Opera House (HOH), the proscenium is the foreground part of the stage. Until the end of the 19th Century, it was extended through the cavea, being the orchestra placed at the same level of the stalls, without an orchestra pit. Soloists often moved in the proscenium when they sung, in order to increase the strength of the voice and the intelligibility of the text. The Alighieri theatre in Ravenna, designed by the Meduna brothers, the former designers of Venice’s “La Fenice” theater, is chosen as a case study. During a refurbishment in 1928, the proscenium of the stage was removed in order to open the orchestra pit, which was not considered in the original design. The original design and the present one are compared by using numerical simulations. Acoustic measurements of the opera house and vibro-acoustic measurements on a wooden stage help to reach a proper calibration of both models. Results are discussed by means of ISO 3382 criteria: the proscenium increases the sound strength of the soloists but reduces the intelligibility of the text.
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Lee, Wei‐chin. "Thunder in the air: Taiwan and theater missile defense." Nonproliferation Review 8, no. 3 (September 2001): 107–22. http://dx.doi.org/10.1080/10736700108436867.
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Montagna, Maria Teresa, Serafina Rutigliano, Paolo Trerotoli, Christian Napoli, Francesca Apollonio, Alessandro D’Amico, Osvalda De Giglio, et al. "Evaluation of Air Contamination in Orthopaedic Operating Theatres in Hospitals in Southern Italy: The IMPACT Project." International Journal of Environmental Research and Public Health 16, no. 19 (September 25, 2019): 3581. http://dx.doi.org/10.3390/ijerph16193581.
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Postoperative infections are a concern, especially in total knee and total hip arthroplasty. We evaluated the air quality in orthopaedic operating theatres in southeastern Italy to determine the level of bacterial contamination as a risk factor for postoperative infection. Thirty-five hospitals with operating theatres focused on total knee and total hip arthroplasty participated. We sampled the air passively and actively before surgeries began for the day (at rest) and 15 min after the surgical incision (in operation). We evaluated bacterial counts, particle size, mixed vs turbulent airflow systems, the number of doors, number of door openings during procedures and number of people in the operating theatre. We found no bacterial contamination at rest for all sampling methods, and significantly different contamination levels at rest vs in operation. We found no association between the number of people in the surgical team and bacteria counts for both mixed and turbulent airflow systems, and low bacterial loads, even when doors were always open. Overall, the air quality sampling method and type of ventilation system did not affect air quality.
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Annichev, О. Ye. "The interaction of theatrical journalism and theatrical criticism in the modern media." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 51, no. 51 (October 3, 2018): 115–26. http://dx.doi.org/10.34064/khnum1-51.06.
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Background. Topicality of the theme. With the advent of the Internet, Internet journalism has appeared. In relating to theater, in essence, it is theatrical criticism, which has only undergone major changes. In recent years, there have been lively discussions in professional circles about the state and prospects of theater criticism as a profession, about the nature of theater criticism, its self-identification in the modern information space. Round tables with the participation of leading theater critics are devoted to the issues of the current state of theater criticism, a number of relevant materials have been published in specialized publications, often with indicative headings: “Who needs theater critics?” [1], “Theater criticism: final or transformation?” [9]; interviews of theater critics, in which they uphold the positions of the profession and, at the same time, speak about urgent problems and the need to update it taking into account rapidly changing realities: with S. Vasilyev [2], N. Pivovarova [5], Ya. Partola [6]; discussion articles on the status and prospects of the profession by M. Harbuziuk [3], M. Dmitrevskaya [4], N. Pesochinsky [7], I. Chuzhynova [10], S. Schagina, E. Strogaleva, E. Gorokhovskaya [11]. Thus, there are several points of view on this topic: that theatrical journalism has replaced theatrical criticism; that theatrical critics of the old school did not have time to adapt to the changing world and use new tools in this profession, and young critics just occupy their niches in the youth media and on the Internet; that the profession of a critic does not go beyond the framework of participation in expert councils, jury membership, attendance at theater festivals, and writing reviews on request. The question, however, is still open. The main goal of this article is to determine the degree and main character of the interaction of journalism and theatrical criticism in modern media. Results of the study. Those who are seriously engaged in theater studies and academic theater criticism feel the need for specialized publications, the number of which in Ukraine is reduced to a minimum. Therefore, those who had the opportunity to publish reviews in the socio-political periodicals, have to combine three professional areas in one, becoming a theater journalist. Academically trained theater critics can write and often write good books, but, as a rule, do not know how to write for newspapers and magazines. But graduates of journalistic departments who write about the theater are not familiar with professional terminology, which is able to give a correct assessment of the premiere performance. The question arises: how to combine those and these, that the theater journalism was both fascinating and acute, and moderately scandalous, but at the same time accurate and high-quality? To grow such specialists is a matter of work, there can be no conveyor system here. Modern theater criticism, gradually becoming obsolete, rather survives from the common theatrical space. The theater critic cannot be a free artist, and live on the money from the results