Relevant bibliographies by topics / Theater Theater audiences

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

Academic literature on the topic 'Theater Theater audiences'

Author: Grafiati
Published: 4 June 2021
Last updated: 12 February 2022

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Journal articles on the topic "Theater Theater audiences"

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Prentki, Tim. "Any Color of the Rainbow—As Long as It's Gray: Dramatic Learning Spaces in Postapartheid South Africa." African Studies Review 51, no. 3 (December 2008): 91–106. http://dx.doi.org/10.1353/arw.0.0086.

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Abstract:This article addresses the issue of the relationship between contemporary South African politics and the type of socially committed theater that might be capable of mounting a critique of those politics. The author highlights the contradictions between the aspirations of the Freedom Charter and the realities of subscribing to the neoliberal world order. His contention is that any theater form that is seeking cultural intervention must find a way of representing contradiction if it is to remain true to the experiences of its audiences and its participants. Such a representation can be achieved through a combination of Bertolt Brecht's praxis in relation to contradiction and current practices in Theatre for Development, which themselves draw upon aspects of the antiapartheid resistance theater.
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Shuklina, E., and M. Pevnaya. "Inclusive Theater: Audience Characteristics and Problems of Participation." Izvestia Ural Federal University Journal Series 1. Issues in Education, Science and Culture 27, no. 2 (2021): 120–31. http://dx.doi.org/10.15826/izv1.2021.27.2.036.

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The article provides a comparative analysis of the inclusive theatre audiences in the Sverdlovsk region. The authors identified characteristics of the inclusive theatre audience, considered the problem of isolation in inclusive projects and their audiences. The article defines the potential to overcome these problems through the tools of social participation. The authors consider the socio-cultural and pro-social aspects of audience participation in the life of inclusive theatre.
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Banta, Emily. "Agonistic Audiences: Comic Play in the Early National Theater." American Literature 92, no. 3 (September 1, 2020): 429–55. http://dx.doi.org/10.1215/00029831-8616139.

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Abstract This essay considers how rowdy theater audiences contributed to a broader cultural understanding of democratic politics in the early United States, showing how raucous and occasionally riotous theater patrons enacted a form of popular rule that was predicated on the paying audience’s sovereign right to pleasure. Agonistic audiences thrived on the conflictual dynamics of disorder and dissidence, but their unruly practices only rarely devolved into mob violence, precisely because theatergoers largely understood themselves to be at play. I examine various accounts of theatrical disturbance, including Washington Irving’s famous depiction of a disorderly audience, to demonstrate how patrons cultivated a comic mode of sociality, one that foregrounded and maintained the essential playfulness of social contest. Such comic play acknowledged a horizon of popular enjoyment that stood in excess of rational-critical public discourse. The comic mode has long been undertheorized in literary and cultural studies of the early United States, yet it holds key insight into the practices of both early national theater and early national politics. By way of example, I offer a comic reading of Royall Tyler’s The Contrast (1787) that reveals the imprint of the agonistic audience on the repertoire of the period, shedding new light on nineteenth-century genealogies of performance.
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Reynolds, Paige. "Reading Publics, Theater Audiences, and the Little Magazines of the Abbey Theatre." New Hibernia Review 7, no. 4 (2003): 63–84. http://dx.doi.org/10.1353/nhr.2004.0011.

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Costanzo, Susan. "Reclaiming the Stage: Amateur Theater-Studio Audiences in the Late Soviet Era." Slavic Review 57, no. 2 (1998): 398–424. http://dx.doi.org/10.2307/2501856.

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All performance involves some kind of communication between performer and spectator. After the socialist realist model was established in the mid-1980s, Soviet professional theaters typically relied on conventional input from patrons: attendance, emotional reactions during performances, and applause. Known for its exceptional interaction with audiences, the Taganka Theater decorated its lobby to correspond to a production and even asked spectators to cast ballots indicating whether they enjoyed the performance of Ten Days that Shook the World. But for professionals, such efforts to bridge the gulf between the stage and the house were unusual.
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Gun, G. E. "Music Theater “Online”." Izvestia Ural Federal University Journal Series 1. Issues in Education, Science and Culture 26, no. 4 (2020): 93–99. http://dx.doi.org/10.15826/izv1.2020.26.4.074.

