Relevant bibliographies by topics / Theater Theater Acting

Contents

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

Academic literature on the topic 'Theater Theater Acting'

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

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Journal articles on the topic "Theater Theater Acting"

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Earnest, Steve. "The East/West Dialectic in German Actor Training." New Theatre Quarterly 26, no. 1 (February 2010): 81–89. http://dx.doi.org/10.1017/s0266464x10000096.

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In this article Steve Earnest discusses contemporary approaches to performance training in Germany, comparing the content and methods of selected programmes from the former Federal Republic of Germany to those of the former German Democratic Republic. The Hochschule für Musik und Theater Rostock and the University of the Arts in Berlin are here utilized as primary sources, while reference is also made to the Bayerische Theater-akademie ‘August Everding’ Prinzregententheater in Munich, the Hochschule für Musik und Theater ‘Felix Mendelssohn Bartholdy’ in Leipzig, and Justus Leibig Universität in Giessen. The aim is to provide insight into theatre-training processes in Germany and to explore how these relate to the national characteristics that have emerged since reunification. Steve Earnest is Associate Professor of Theatre at Coastal Carolina University in Myrtle Beach, South Carolina. His publications include The State Acting Academy of East Berlin (Mellen Press, 1999) and articles in Performer Training (Harwood Publishers, 2001), New Theatre Quarterly, Theatre Journal, and Western European Stages.
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Ivanshina, E. A., and V. V. Zyatkova. "ABOUT THE MEANING OF THEATRE “THE MASTER AND MARGARITA”." Bulletin of Udmurt University. Series History and Philology 30, no. 2 (May 7, 2020): 303–10. http://dx.doi.org/10.35634/2412-9534-2020-30-2-303-310.

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The article deals with the semantic field of the theater in "The master and Margarita", which extends to all novel chronotopes and can be structured as a two-level one. Considering different cases of theatricalization of space and different signs of theatricality in the novel, the authors correlate the real theater (theatre as a historical reality ) and the literary theater (the art of acting ) and actualize the confrontation of literature and historical reality in "The Master and Margarita". The text of the novel is considered as a model of counterculture, from the standpoint of which the author chooses those literary codes from which his own model of theatrical behavior is built. At the same time, special attention is paid to the actualization of the metaphor "theater - court" and the semantics of exposure, and the novel itself is an act of vengeance of the author and the implementation of his inner freedom. As an example of such an artistic concept of the relationship between art and life, the film "Once upon a time... in Hollywood" by Tarantino is considered.
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Alfirdaus, Moh mujib. "PENGEMBANGAN MODEL PEMBELAJARAN PEMERANAN BERORIENTASI TEKNIK CS PADA TEATER TRADISI." Buana Pendidikan: Jurnal Fakultas Keguruan dan Ilmu Pendidikan 14, no. 25 (March 7, 2018): 49–58. http://dx.doi.org/10.36456/bp.vol14.no25.a778.

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This learning model is the author's attempt to develop acting method in traditional theater through the Stanislavski's technique, although the need for theater tradition performances and theater conventional realism performance is different. During this time the method of play in the theater tradition is still spontaneous, but the method of acting on the theater tradition must be measurable and can be studied in the academic field, hence, the author develops acting methods based on Stanislavski's technique as a reference in learning. An actor is a student for nature and pupil for anyone as long as the knowledge he earned is useful to develops his acting creativity. Therefore this Stanislavski's method becomes very influential to train the actor's intelligence, despite his need for traditional theater. Why is Stanislavski's method becoming important to be learned by actor candidate ?. Because the analysis used by Stanislavski's method is still very logical and reasonable, it did not rule out the effects of int elligence for anyone who applied it. This circumstance emphasizing the importance of Developing Stanilavski's technique-oriented Learning Model on Traditional Theater. In order for candidates who will perform for traditional and modern show, are expected to be ready with all the acting devices to employ. Therefore, this learning method need to be applied, especially in STKW Surabaya. The purpose of this research is developing a learning model for acting in the theater tradition. This research carried out by producing several outcome. First, a handbook of Stanislavski's method learning model for student. Second, a lecturer's handbook for an effective and efficient learning process
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Krutova, Marina S. "“An Actor Is a Priest in Buffoon’s Clothes”." Observatory of Culture 16, no. 3 (July 19, 2019): 278–89. http://dx.doi.org/10.25281/2072-3156-2019-16-3-278-289.

