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Relevant bibliographies by topics / Theater Puritans. Theater Theater

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Academic literature on the topic 'Theater Puritans. Theater Theater'

Author: Grafiati

Published: 4 June 2021

Last updated: 10 February 2022

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Journal articles on the topic "Theater Puritans. Theater Theater"

1

Pritchard, Allan. "Puritans and the Blackfriars Theater: The Cases of Mistresses Duck and Drake." Shakespeare Quarterly 45, no. 1 (1994): 92. http://dx.doi.org/10.2307/2871296.

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McKee, Patricia J. "Scorning the Image of Virtue." Religion and the Arts 20, no. 3 (2016): 267–89. http://dx.doi.org/10.1163/15685292-02003001.

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There survives an extraordinary letter of 1616 by the prominent English stage player, Nathan Field. His missive is one of the only extant apologies for the theater written by a player. Field’s letter is a response to a sermon preached by Thomas Sutton, and it richly characterizes Field’s relationship to his parish and to the larger ecclesial powers. This discussion shows how Field ironically employs the very charges often levied by opponents of theater—deception, emotional indulgence, and idolatry—to indict Sutton for a public attack he wielded against Field from the Sunday pulpit. Field’s apology is read within the context of the era’s antitheatricalist polemics, Jacobean politics, Reformation theology, and Field’s history as the son of a radical puritan preacher. The letter invites deep consideration of church and theater—preaching and playing—as competing kinds of performance. Field’s apology also focuses attention on a neglected area in theater studies—the history of players and playing in early modernity. What was an actor’s idea of himself at a time when his profession was redefined by religious reforms? Further, this discussion offers preliminary suggestions for an early modern aesthetics of performance by inviting a dialogue between the era’s extreme antitheatricalism and concurrent prescriptions for effective oratory.

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Rakow, Christian. "Theater. Pop-Theater." POP 6, no. 1 (March 1, 2017): 87–93. http://dx.doi.org/10.14361/pop-2017-0115.

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Rakow, Christian. "THEATER: THEATER ALS popKONZERT." POP 2, no. 2 (September 1, 2013): 76–80. http://dx.doi.org/10.14361/pop.2013-0214.

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Rakow, Christian. "THEATER: THEATER ALS POPKONZERT." POP 3, no. 2 (September 1, 2013): 76–80. http://dx.doi.org/10.14361/pop.2013.0214.

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Kaiser, Johanna. "„Theater, Theater — einfach wunderbar!“." Sozial Extra 37, no. 11-12 (December 2013): 27–30. http://dx.doi.org/10.1007/s12054-013-1087-x.

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Cohn, Ruby. "Theater in Recent English Theater." Modern Drama 30, no. 1 (March 1987): 1–13. http://dx.doi.org/10.3138/md.30.1.1.

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Sofer, Andrew. "All Theater Is Revolutionary Theater." Theatre Survey 47, no. 2 (September 12, 2006): 341–42. http://dx.doi.org/10.1017/s0040557406340306.

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Sawara, Shinichi, Fukushi Kawakami, and Kiyoteru Ishii. "Saitama Arts Theater (Main Theater)." Journal of the Acoustical Society of America 115, no. 5 (May 2004): 2441. http://dx.doi.org/10.1121/1.4782060.

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Carlson, M. "All Theater Is Revolutionary Theater." Modern Language Quarterly 67, no. 3 (August 18, 2006): 416–18. http://dx.doi.org/10.1215/00267929-2006-010.

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Dissertations / Theses on the topic "Theater Puritans. Theater Theater"

1

Schröder, Gesine. "Gymnasiasten-Theater." Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2009. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-23598.

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Mell, Lina. "Lernendes Theater." Diss., Ludwig-Maximilians-Universität München, 2013. http://nbn-resolving.de/urn:nbn:de:bvb:19-166778.

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Für die Evaluierung wurden die Begriffe Organisation und Institution im soziologischen Sinne getrennt, d.h. die Organisation beschreibt das Haus und den Organisationsablauf, Institution bezieht sich auf das Regelwerk, Normen und Werte. Der amerikanische Sozialwissenschaftler Peter Senge entwickelte 1990 das Konzept der Lernenden Organisation, als Methode zur Organisationsentwicklung von Unternehmen. Senge ist der Meinung, dass Weiterentwicklung ein Lernprozess darstellt, der insbesondere Einfluss auf die Institution (Regelwerk) nimmt, in dem über systemisches Hinterfragen die Wahrnehmung verändert wird. Der Lernprozess kann gezielt über die Beherrschung von fünf Disziplinen vorangetrieben werden, dies sind Systemdenken, personal Mastery (Persönlichkeitsentwicklung), mentale Modelle, Vision und Team Lernen. Über eine Fragebogenerhebung wurden Aussagen von 21 Schauspielern, Musikern und Mitarbeitern des Schauspiel Frankfurts systematisch nach Aussagen hin untersucht, die sich den fünf Disziplinen nach Senge zuordnen lassen und belegen, dass über die andere Art zu Arbeit, etwas in den Köpfen der Beteiligten, also den mentalen Modelle und somit der Institution Theater verändert hat. Aus den Ergebnissen wurde das Konzept eines Lernenden Theaters abgeleitet, welches entgegen betriebswirtschaftlich, kulturmanagerialen Ansätzen zur “Rettung” der deutschen Theater, eine Organisationsentwicklung für das Theater aus dem Theater selbst darstellt. Denn Veränderung kann nicht von Oben oder Außen bestimmt werden, der Wille muss von den Mitarbeitern der Theater selbst kommen. Denn wo kein Wille, da auch kein Weg und somit auch kein Ausweg aus der Theaterkrise.