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The article discusses the features of online broadcasts of musical performances in a pandemic. The paper emphasizes the ambiguity of the attitude towards online broadcasts, examines the problems and experience gained in the process of organizing online shows of theater performances, notes the potential of online formats for the development of theater audiences. The author analyzes the summary billboard of online broadcasts in April­May 2020 and gives recommendations for the development of online formats for musical theater.
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Meersman, B., S. Patsalidis, M. Glauner, B. Orel, and R. Dennemann. "Theater Festivals and Their Audiences: A Forum." Theater 41, no. 1 (January 1, 2011): 79–103. http://dx.doi.org/10.1215/01610775-2010-024.

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McInerney. "Directing Shaw Plays for Community Theater Audiences." Shaw 38, no. 1 (2018): 41. http://dx.doi.org/10.5325/shaw.38.1.0041.

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Chan, MeiKi, Wing Tung Au, Carole Hoyan, and Margaret Schedel. "Exploring theater experiences among Hong Kong audiences." Cogent Arts & Humanities 6, no. 1 (January 1, 2019): 1588689. http://dx.doi.org/10.1080/23311983.2019.1588689.

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Zlotnikova, Tanjana S., and Svetlana V. Girshon. "Amateur theaters: soviet past and current practices." Yaroslavl Pedagogical Bulletin 1, no. 118 (2021): 202–9. http://dx.doi.org/10.20323/1813-145x-2021-1-118-202-209.

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This work offers an overview of sources devoted to amateur theater as a socio-cultural phenomenon that existed on the territory of the Soviet state and in post-Soviet Russia. Since amateur theater as a socio-cultural phenomenon has a complex nature, it is advisable to apply an interdisciplinary approach to the study of its activities. The activities of amateur theaters are considered in historical, cultural and sociocultural contexts. The authors consider the sociological, pedagogical, organizational aspects of the activities of amateur theaters, as well as their contribution to the culturalpractices of the regions. Throughout the existence of the Soviet state, amateur theaters were considered as means of propaganda and education of amateur artists and their audiences in the spirit of Soviet ideology. Unlike professional theaters, amateur groups in the 60s instantly reacted to a change in ideological paradigms, asked sharp, uncomfortable questions, and reflected an active civic position. The thaw period was marked by the creative heyday of amateur studio theaters, which ended in clashes with Soviet censorship. In the 90s, after the Soviet dissolution and the abolition of the leading role of the CPSU in the life of the state, amateur groups entered the period of experiments both organizationally and aesthetically. A certain boundary of this period was the professionalization of some amateur groups and the cessation of the activities of others. The authors consider the cultural practices of amateur theaters since the 2000s, when the process of transferring part of amateur groups from departmental subordination to municipal was completed. Attention is also given to the conditions for the existence of amateur theaters in the Yaroslavl region nowadays. Amateur theaters position themselves mainly as a way of organizing active creative leisure of the adult population. The pedagogical component in their activities has an insignificant part, the repertoire is entertaining in nature. In the presence of two or three groups known outside the region, the main part of amateur theaters in the Yaroslavl region carry out a cultural and educational function in small settlements where there is no professional theater
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Dissertations / Theses on the topic "Theater Theater audiences"

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Hoppe, Meredith A. "Breaking tradition reaching for the avant-garde in theatre for young audiences /." Orlando, Fla. : University of Central Florida, 2009. http://purl.fcla.edu/fcla/etd/CFE0002968.

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Wolgast, Amanda. "EMULATING THE SWEDES: AN EXPLORATION OF THE DEVELOPING TRENDS IN SWEDISH THEATRE FOR YOUNG AUDIENCES." Master's thesis, Orlando, Fla. : University of Central Florida, 2008. http://purl.fcla.edu/fcla/etd/CFE0002172.

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Botica, Allan Richard. "Audience, playhouse and play in Restoration theatre, 1660-1710." Thesis, University of Oxford, 1986. http://ora.ox.ac.uk/objects/uuid:6dc8576e-e5cf-4514-ad90-19e7b1253c8e.