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The article raises the actual questions: if the theater can be Christian and who in that case the actor is — “a priest” or “a buffoon”. The purpose of this article is to consider the issue of “Christian theater” at different levels: historical, psychological, social. The article analyzes the issues of actors’ personalities formation and their religious sear­ches. There are considered the conditions of Christian upbringing in families and faith preservation in the complex historical period of the Russian history of the late 19th — mid-20th century. The no­velty of this study lies in the fact that it introduces into scientific circulation little-known manuscript materials stored in the Manuscripts Department of the Russian State Library: 44 autobiographies of recognized actors, which were published in 1928 in edited form by the writer V.G. Lidin; as well as some other unpublished documents. The sources show that actors brought up on Christian ideals followed them in their work, despite the difficult conditions of socio-political life in the country. Among them are well-known actors of the Moscow Art Theater, Moscow Art Academic Theater, State Academic Maly Thea­ter, Vsevolod Meyerhold State Theater, Bolshoi Drama Theater, Vakhtangov State Academic Theater (and others): V. Kachalov, I. Ilyinsky, R. Apollonsky, L. Vivyen, G. Ge, A Koonen, A. Orochko, G. Martynova and other masters. The article also uses some little-known writings of the actors, their questionnaires on the psychology of acting, photographs, as well as manuscripts and published memoirs of their contemporaries (E.D. Golovinskaya, E.A. Korotneva, V.D. Markov, Yu. Panich), allowing to consider the issue of “Christian theater” from different sides.
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Sitorus, Eka Dimitri. "Unity In Diversity: Moving Indonesian Theater, Film, and Television Forward." Indonesian Journal Of Performing Arts Education 1, no. 1 (January 31, 2021): 1–10. http://dx.doi.org/10.24821/ijopaed.v1i1.4916.

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AbstractThe purpose of this article is to show how Indonesia has experienced a tremendous change in its approach to acting in the last 20 years, but it has not been for the better. The modern era of film and television has led to a misleading perception among the Indonesian people regarding the art of “acting,” thereby resulting in an unfavorable attitude toward the craft. This misleading perception stems from the effect of traditional Indonesian theater to its modern counterpart without any adjustments to cater to the millennial generation of Indonesians. The paper explores the roots of this misleading perception. It starts with the problem of applying Indonesian cultural policy, catering to such diverse artistic expressions in Indonesia, educating the artists, all the way to providing the specific educational infrastructure for the arts. The article provides examples of past theater and film productions to point out the problems of modern versus traditional acting styles, the challenges of translations of classic and contemporary western plays into the Indonesian language, the difficulties to apply such rigid interpretations by prominent Indonesian writer to contemporary Indonesian acting styles. The article shows that only by improving and implementing sound Indonesian cultural policy, developing and managing specific educational infrastructure for the arts, and creating a new acting method or re-considering the pre-existing ones, the Indonesian theatre, film, and television will be able to move forward.
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Demeshchenko, Violeta. "From Theater to Cinematography: Creative Search of Les Kurbas." Culturology Ideas, no. 18 (2'2020) (2020): 109–19. http://dx.doi.org/10.37627/2311-9489-18-2020-2.109-119.

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The article examines the artistic path and creative pursuits of Les Kurbas, the Ukrainian and soviet director, who undoubtedly remains an outstanding figure in the history of Ukrainian cultural life in the 1920s and 1930s. He was the founder of Ukrainian political theater, and later philosophical theater; also fruitfully worked in early cinematography. The article emphasizes the relevance of studying the creative work of the director, his original creative method of educating actors nowadays. In his own way, Kurbas became a standalone theatrical institute for young people, raised more than four dozen professional directors who later became theater managers and directors of Ukrainian theaters, teachers. The director created Ukrainian theater and cinema school of acting; his innovative artistic ideas still remain relevant today. He developed his own aesthetic-theatrical concept of conditional-metaphorical theater based on life itself. Being the man of art, Kurbas influenced the formation of stage constructivism in Ukrainian theatrical art. In addition to the positive memories of his contemporaries, we also encounter some legends, various testimonies and assessments of events of that time, which create a certain mythological space around the artist. Hence, today we need to carefully analyze numerous documentary evidence, facts, memoirs, literary and theatrical sources, as well as try to be objective in reconstructing events and reflecting on the fate and work of the director.
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Kuklinskaya, M. Ya. "Opera and “Director’s” Theatre of the 21st Century." Observatory of Culture 15, no. 3 (August 19, 2018): 272–81. http://dx.doi.org/10.25281/2072-3156-2018-15-3-272-281.