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Adams, Leslie Elizabeth. "Bright Theater." OpenSIUC, 2012. https://opensiuc.lib.siu.edu/theses/941.

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Bright Theater is a collection of poems divided into three parts. The first includes poems that explore themes of solipsism, the inherent distance between speaker and other. The second part addresses the idea of distance between the speaker and the divine, the perceived schism between the physical and the spiritual. The third and final part continues the exploration of distance, this time as a disconnect between the conscious Self and the physical body.

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Law, Peter Z. "Traveling Theater." Thesis, Virginia Tech, 2005. http://hdl.handle.net/10919/31774.

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This thesis proposes that architecture has the potential to organize experience through its sensory effects and that the body is the fundamental link between experience and the imagination. The project in this thesis is a traveling theater. It was inspired by an interest in the intersection between architecture and contemporary theater. The theater borrows elements from traditional theaters and street theater in an effort to establish a separation between actor and spectator while also encouraging exploration of that basic theatrical relationship. There were three fundamental moves in the theater: the cubic volume; the siting and decision to travel; and the separation of the structure and skin. Each of these was a starting point for sensory effects explored in the theater.
Master of Architecture

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Boner, Jürg. "Dialektik und Theater die Dialektik im Theater Bertolt Brechts /." Zürich : Zentralstelle der Studentenschaft, 1995. http://catalog.hathitrust.org/api/volumes/oclc/35815830.html.

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Roßbach, Nikola [Verfasser]. "Theater über Theater. : Parodie und Moderne 1870-1914 / Nikola Roßbach." Bielefeld : Aisthesis Verlag, 2019. http://d-nb.info/1194433464/34.

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Meyer, Nadine Sabra. "The anatomy theater." Diss., Columbia, Mo. : University of Missouri-Columbia, 2007. http://hdl.handle.net/10355/5950.

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Thesis (Ph. D.)--University of Missouri-Columbia, 2007.
The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on March 7, 2008) Includes bibliographical references.

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Röder, Levin D. "Theater der Schrift." Doctoral thesis, Humboldt-Universität zu Berlin, Philosophische Fakultät II, 2008. http://dx.doi.org/10.18452/15800.

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Eine Reihe literaturwissenschaftlicher Arbeiten seit Anfang der Neunzigerjahre bezeugt das lebhafte Interesse an der subjektiven Verfasstheit von Müllers Schreiben. Keine jedoch widmet sich erschöpfend Müllers als Autobiografie ausgewiesenem Text KRIEG OHNE SCHLACHT – LEBEN IN ZWEI DIKTATUREN. Zu Ehren kam der Text bislang nur als Zitatsteinbruch, Interpretationshilfe und umfangreiche poetologische Materialsammlung. Zumeist wird das Werk als gültiger Beleg der Intention müllerschen Schreibens herangezogen und erlangt damit einen unzulässigen Grad an Deutungshoheit. Dabei wird die poetische Dimension des Textes oft nur unzureichend reflektiert oder gänzlich missachtet. Die vorliegende textkritische Untersuchung soll dazu beitragen, die Forschungslücke in der einschlägigen Sekundärliteratur zu schließen und dazu anregen, das Potenzial Müllers enormen und vielgestaltigen Werkes jenseits seiner als Theaterarbeiten ausgewiesenen Texte wahrzunehmen und in Bewegung zu setzen. Nach einführenden Darstellungen zu Rezeptionssituation und Forschungsstand, der Diskussion spezifischer poetologischer Fragestellungen im Allgemeinen wie solcher der Autobiografieforschung im Besonderen, der Untersuchung der Genese und formaler Besonderheiten des Textes, analysiert die vorliegende Arbeit vor allem die strukturellen Wirkungsmechanismen, die Müllers disparate Selbstexplikation zum Auto-Drama werden lassen. Die Rückführung der Bedeutungsgeneration auf die strukturästhetischen Wirkungsmechanismen scheint insofern geeignet, als sie durch Textnähe und punktuelle Analyse der Textgenese Müllers Strategie der Selbst-Dekonstruktion sehr nahe kommt. Zumal Müller seine »Lebenserzählung« nach ähnlichen Strukturprinzipien aufbaut, wie seine anderen »poetischen« Texte auch. Aus der Beschreibung der disparaten Äußerungsformen des autobiografischen Ichs ergeben sich die textimmanenten Strategien der überaus komplexen Selbstinszenierung Müllers, sein »Theater der Schrift«.
Since the early 1990s a number of literary papers testify the vivid interest in the subjective composition of Müller’s writing. But none of these detailed devotes to Müller’s as autobiography assigned text WAR WITHOUT BATTLE – LIFE IN TWO DICTATORSHIPS. Until now the text has been only used as quarry of quotations, aid of interpretation and extensive poetological collection of material. Mainly the work is used as evidence of the intention of Müller’s writing and therefore receives an inadmissible degree of sovereignty of interpretation. The poetical dimension of the text is often inadequately reflected or even totally neglected and ignored. This text-critical examination will contribute to close this gap of research within the relevant secondary literature and encourage the recognition and discussion of the potential of Müller’s enormous and multifarious work beyond his as theatre work assigned texts. After the introduction of the situation of reception and the status of current research, the discussion of specific poetological questions in general such as autobiographical research, examination of genesis and formal specific features of texts, this paper will analyse the structural mechanisms of effect, which turn Müller’s disparate self-explication into an auto-drama. It seems suitable to return the meaning of generation on the structure-esthetical mechanisms of effect, as the proximity of text and selective analysis of the genesis of text is very close to Müller’s strategy of self-deconstruction. Particularly as Müller constructs his »Lebenserzählung« to similar structural principals as well as others of his »poetical« texts. The description of the disparate form of expression of the autobiographic I result in the text-immanent strategies of the enormous complex self-dramatisation of Müller; his »Theater der Schrift«.