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This thesis addresses three aspects of the relationship between audience, playhouse and play in Restoration theatre from 1660 to 1710. It provides a comprehensive account of the composition of the Restoration audience, an examination of the effect this group of men and women had upon the plays they attended and an account of the ways in which the plays and playhouses of the Restoration touched the lives of London's inhabitants. In the first part of this dissertation I identify the audience. Chapter 1 deals with London's playhouses, their location, archictecture and decoration. It shows how the playhouses effectively created two sets of spectators: the visible and the invisible audience. Chapter 2 is a detailed examination of those audiences, and the social and occupational groupings to which they belonged. Chapter 3 deals with the support the stage received. It analyses attendance patterns, summarizes evidence of audience size, presents case studies of attendance patterns and outlines the incidence and effects of recurrent playgoing. In the second part of the dissertation I deal with theatricality, with the representation of human action on and off the stage. I examine the audience's behaviour in the playhouses and the other public places of London. I focus on the relationships between stage and street to show how values and attitudes were transmitted between those two realms. To do this, I analyse three components of theatrical behaviour--acting, costume, and stage dialogue and look at their effect on peoples' behaviour in and ideas about the social world. Chapter 4 is an introduction to late seventeenth century ideas of theatricality. Chapter 5 examines contemporary ideas of dress and fashion and of their relationship to stage costuming. Chapter 6 considers how contemporary ideas about conversation and criticism affected and were in turn affected by stage dialogue.
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Wood, Andrew. "Theatre spectatorship and the "apraxia" problem." Thesis, McGill University, 1989. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=59834.

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Some recent work of Suvin (indebted to Merleau-Ponty's Phenomenologie de la perception) asserts that two fundamental aspects of the praxis of theatre spectatorship--the non-tactile, inactive physicality of the spectator, and her/his imaginative cognitive participation in the apperception of the performance text--might better be understood when examined with regard to the "apraxias," neurological disorders of purposive physical movement. This thesis follows up this line of thought in examining clinical material on apraxia, both temporally previous and subsequent to Merleau-Ponty's discussion. Additionally, it is contended that various paradigms in Bergson and within modern cognitive science (Edelman, Schacter) may be applied with some utility to the praxis of theatre spectatorship. This may lead to a better understanding of the mental participation of the spectator in the performance text as a modulation of present perception and past subjective experience. Such an understanding is compatible with a semiotic "encyclopedia" (Eco), possibly buttressing it with arguments extrapolated from neurology.
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Beal, Ara Grabaskas. "MISCASTING THE SPECTATOR: DRAMATURGS AND AUDIENCES IN TRANSCULTURAL PRODUCTIONS." Connect to this document online, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1114146896.

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Deal, Claire Elizabeth. "Collaborative theater of testimony performance as critical performance pedagogy implications for theater artists, community members, audiences, and performance studies scholars /." Fairfax, VA : George Mason University, 2008. http://hdl.handle.net/1920/3356.

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Thesis (Ph.D.)--George Mason University, 2008.
Vita: p. 244. Thesis director: Lorraine A. Brown. Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Cultural Studies. Title from PDF t.p. (viewed Jan. 11, 2009). Includes bibliographical references (p. 228-243). Also issued in print.
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Connick, Robert. "Creating an Audience for Community Theatre: A Case Study of Night of the Living Dead at the Roadhouse Theatre." Bowling Green, Ohio : Bowling Green State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1181759033.

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Chiu, Chun-Kai. "Movie theater ticket order system: (MTTOS)." CSUSB ScholarWorks, 2004. https://scholarworks.lib.csusb.edu/etd-project/2541.

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This project is a movie theater order system. This system allows people to get movie information and purchase tickets on the Internet. This project is based on a Model-View-Controller (MVC) architecture, which introduces a controller servlet to provide a single point of entry to the web system and encourages more reuse and extensibility of the code.
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Henry, Meghann Elise. "Devising dramaturgy an investigation into the art of dramatic composition when devising theatre for young audiences /." Orlando, Fla. : University of Central Florida, 2008. http://purl.fcla.edu/fcla/etd/CFE0002157.

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Bazo, Nicholas. "Sharing the True Colors: An Exploration of Theatre Created by Gay, Lesbian, Bisexual, and Transgender Youth." Master's thesis, University of Central Florida, 2010. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/3469.