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The article raises the issues of interaction between modern direction and the musical text of opera. Researches of foreign and domestic scientists in the fi eld of theatre studies and musicology allow analyzing a musical performance as an independent text, in which there is an interchange between different types of art. The author focuses on the opera as a dialogue between music and theater. The author proposes three main forms of the dialogue for consideration: the director and the composer, the director and the viewer, the director and the actor. The article expresses the opinion that, in the process of interaction between the director and the opera text, some myths appeared and started to impede the development of this process and to cause confl ict situations while analyzing the fi nal results. Among those kinds of myths, the author reckons the idea of director-conceptualist as the destroyer of the composer’s idea, the unconditional defi nition of this idea, and the so-called “reverse logic” of feeling and action in musical theater. Observing the functioning of each of these myths on concrete examples, the author comes to conclusion on the necessity to “debunk” them for further successful development of musical theater. From this position, the article analyzes fragments from operas by Russian and foreign composers and their stage impersonations. In the dialogue “director—viewer”, two main ways of the participants’ interaction are defi ned: the theater as a form of escapism and the theater as a “catalyst” of intelligence. The author emphasizes the need to have both the ways, so that the viewer should be able to choose. The author considers the relations between the director and the actor to be the most positive for the modern theatre, which led to the emergence of a new type of performer on the modern opera stage: singerartist, who fully owns the acting technique of “internal action”. The article concludes that there is an ambiguous, but rather perspective and positive situation in the modern musical theater, which determines further ways of the genre’s development.
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Fedorov, Alexey A. "INNOVATIVE CODES OF THE LANGUAGE OF STAGE ART OF EUGENIY BAGRATIONOVICH VAKHTANGOV ON THE MATERIAL OF PERFORMANCES OF THE BEGINNING OF THE XX CENTURY." Interexpo GEO-Siberia 5 (July 8, 2020): 11–18. http://dx.doi.org/10.33764/2618-981x-2020-5-11-18.

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The creative work presented at the International intramural and extramural festival competition of youth theater companies - “Prometheus of a Rukh” - “Spirit of Prometheus” became a threshold of the present article, devoted to the Year of theater in Russia and to the 100 anniversary from the date of the birth of the National poet of Bashkortostan, the playwright Mustaya Karim, and gained the diploma of the Winner of the First degree. In the present work, as part of the creative path, the practice and theorist of the field of art of Eugeniy Bagrationovich Vakhtangov, the language of fantastic realism as the language of artistic theatre is studied. The starting point of the research is to establish the elements of the language of conditional theater based on scenographic, acting and directing decisions in Vakhtangov's performances. For this purpose, the author makes a retrospective appeal to the director's performances. In the analysis of the chosen performances, the artistic deals with innovative instrumentation of Vakhtangov’s theatre language, which formed the director 's own understanding of the artistic style of the theatre as fantastic realism. Elements of the theatrical language of the most significant performances are considered: “Peace Holiday”, “Cricket on an oven”, “Eric XIV”, “Gadibuk” and “Princess Turandot”. Based on the sources in which the performances are described, the Vakhtangov theatre language (style) is analyzed. As a result, descriptive definitions of the concepts of Vakhtangov style and fantastic realism are given. Interfacing analysis with the basic provisions of the concept of fantastic realism, elements of the language of conditional theatre are combined into a single table, which is one of the main results of the work. The work is written within the framework of the project XI.170.1.2. (0325-2017-0013), № АААА-А17-117022250128-5.
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Park, Ho-Young. "1960's Acting Method of Experimental Theater." Journal of the Korea Contents Association 9, no. 11 (November 28, 2009): 184–91. http://dx.doi.org/10.5392/jkca.2009.9.11.184.