of his work, because in non-capital cities the number of journals in which the theater specialist would have had time to publish his works has decreased by several times. In cities such as Poltava, Sumy, Chernigov, the issues relating to theatrical premieres are not covered by critics (they are simply not there), but by journalists who write on various topics and rarely specialize in one. The substitution of theatrical critique by journalism is quite natural, for example, for cities where there is no professional training of theater critics, however in Kiev, Kharkiv and Lviv theater studies continue, and a certain number of graduates hope for the viability of this profession. Theatrical criticism and theatrical journalism are in their own way demanded in certain circles. Criticism is closer to theaters, journalism – to the audience. It is difficult to debate with this statement that new epoch came with the Internet. Now, the spoken word has a completely different value. For example, а word thrown on Facebook can have the same effect on public opinion as a big, built, hard fought text. This does not mean that you do not need to write large texts and publish them on paper. You just need to understand and accept the new reality, its advantages and disadvantages, its danger and its benefits. It is a very important problem of our consciousness and the problem of our theater. The Internet has given a new push to the development of new type of media-translations, actively working in social networks. Sites appear on the network where online remote screenings of performances are held. They provide Internet audiences with the opportunity to be acquainted with the history of national and world theater art; they are introduced to modern avant-garde performances. Of course, this also brings the theater closer to a wide, as a rule, young audience and opens up new opportunities for a different kind of theater journalism. Сonclusions. Thus, the Internet becomes an active means of influencing the minds in the modern media space. The Internet influences everyone and everything, changing attitudes towards theatrical art, as well as contemporary theater criticism and theater journalism. However in this case, it is essential to remember that not the Internet, but only professional theater criticism that has been and remains the breeding ground for the scientific work of theater critics and art historians, while creating the history of dramatic, opera and ballet theater.
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Popovici, Cătălin George, Sebastian Valeriu Hudişteanu, and Nelu-Cristian Cherecheş. "The necessity of HVAC system for the registered architectural cultural heritage building." E3S Web of Conferences 32 (2018): 01008. http://dx.doi.org/10.1051/e3sconf/20183201008.
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This study is intended to highlight the role of the ventilation and air conditioning system for a theatre. It was chosen as a case study the "Vasile Alecsandri" National Theatre of Jassy. The paper also sought to make a comparison in three distinct scenarios for HVAC Main Hall system - ventilation and air conditioning system of the Main Hall doesn’t work; only the ventilation system of the Main Hall works and ventilation and air conditioning system of the Main Hall works. For analysing the comfort parameters, the ANSYS-Fluent software was used to build a 2D model of the building and simulation of HVAC system functionality during winter season, in all three scenarios. For the studied scenarios, the external conditions of Jassy and the indoor conditions of the theatre, when the entire spectacle hall is occupied were considered. The main aspects evaluated for each case were the air temperature, air velocity and relative humidity. The results are presented comparatively as plots and spectra of the interest parameters.
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Kwon, Yong-Il. "A Study on the Improvement of ADPI and Ventilation Effectiveness in a Small Theater." International Journal of Air-Conditioning and Refrigeration 24, no. 03 (September 2016): 1650019. http://dx.doi.org/10.1142/s201013251650019x.
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In the air distribution design of a small theater, either a downward or an upward displacement ventilation is applied generally. The cool air is supplied from openings distributed over the ceiling and extracted beneath the seats for the downward flow and supplied from beneath the seats and extracted from the ceiling for the upward flow system. By the change of air exchange rate (ACH) produced by two divergent ventilation systems inside theater, thermal comfort and ventilation effectiveness around the seats show a different phenomenon. Thereby, it can be seen that the selection of the ventilation system is a significant factor in energy saving. CFD calculations for this study were performed to investigate the effects of various parameters (ADPI and ACE) of air distribution system applied in order to save the cooling energy. This paper focuses mainly on the effect of the varied volume flow rate depending on the ventilation system. The ventilation performances of the downward displacement system are compared quantitatively with the upward displacement system using the concept of the LMA of fresh air.
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Leal, Paula Glenadel. "Théâtres minuscules: poésie contemporaine et éthique / Tiny Theaters: Contemporary Poetry and Ethics." Aletria: Revista de Estudos de Literatura 24, no. 3 (December 31, 2014): 87–96. http://dx.doi.org/10.17851/2317-2096.24.3.87-96.
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Résumé: Ce travail interroge les possibilités éthiques ouvertes par um rapprochement entre la poésie et le théâtre. À la confluence de ces deux pratiques, une certaine écriture contemporaine configurerait un minuscule théâtre de l’éthique, capable d’ouvrir la scène de la pensée à un autre inconnu, à venir.Mots-clés: poésie contemporaine; théâtralité; éthique.Abstract: This paper interrogates the ethical possibilities open by a look which takes poetry and theater together. At the confluence of those practices, a certain contemporary writing could appear as a tiny theater of ethics, able to open up the scene of thought to an unknown other, to come.Keywords: contemporary poetry; theatricality; ethics.