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True Colors: Out Youth Theater at The Theater Offensive is a Boston based program that focuses its theatrical and social mission on engaging Gay, Lesbian, Bisexual, and Transgendered (GLBT) at-risk, youth and the community that surrounds them. Through the process of generating an original touring production, True Colors employs theatre as a tool for personal, social, and artistic expression, empowerment, and activism. The program's balance of both process and product focused goals creates an environment of multifaceted engagement and provides an example of how art can thrive in a structure of youth outreach. Though directors and facilitators guide the process and final product, a fundamental mission of True Colors is to provide a student or youth-centered experience where inspiration, decisions, discussions, and leadership generates directly from participants. By observing and participating in the creation of one of these productions, I explore the impact of this student-centered structure on the personal perspectives and artistic growth of the GLBT participants and the artistic process of creating the production. My goal is to discover True Colors' effectiveness of achieving its mission to both create an impactful and positive process for the youth and also develop a final product that is artful and evokes social change. Additionally, by studying similar programs, I establish a basis of comparison against True Colors in order to develop a broader view of the field and evaluate the variances in methodology and the impact on youth and communities.
M.F.A.
Department of Theatre
Arts and Humanities
Theatre MFA
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Books on the topic "Theater Theater audiences"

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Actors, audiences, and historic theaters of Kentucky. Lexington: University Press of Kentucky, 2000.

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The audience. Baltimore: Johns Hopkins University Press, 1990.

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Universität-Gesamthochschule-Siegen, ed. "Das Theater glich einem Irrenhause": Das Publikum im Theater des 18. und 19. Jahrhunderts. Heidelberg: Universitätsverlag Winter, 2012.

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Theatre as a prison of Longue Durée. Frankfurt am Main [Germany]: Peter Lang, 2011.

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L'acteur et son public: Petite histoire d'une étrange relation. Paris: L'Harmattan, 2009.

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Verdeil, Jean. L'acteur et son public: Petite histoire d'une étrange relation. Paris: L'Harmattan, 2009.

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Buzuk, R. L. Tėatralʹnyi͡a︡ dali͡a︡hli͡a︡dy: Rozdum ab suchasnym belaruskim tėatry i hledachu. Minsk: "Navuka i tėkhnika", 1990.

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Francoeur, Louis. Le théâtre brèche: Essai. Montréal: Triptyque, 2002.

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Lakatos, Gyuláné. A színházak adatai: 1992-2001. Budapest: Központi Statisztikai Hivatal, 2002.

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Mervant-Roux, Marie-Madeleine. L' assise du théâtre: Pour une étude du spectateur. Paris: CNRS, 1998.

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Book chapters on the topic "Theater Theater audiences"

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Geddes, Louise. "Imagined Theater." In Shakespeare’s Audiences, 166–79. New York, NY : Routledge, 2021. | Series: Routledge studies in Shakespeare: Routledge, 2021. http://dx.doi.org/10.4324/9781003152538-14.

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McConachie, Bruce. "General Cognition for Theatre Audiences." In Engaging Audiences, 23–63. New York: Palgrave Macmillan US, 2008. http://dx.doi.org/10.1057/9780230617025_2.

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Pickering, Kenneth, and Mark Woolgar. "Audiences and Spectators." In Theatre Studies, 152–73. London: Macmillan Education UK, 2009. http://dx.doi.org/10.1007/978-1-349-92330-4_10.

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Freshwater, Helen. "Theatre & Audience." In Theatre & Audience, 1–76. London: Macmillan Education UK, 2009. http://dx.doi.org/10.1007/978-0-230-36460-8_1.

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Sedgman, Kirsty. "The Theatre Contract." In The Reasonable Audience, 11–21. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-99166-5_2.

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Harris, Max. "Performance and Audience." In Theater and Incarnation, 57–73. London: Palgrave Macmillan UK, 1990. http://dx.doi.org/10.1007/978-1-349-09697-8_4.

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Miles, Emma, and Helen Nicholson. "Theatres as Sites of Learning: Theatre for Early Years Audiences." In Education and Theatres, 273–86. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-22223-9_18.

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Fisher, Teresa A. "Theatre for Young Audiences." In Post-Show Discussions in New Play Development, 90–99. New York: Palgrave Macmillan US, 2014. http://dx.doi.org/10.1057/9781137410962_8.

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Macleod, Joseph. "Special Audiences." In The New Soviet Theatre, 64–84. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003228660-6.

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Carpenter, Sarah, John J. McGavin, and Greg Walker. "Towards a Reformed Theatre." In Early Performance: Courts and Audiences, 146–64. Abingdon, Oxon ; New York : Routledge, 2020. | Series: Variorum collected studies series: Routledge, 2020. http://dx.doi.org/10.4324/9780429269042-13.