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Roberts, David. "Shakespeare, Theater Criticism, and the Acting Tradition." Shakespeare Quarterly 53, no. 3 (2002): 341–61. http://dx.doi.org/10.1353/shq.2003.0014.

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Dissertations / Theses on the topic "Theater Theater Acting"

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Daniels, Thomas. "Studies in Methods of Performance Pedagogy." Marietta College Honors Theses / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=marhonors1335346433.

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Johnston, Daniel Waycott. "Active metaphysics acting as manual philosophy or phenomenological interpretations of acting theory /." Connect to full text, 2007. http://hdl.handle.net/2123/3984.

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Thesis (Ph. D.)--University of Sydney, 2008.
Title from title screen (viewed January 21, 2009) Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy to the Faculty of Arts, Dept. of Performing Studies. Degree awarded 2008; thesis submitted 2007. Includes bibliography. Also available in print format.
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LeNoir, Nina Marie. "Theatre and cyberspace : the contribution of the theatrical past to performance of the future /." Digital version accessible at:, 1999. http://wwwlib.umi.com/cr/utexas/main.

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Enriquez, Andres Ray. "Acting as a life : "What am I doing?"." Thesis, University of Iowa, 2012. https://ir.uiowa.edu/etd/3290.

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Friedlander, Lauren. ""Spending the day in front of the mirror"." Oberlin College Honors Theses / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1305644057.

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Gatrell, Miles Miles. "I have no process: a detailed and required explanation of my process." Thesis, University of Iowa, 2018. https://ir.uiowa.edu/etd/6107.

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This is William Miles' Gatrell's relatively short diatribe about the inherent flaws in theatre academia followed by an examination of how fear stifles art. It concludes with a cliffhanger.
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Van, Zyl Yolandé. "Hoekom drama? : 'n ondersoek na enkele persepsies van drama en drama-opleiding aan die Universiteit van Stellenbosch /." Link to the Internet, 2008. http://hdl.handle.net/10019/798.

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Elston, Ken D. "Written Record for an MFA Showcase Production in Acting." The Ohio State University, 1996. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392212218.

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Schoone-Jongen, Terence G. "Elizabethan acting companies, 1588-1594: received narratives and historiographic problems." The Ohio State University, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=osu1407509177.

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McNulty, Jane. "An Evening of Greek Theater: An Actor's Creative Process." ScholarWorks@UNO, 2004. http://scholarworks.uno.edu/td/75.

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This thesis is an attempt to document my creative process as an actor throughout the production process of An Evening of Greek Theater as accurately as possible. In a narrative structure, I will record the development of the production starting with the pre-production process, the rehearsal process, and evaluate my performance. Chapters include character analyses, pre-production, rehearsal and performance, self-evaluation and a scored script. A video is included with excerpts of my work from the production.
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Books on the topic "Theater Theater Acting"

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

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Paul, Sills, and Sills Carol, eds. Theater games for the lone actor. Evanston, Ill: Northwestern University Press, 2001.

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Action theater: The improvisation of presence. Berkeley, Calif: North Atlantic Books, 1995.

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Interactive acting: Acting, improvisation, and interacting for audience participatory theatre. Fall Creek, Or: Fall Creek Press, 1994.

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Bernd, Christine. Bewegung und Theater: Lernen durch Verkörpern. Frankfurt am Main: AFRA Verlag, 1988.

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Schauspielkunst in Theater und Film: Strasberg, Brecht, Stanislawski. Berlin: Alexander, 2001.

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Donahue, Tim. Theater careers: A realistic guide. Columbia, S.C: University of South Carolina Press, 2012.

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Aris), Patterson Jim (Jim, ed. Theater careers: A realistic guide. Columbia, S.C: University of South Carolina Press, 2012.

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Haskel, Frankel, ed. Respect for acting. Hoboken, N.J: John Wiley & Sons, 2008.

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Durham, Leslie Atkins. Theatre Lives. Dubuque, IA: Kendall Hunt Pub. Co., 2009.

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Book chapters on the topic "Theater Theater Acting"

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Kano, Ayako. "Straightening the Theater." In Acting Like a Woman in Modern Japan, 57–84. New York: Palgrave Macmillan US, 2001. http://dx.doi.org/10.1007/978-1-349-63315-9_4.