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9

Ruoff-Siler, Lees. "Pneumatic world theater." Thesis, Massachusetts Institute of Technology, 1987. http://hdl.handle.net/1721.1/78976.

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Xagoraris, Zafirios. "The automaton theater." Thesis, Massachusetts Institute of Technology, 1991. http://hdl.handle.net/1721.1/70642.

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Thesis (M.S.V.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1991.
Includes bibliographical references (leaves 45-47).
Hero of Alexandria was a Greek geometrician, engineer, and inventor who lived in Alexandria probably during the first century A.D. He wrote in Greek a number of theoretical treatises revealing a thorough knowledge of geometry, mechanics, optics, and pneumatics. Being more interested in the applications of his theoretical principles than in the principles themselves, Hero is known as the inventor of a number of ingenious devices based on principles of pneumatics, mechanics, and optics. The objective of this thesis is to evaluate Hero's work from an artistic viewpoint. To this end, it focuses on devices described in three of Hero's treatises, Pneumatica, Catoptrica, and Automatopoietica, in order to identify their artistic value and artistic novelty. Hero's influence on subsequent artistic-technical work, and in particular on the contemporary automaton theater, is also discussed. Finally, considerations are added in relation to a new project.
by Zafirios Xagoraris.
M.S.V.S.

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Books on the topic "Theater Puritans. Theater Theater"

1

Puritanism and the theatre. Belfast, Ireland: Belfast Historical & Educational Society, 2014.

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Bühnenpuritaner: Zum Verhältnis von Puritanern und Theater im England der Frühen Neuzeit. Berlin: De Gruyter, 2011.

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Rice, Colin. Ungodly delights: Puritan opposition to the theatre : 1576-1633. Alessandria: Edizioni dell'Orso, 1997.

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

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

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

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

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

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

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

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Book chapters on the topic "Theater Puritans. Theater Theater"

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

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

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

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

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

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

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

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

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Amrein, Ursula. "Theater." In Gottfried Keller-Handbuch, 304–13. Stuttgart: J.B. Metzler, 2016. http://dx.doi.org/10.1007/978-3-476-05266-7_48.

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Graf, Sabine. "Theater." In Gottfried Keller-Handbuch, 384–85. Stuttgart: J.B. Metzler, 2016. http://dx.doi.org/10.1007/978-3-476-05266-7_67.

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Conference papers on the topic "Theater Puritans. Theater Theater"

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Chandler, Corey D., Gloria Lo, and Anoop K. Sinha. "Multimodal theater." In CHI '02 extended abstracts. New York, New York, USA: ACM Press, 2002. http://dx.doi.org/10.1145/506443.506642.

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

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

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

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

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

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

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

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The article covers the history of the development of theatrical art in Saratov: from its origins to the present. The theaters of Saratov are listed, prominent theatrical figures are mentioned. Attention is drawn to the fact that the year 2019 is declared the Year of the Theater in Russia.

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

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Mikheeva, Liudmila, Magda Dzhichonaia, and Julia Gushchina. "“Silver” Age Theater." In The 6th International Conference on Arts, Design and Contemporary Education (ICADCE 2020). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210106.001.

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Reports on the topic "Theater Puritans. Theater Theater"

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

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

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

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

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

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

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

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

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

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

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