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Conference papers on the topic "Theater Theater audiences"

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

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Many smaller churches and similar buildings in Canada have been converted into small theaters. Such theatres are often not fitted with an air-conditioning system. For performances in the fall these theaters sometimes rely on buoyancy driven natural ventilation to moderate the indoor air temperature. Such ventilation systems usually involve near floor inlet vents and a roof level air discharge system. A preliminary numerical study of the effect of inlet vent position and size on the performance of such a system has been undertaken. A simple model of a typical theater building of the type considered has been used. The heat generated by the audience has been represented by a uniform heat flux distributed over the audience area. Inlet vents have been assumed to be located low on the side walls of the theater and the air-flow leaving the theatre has been assumed to be through vents at the top of a chimney system. The flow has been assumed to be steady and symmetrical about the vertical center-line through the building. The Boussinesq approach has been adopted. The standard k-epsilon turbulence model has been used. The solution has been obtained using the commercial CFD solver ANSYS FLUENT©.
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Umetsu, Kenya, Naoyuki Kubota, and Jinseok Woo. "Effects of the Audience Robot on Robot Interactive Theater Considering the State of Audiences." In 2019 IEEE Symposium Series on Computational Intelligence (SSCI). IEEE, 2019. http://dx.doi.org/10.1109/ssci44817.2019.9003010.

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Koji Iida, Shiroh Itai, Takabumi Watanabe, and Yoshiyuki Miwa. "Public viewing with shadows: Design of theater-type space where remote actors and audiences can coexist using the shadow as their own agents." In 2008 RO-MAN: The 17th IEEE International Symposium on Robot and Human Interactive Communication. IEEE, 2008. http://dx.doi.org/10.1109/roman.2008.4600745.

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Ormanlı, Okan. "Relationship Between Movie Theaters and Audience During the Pandemic: “Beyoğlu 1989 E-Bulletin” as an Example." In COMMUNICATION AND TECHNOLOGY CONGRESS. ISTANBUL AYDIN UNIVERSITY, 2021. http://dx.doi.org/10.17932/ctcspc.21/ctc21.028.

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Covid-19, a disease that transformed into a pandemic at the beginning of 2020, caused catastrophic results in the world and Turkey. There have been some restrictions on trade, education, tourism, and art. Daily life was not interrupted but some services and events that they have not primary functions (for some people) like “art” were on the verge of stopping and carried to the digital platforms. In this context, some corporations opened their archives and sometimes actual events to the public free of charge or for a certain amount of money. Art, which has always had “healing”, “mediating” and “unifying” effects, was consumed by the billions of people through digital devices. Considering art is both a sector and an industry, the unexpected phenomenon of Covid-19, which is a kind of crisis that occurs one in a hundred years and takes longer than expected, led to the temporary or permanent closure of some art and culture institutions. Due to these results, some supportive programs have been organized by official or non-official institutions to solve financial problems. In Turkey, all the movie theaters closed down on the 16th of March 2020 by the Ministry of Internal Affairs. Some halls opened in July and August, however, because of lack of audience and of the increasing number of patients they have closed down again in November. 2019 was a bad year for the sector yet 2020 was even worse with the decline of the audience by the ratio of %90. Before the pandemic, there were some problems in terms of halls. In this context, some movie theaters tried to find solutions not to lose the audience and find financial support. Beyoğlu Movie Theater that began operating in 1989, had some financial problems before the pandemic. The managers of the hall created a project called “Beyoğlu 1989”, which was a kind of electronic bulletin, and started sending e-mails to the subscribers. This project, which was implemented for the first time in Turkey, has reached the 57th issue and 800 subscribers today and has turned into a kind of weekly electronic-digital cinema newspaper that is also promoted on the Instagram account of the Beyoğlu cinema with 45 thousand followers. The broadcast also follows the cinema agenda and undertakes the task of a written-visual archive. In conclusion, a movie theater that started operating in the analog age, today use all the possibilities and utilities of the digital age and also with the help of its owners and followers, creates a communication ecology to prevent the shutdown. The aim of this article is to examine an electronic bulletin (also a film magazine) “1989”, which is first in Turkey, with the qualitative method.
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Kennedy-Karpat, Colleen. "Adaptation studies in Europe." 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.06.02015k.