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Kano, Ayako. "A New Theater." In Acting Like a Woman in Modern Japan, 151–82. New York: Palgrave Macmillan US, 2001. http://dx.doi.org/10.1007/978-1-349-63315-9_7.

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Black, Alexis, Cameron Michael Chase, Brian deVries, and Rob Roznowski. "Acting Without Imagery: Aphantasia in the Theater Classroom." In Inclusivity and Equality in Performance Training, 43–59. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003125808-3.

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Ibrahim, Nihad. "Nelly: The Eternal Pyramid of Acting, Film, Theater and Television Musicals in Egypt and the Middle East." In Female Pioneers from Ancient Egypt and the Middle East, 69–94. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-16-1413-2_6.

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McConachie, Bruce. "Acting." In Theatre & Mind, 29–51. London: Macmillan Education UK, 2013. http://dx.doi.org/10.1007/978-1-137-01561-7_3.

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Pickering, Kenneth, and Mark Woolgar. "Approaches to Acting." In Theatre Studies, 56–77. London: Macmillan Education UK, 2009. http://dx.doi.org/10.1007/978-1-349-92330-4_5.

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Kleberg, Lars. "Theatre Constructivism." In Theatre as Action, 65–76. London: Macmillan Education UK, 1993. http://dx.doi.org/10.1007/978-1-349-22867-6_7.

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Roznowski, Rob. "IM in Classical Theatre." In Inner Monologue in Acting, 127–36. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137354297_15.

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Roznowski, Rob. "IM in Musical Theatre." In Inner Monologue in Acting, 137–45. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137354297_16.

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Schlueter, June. "Acting the Storm." In Why the Theatre, 38–46. New York : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9781003017615-7.

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Conference papers on the topic "Theater Theater Acting"

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

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This article continues the analysis of distance learning in the teenage association "GLAGOL". Currently, there is an increased interest in the field of e-learning, especially during the quarantine period. The article describes the experience of using social networks Vkontakte, Zoom, Discord for organizing online educational process, video and photo hosting Youtube, Instagram, Tik Tok for publishing reporting materials by students in the period from March 2020 to January 2021. A number of problems were identified during the experimental online work and effective recommendations for their elimination were developed.
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Tihomirova, Kristina, and Linda Mezule. "Management of wastewater trough theatre." In Fifth International Conference on Higher Education Advances. Valencia: Universitat Politècnica València, 2019. http://dx.doi.org/10.4995/head19.2019.9162.

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Compulsory study course on wastewater treatment and sewage systems contains lectures, classroom calculations, technical project and laboratory practicum. The course is addressing not only the developing skills in wastewater treatment technologies but also provides preparation of professionals that can communicate with institutions involved in water and wastewater sector. Over the years it has been observed that even after receiving the most sophisticated knowledge and highest markings, students often lack skills in practical communication with industry and implementation of theoretical knowledge in praxis. Here we describe student-centred teaching method that is based on the activities that are similar to theatre and allow: (i) the teacher to find and understand the weaker places in student knowledge gained during the semester; (ii) the students to form professional skills during the active communication with colleagues and mentors from industry. The students work in several groups “INDUSTRY”, “MUNICIPALITY” and EXPERTS”, try to find better solution for industrial sewage treatment and cooperation model with the municipality and present their results. After 2 years of the modernisation and adjustment, the training course has created an interest not only from student side but also from the industry representatives that are interested in communication with the new specialists and develop strong contacts with the university.
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Vishnyakova, Elizaveta, Olga Vishnyakova, Alla Minyar-Beloroucheva, and Polina Sergienko. "L2 teaching to PR undergraduates through theatre techniques elements." In 6th International e-Conference on Studies in Humanities and Social Sciences. Center for Open Access in Science, Belgrade, 2020. http://dx.doi.org/10.32591/coas.e-conf.06.01001v.

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Modern methods of L2 teaching aimed at improving its efficiency to overcome language barriers require the construction of the learning climate for undergraduates to develop professional skillsand competencies essential for their academic communication with ease and pleasure. The purpose of this article is to demonstrate one of the ways of achieving educational goals by creating positive emotions that PR undergraduates experience during L2 classwork through the introduction of the elements of theatrical techniques, which can help educators perform the tasks required to instill creativity. Effective L2 acquisition by PR undergraduates is allegedly best achieved through neutral emotions. Expressive and emotional actions in class create theatre-like atmosphere that disseminates positive emotions fostering education. The research has demonstrated the necessity to introduce theatre techniques elements into L2 teaching to PR undergraduates.
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Vishnyakova, Elizaveta, Olga Vishnyakova, Alla Minyar-Beloroucheva, and Polina Sergienko. "L2 teaching to PR undergraduates through theatre techniques elements." In 6th International e-Conference on Studies in Humanities and Social Sciences. Center for Open Access in Science, Belgrade, 2020. http://dx.doi.org/10.32591/coas.e-conf.06.01001v.

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Modern methods of L2 teaching aimed at improving its efficiency to overcome language barriers require the construction of the learning climate for undergraduates to develop professional skillsand competencies essential for their academic communication with ease and pleasure. The purpose of this article is to demonstrate one of the ways of achieving educational goals by creating positive emotions that PR undergraduates experience during L2 classwork through the introduction of the elements of theatrical techniques, which can help educators perform the tasks required to instill creativity. Effective L2 acquisition by PR undergraduates is allegedly best achieved through neutral emotions. Expressive and emotional actions in class create theatre-like atmosphere that disseminates positive emotions fostering education. The research has demonstrated the necessity to introduce theatre techniques elements into L2 teaching to PR undergraduates.
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Shekriladze, Irakli G., Giorgi I. Gigineishvili, Jondo G. Rusishvili, and David I. Shekriladze. "Investigation of Duration-Dependent Multifactoring During Boiling on Down-Facing Heating Surface." In 2010 14th International Heat Transfer Conference. ASMEDC, 2010. http://dx.doi.org/10.1115/ihtc14-23386.

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A model of the “theatre of director” (MTD) links dependence of developed boiling HTC only on two external parameters (heat flux and average effective radius of active nucleation sites) to short duration of each action of cooling mechanisms. According multifactoring concept (MFC) significant prolongation of the actions of cooling mechanisms leads to transition to specific regimes with dependence on increased number of factors (duration-dependent multifactoring (DDM)). Splitting of developed boiling heat transfer curve into several curves, depending on sublooling of bulk liquid, direction of gravity field and thermal parameters of heating surface, has been fixed through experimental study of DDM of pool boiling heat transfer on downward-facing horizontal heating surface. Interpretation and qualitative analysis of received experimental data on HTC and video-films of characteristic boiling regimes allow to arriving at the conclusion about applicability of unified consistent research framework MTD-MFC in terms of description of diversity of boiling heat transfer curves.
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Meiren, Thomas, Christian van Husen, and Reuven Karni. "Laboratory Support for Service Engineering and Design." In ASME 2008 9th Biennial Conference on Engineering Systems Design and Analysis. ASMEDC, 2008. http://dx.doi.org/10.1115/esda2008-59155.

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Services are frequently developed unsystematically; and new ideas are not sufficiently conceptualized and tested. This results in expensive improvement measures at a later stage during the operations phase. This challenge is addressed through the recent launching of the “ServLab” facility at the Fraunhofer Institute for Industrial Engineering. It incorporates a stage for acting out service scenarios, furnishings to represent the physical environment, and a large virtual reality (VR) backdrop to simulate the “servicescape”. Situations are played out by professional actors or by employees and invited customers. In particular, the ServLab makes it possible to test services comprehensively. It is just this problem which has not been solved satisfactorily for a long time — neither in science nor in practice. It is still common for concepts to be developed “round the green table”, followed by an attempt to implement them directly. Potential mistakes are discovered very late or not at all, resulting in expensive rectification activities. The ServLab makes it possible to visualise new service concepts (using virtual reality), create an environment that is as close as possible to reality (e.g. by playing back sounds or introducing odours) and to rehearse the interaction between customers and employees with the support of actors (service theatre).
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7

Walraven, Jeremy A., Edward I. Cole, Danelle M. Tanner, Seethambal S. Mani, Ernest J. Garcia, and Marc A. Polosky. "Failure Analysis of Polysilicon Micromirror Arrays." In ISTFA 2002. ASM International, 2002. http://dx.doi.org/10.31399/asm.cp.istfa2002p0283.