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Adaptation is a creative process that crosses and blurs boundaries: from page to stage, from small screen to big screen – and then, sometimes, back again. Beyond questions of form and medium, many adaptations also cross national borders and language barriers, making them important tools for intercultural communication and identity formation. This paper calls for a more intensive, transnational study of adaptation across print, stage, and screens in EU member and affiliate countries. For the highest possible effectiveness, interdisciplinarity is key; as a cultural phenomenon, adaptation benefits from perspectives rooted in a variety of fields and research methods. Its influence over transnational media flows, with patterns in production and reception across European culture industries, offers scholars a better understanding of how narratives are transformed into cultural exports and how these exchanges affect transnational relationships. The following questions are proposed to shape this avenue for research: (1) How do adaptations track narrative and media flows within and across national, linguistic, and regional boundaries? (2) To what extent do adapted narratives reflect transnational relationships, and how might they help construct Europeanness? (3) How do audiences in the EU respond to transnational adaptation, and how are European adaptations circulated and received outside Europe? (4) What impact does adaptation have in the culture industries, and what industrial practices might facilitate adaptation across media platforms and/or national boundaries? The future of adaptation studies and of adaptation as a cultural practice in Europe depends on the development of innovative, comparative, and interdisciplinary approaches to adaptation. The outcomes of future research can hold significant value for European media industries seeking to expand their market reach, as well as for scholars of adaptation, theater, literature, translation, and screen media.
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Kennedy-Karpat, Colleen. "Adaptation studies in Europe." 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.06.02015k.

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Adaptation is a creative process that crosses and blurs boundaries: from page to stage, from small screen to big screen – and then, sometimes, back again. Beyond questions of form and medium, many adaptations also cross national borders and language barriers, making them important tools for intercultural communication and identity formation. This paper calls for a more intensive, transnational study of adaptation across print, stage, and screens in EU member and affiliate countries. For the highest possible effectiveness, interdisciplinarity is key; as a cultural phenomenon, adaptation benefits from perspectives rooted in a variety of fields and research methods. Its influence over transnational media flows, with patterns in production and reception across European culture industries, offers scholars a better understanding of how narratives are transformed into cultural exports and how these exchanges affect transnational relationships. The following questions are proposed to shape this avenue for research: (1) How do adaptations track narrative and media flows within and across national, linguistic, and regional boundaries? (2) To what extent do adapted narratives reflect transnational relationships, and how might they help construct Europeanness? (3) How do audiences in the EU respond to transnational adaptation, and how are European adaptations circulated and received outside Europe? (4) What impact does adaptation have in the culture industries, and what industrial practices might facilitate adaptation across media platforms and/or national boundaries? The future of adaptation studies and of adaptation as a cultural practice in Europe depends on the development of innovative, comparative, and interdisciplinary approaches to adaptation. The outcomes of future research can hold significant value for European media industries seeking to expand their market reach, as well as for scholars of adaptation, theater, literature, translation, and screen media.
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Dima, Mariza. "Engaging theatre audiences before the play." In the 2013 Inputs-Outputs Conference. New York, New York, USA: ACM Press, 2013. http://dx.doi.org/10.1145/2557595.2557600.

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Cerratto-Pargman, Teresa, Chiara Rossitto, and Louise Barkhuus. "Understanding audience participation in an interactive theater performance." In NordiCHI '14: The 8th Nordic Conference on Human-Computer Interaction. New York, NY, USA: ACM, 2014. http://dx.doi.org/10.1145/2639189.2641213.

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Abdulkadir, K. A. "Theatre audience crisis and suitable solutions." In First International Symposium on Urban Development. Southampton, UK: WIT Press, 2013. http://dx.doi.org/10.2495/isud130261.

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10

Ahn, Sang Chul, Ig-Jae Kim, Hyoung-Gon Kim, Yong-Moo Kwon, and Heedong Ko. "Audience interaction for virtual reality theater and its implementation." In the ACM symposium. New York, New York, USA: ACM Press, 2001. http://dx.doi.org/10.1145/505008.505016.

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Reports on the topic "Theater Theater audiences"

1

Chabot, Chrys. ?How to Banish a Demon? : An Attempt to Present Traditional Japanese Theater to an American Audience with an Original Kyogen Play. Portland State University Library, January 2016. http://dx.doi.org/10.15760/honors.301.

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Theatre can bring research findings to life for a wide range of audiences. National Institute for Health Research, December 2020. http://dx.doi.org/10.3310/alert_43190.

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