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Abstract Surface micromachined micromirror technologies are being employed for various commercial and government applications. One application of micromirror technologies in the commercial sector can be found in Digital Light Projection (DLP™) systems used for theater and home entertainment centers. DLP™ systems developed by Texas Instruments uses DMD™ technology (Digital Mirror Device), an array of micromirrors, to project light onto a screen [1]. This technology is also used by Infocus™ projection systems and widescreen tabletop televisions [2]. Here, the micromirrors act as individual pixels, reflecting light onto the screen with high ¡§digital¡¨ resolution. The most recent application of surface micromachined micromirror technology is optical switching [3], which uses micromirrors to switch optical signals from fiber to fiber for lightwave telecommunications [4]. Companies such as Lucent have fabricated entire optical micromirror switching systems based on their Microstar™ technology [5]. For government applications, surface micromachined micromirror arrays have been developed for potential use in a spectrometer system planned for NASA's Next Generation Space Telescope (NGST) [6]. Various processing technologies are used to fabricate surface micromachined micromirrors. The micromirror arrays developed by TI and Lucent [1,4] uses metal for their structural and reflective components. Micromirrors fabricated at Sandia National Laboratories use the SUMMiT™ (Sandia's Ultra-planar MEMS Multi-level Technology) process with metal deposited on the surface of mechanical polysilicon components to reflect light. Optical micromirror arrays designed and fabricated at Sandia for potential use in the NGST have undergone reliability testing and failure analysis. This paper will discuss the failure modes found in these micromirrors after reliability testing. Suggestions and corrective actions for improvements in device performance will also be discussed.
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8

McCrone, Luke. "Transitional space: learning in the spaces in-between." In Learning Connections 2019: Spaces, People, Practice. University College Cork||National Forum for the Enhancement of Teaching and Learning in Higher Education, 2019. http://dx.doi.org/10.33178/lc2019.14.

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There is increasing evidence, particularly in STEMM education, that traditional didactic transmission lecturing is less effective than more active, student-centred learning (Freeman et al., 2014). This mounting evidence has resulted in institution-wide curriculum review, pedagogic transformation and ongoing space refurbishments at Imperial College London, a research-intensive institution that provides the context for this work. Although active learning is proven to improve cognitive outcomes by supporting ‘students to do meaningful learning activities and think about what they are doing’ (Prince, 2004, p.223), its examination remains largely linked to instructional contexts, with neglect for the self-directed, non-timetabled learning spaces that support a rich learning experience. This instructional emphasis is evident from the capital that Imperial College London, among other institutions, continue to invest into ongoing classroom refurbishments to support curriculum review and innovation. However, it could be argued that these changes to physical infrastructure do not accurately reflect and address the growing self-directed workload that students now contend with. Furthermore, as capital spending on maintaining and modernising university buildings in the UK approaches £3 billion annually (Temple, 2018), these refurbishments are increasingly time- and money-intensive, placing a financial strain on institutions. The assumption that students successfully transition between passive and active learning, between directed and self-directed learning and between formal, timetabled and informal, non-timetabled spaces has meant transitional space being overlooked. By seeking to better understand student engagement with these transitional spaces as physical, curricular and cognitive spatial phenomena, this study is generating evidence for the educational importance of transitional space and using this to better understand active learning. By redesigning underutilised ancillary spaces adjacent to formal lecture spaces at lower cost than lecture theatre refurbishments, students can better self-direct active learning at moments of transition into and out of formal, timetabled spaces.
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de Brito, Walderes Lima, Newton Camelo de Castro, and Carlos Roberto Bortolon. "Young Readers Transpetro Program: The Sustainable Development of Community Close to a Pipeline in Goia´s, Brazil." In 2008 7th International Pipeline Conference. ASMEDC, 2008. http://dx.doi.org/10.1115/ipc2008-64584.

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A person reading an average of sixteen books per year is considered high even in so-called First World countries. This achievement is even more remarkable if it is performed by children of low-income families. An example is the participants of PETI, Child Labor Eradication Program of Jardim Canedo, a neighborhood located over part of the Sa˜o Paulo - Brasi´lia Pipeline, situated in Senador Canedo, Goia´s, Brazil. In 2007 this community experienced the Striving Readers Transpetro Program, which aims to develop a taste for reading among children. Transpetro expects to be helping to overcome the low-quality Brazilian education, reflected in the 72% rate of functional illiteracy. The chief objective of the Program is the development of art education workshops and the creation of the “Readers Group - What story is that?”. The workshops are meant for the educators, with the purpose of offering tools form them to spur the children into reading through techniques such as story-telling, theater, singing, puppet shows, set constructions and other audio visual resources. The Readers Group is intended for children. Participation is voluntary and offers literary books according to the childs’ taste and literacy. In the first year of operation, Striving Readers Transpetro Program relied on the participation of 100% of the educators in the Art Education Workshops and a commitment of 93% of the Readers Group members. It also played a part in the improvement of the childrens performance in formal school. Furthermore, the Program contributed to the mapping of libraries available for PETI members, supported the assembly of a catalogue of institutes that sponsor striving readers programs and performed workshops with the technical staff at selected institutes to educate them on how to conduct fund raising. Such actions, as a whole, ensured sustainability to the program and promoted a company relationship with the community and with the Regulatory Authority. This is a socially responsible approach to ensuring childrens’ rights are met.
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Boszczowski, Eduardo Bomfim, Carlos Renato Aragonez de Vasconcellos, Kleber Vini´cius da Cruz, Ozias Pereira Filho, and Sarah Marcela C. Cartagena. "Best Practices for Third Party Pipeline Damage Risk Management With Social and Environment Responsibility: Transpetro—Petrobras Transporte S.A." In 2008 7th International Pipeline Conference. ASMEDC, 2008. http://dx.doi.org/10.1115/ipc2008-64595.

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The present paper describes the tasks developed along 550 kilometers of PETROBRAS TRANSPORTE South Region right-of-way where there are more than 1000 kilometers of onshore pipelines. This work was based on the company Integrity Management Program, with focus on risk reduction due to third party damage, promoting social accountability and environment preservation. On the Introduction there are presented pipeline failures stats in USA and Europe. It’s visible in the stats that third party damage is one of the most common pipeline failures responsibleness. In the next topics we list the mitigation methods based on the Integrity Management Program that involves risk analysis; inspection plans based on risk; plan check and program audits. On the Detailed Plan we present standards and normal requirement for pipeline integrity; the Company GIS — Geographic Information System — where you find the pipeline data with its position and depth from ground level; the action plan to correct anomalies found during inspections; and the awareness programs performed through the Communication System to answer the solicitations registered at TRANSPETRO Call Center. We also present the social and environment Responsibility Program that includes the Identification of the communities around our right-of-way, the social and environment classification and the projects development to guaranty the installation integrity that contribute to the communities quality life raise. The Communication Plan for the stakeholders is based on API 1162 – Public Awareness Programs for Pipeline Operators. This plan is accomplished by a team of different professionals such as communication and social service professionals and others. They visit Public Officials (City Hall, Civil Defense, Fire Department, Road Police and Public Services Providers), Excavators, land owners and communities with the objective to guide and publicize safe and co-responsible manners to pipeline installations. It’s remarkable the creation of especial projects in the communities along the right-of-way, such as Communitarian vegetable fields, mobile movie theaters and educational effort in high schools. We also present the results from the Integrity Program to prevent third party damage, the improvement promoted and the recommendations to make it better. At the end we present the costs involved in all actions to prevent third party damage by Brazil South Region Pipeline Operator.
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Reports on the topic "Theater Theater Acting"

1

Barnhill, Bruce W. Joint Theater Missile Defense: The Problem with Active Defense Doctrine. Fort Belvoir, VA: Defense Technical Information Center, February 2000. http://dx.doi.org/10.21236/ada378850.

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2

Marshall, Kneale T. The Roles of Counterforce and Active Defense in Countering Theater Ballistic Missiles. Fort Belvoir, VA: Defense Technical Information Center, September 1994. http://dx.doi.org/10.21236/ada288218.

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3

Barrett, Al, Jim Johnson, Ed Manner, Don Steele, and Vern Conner. A Theater Missile Defense Integration Study; Active Defense Systems Priorities and Issues First Quarter, Fiscal Year 1996. Fort Belvoir, VA: Defense Technical Information Center, January 1996. http://dx.doi.org/10.21236/ada338789.

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