Relevant bibliographies by topics / Theater Theater Realism Realism

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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 Realism Realism'

Author: Grafiati
Published: 4 June 2021
Last updated: 16 February 2022

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Journal articles on the topic "Theater Theater Realism Realism"

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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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Schevill, J. "TOWARDS A NEW POETIC REALISM IN CONTEMPORARY THEATER." Theater 23, no. 1 (December 1, 1992): 58–62. http://dx.doi.org/10.1215/01610775-23-1-58.

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Nellhaus, Tobin. "Online Role-playing Games and the Definition of Theatre." New Theatre Quarterly 33, no. 4 (October 11, 2017): 345–59. http://dx.doi.org/10.1017/s0266464x17000483.

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Online role-playing games are a form of entertainment in which players create characters and improvisationally perform scenes together within a digital virtual world. It has many theatre-like aspects, which raises the question of whether it is in fact a form of theatre. To answer that question, however, one must first have a definition of theatre – an issue with disciplinary consequences – and in this article Tobin Nellhaus develops a definition founded on social ontology, suggesting that theatrical performance, unlike other social practices, replicates society's ontology. From that perspective, online role-playing meets the definition of theatre. But its digital environment raises another set of problems, since embodiment, space, and presence in online role-playing are necessarily unlike what we experience in traditional theatre. Here, Nellhaus brings these three aspects of performance together through the concept of embodied social presence, showing how they operate in both customary theatre and online role-playing. Tobin Nellhaus is an independent scholar who was Librarian for Performing Arts, Media, and Philosophy at Yale University. He has published mainly on the relationship between theatre and communication practices, and on critical realist theory in theatre historiography. He is the General Editor of the third edition of Theatre Histories (London: Routledge, 2016), and the author of Theater, Communication, Critical Realism (New York: Palgrave Macmillan, 2010).
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Ju, Hyunshik. "Korean Realism Theater in 1930s and Rhetorics of Visual Argument." Korean Literary Theory and Criticism 68 (September 30, 2015): 159. http://dx.doi.org/10.20461/kltc.2015.09.68.159.

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Barker, Roberta, Kim Solga, and Cary Mazer. "’Tis Pity She’s a Realist: A Conversational Case Study in Realism and Early Modern Theater Today." Shakespeare Bulletin 31, no. 4 (2013): 571–97. http://dx.doi.org/10.1353/shb.2013.0064.

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Krouk, Dean. "The Montage Rhetoric of Nordahl Grieg’s Interwar Drama." Humanities 7, no. 4 (October 15, 2018): 99. http://dx.doi.org/10.3390/h7040099.

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This essay explains the modernist montage rhetoric of Nordahl Grieg’s 1935 drama Vår ære og vår makt in the context of the playwright’s interest in Soviet theater and his Communist sympathies. After considering the historical background for the play’s depiction of war profiteers in Bergen, Norway, during the First World War, the article analyzes Grieg’s use of a montage rhetoric consisting of grotesque juxtapositions and abrupt scenic shifts. Attention is also given to the play’s use of incongruous musical styles and its revolutionary political message. In the second part, the article discusses Grieg’s writings on Soviet theater from the mid-1930s. Grieg embraced innovative aspects of Soviet theater at a time when the greatest period of experimentation in post-revolutionary theater was already ending, and Socialist Realism was being imposed. The article briefly discusses Grieg’s controversial pro-Stalinist, anti-fascist position, before concluding that Vår ære og vår makt represents an important instance of Norwegian appropriation of international modernist and avant-garde theater.
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He, Chengzhou. "Theater‐fiction and hallucinatory realism in Mo Yan’s The Sandalwood Death." Orbis Litterarum 76, no. 4 (July 20, 2021): 169–79. http://dx.doi.org/10.1111/oli.12300.

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Mally, Lynn. "Exporting Soviet Culture: The Case of Agitprop Theater." Slavic Review 62, no. 2 (2003): 324–42. http://dx.doi.org/10.2307/3185580.

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In this article Lynn Mally examines the efforts of a Comintern affiliate called MORT (Mezhdunarodnoe ob“edinenie revoliutsionnykh teatrov) to export models of Soviet theatrical performance outside the Soviet Union. Beginning with the first Five-Year Plan, MORT was initially very successful in promoting Soviet agitprop techniques abroad. But once agitprop methods fell into disgrace in the Soviet Union, MORT abruptly changed its tactics. It suddenly encouraged leftist theater groups to move toward the new methods of socialist realism. Nonetheless, many leftist theater circles continued to produce agitprop works, as shown by performances at the Moscow Olympiad for Revolutionary Theater in 1933. The unusual tenacity of this theatrical form offers an opportunity to question the global influence of the Soviet cultural policies promoted by the Comintern. From 1932 until 1935, many foreign theater groups ignored MORT's cultural directives. Once the Popular Front began, national communist parties saw artistic work as an important tool for building alliances outside the working class. This decisive shift in political strategy finally undermined the ethos and methods of agitprop theater.
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Copeland, Kameron J. "From New Black Realism to Tyler Perry." Journal of Men’s Studies 25, no. 1 (July 31, 2016): 70–91. http://dx.doi.org/10.1177/1060826516641096.

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In the midst of a revival of gospel theater aimed at Black female Christian audiences, Tyler Perry mastered a successful approach to Black independent gospel plays. Eventually, Perry transferred his work to the film screen, exploring the struggles of Black women in their relationships with Black men. While his depiction of Black men has garnered much controversy, Perry characterizes Black masculinity throughout his romantic storylines using a formulaic approach seeking to uplift his predominately Black female audience, while exploring the faults and various tropes of Black masculinity. In Perry’s female-oriented romantic storylines, Black men are usually categorized as an affluent shape-shifter, neglected love interest, transformed hard worker, crooked hoodlum, or Black messiah redux. Throughout this study, Perry’s usage of these characterizations is explored. Unlike 1990s New Black Realism films, which could have driven the explosion of female-oriented gospel-themed works, Perry fuses Black theological perceptions of manhood with a patriarchal-centered exploration of Black womanhood.
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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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Dissertations / Theses on the topic "Theater Theater Realism Realism"

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Mellas, Michael John. "Constructing multiple realities on stage conceiving a magical realist production of José Rivera's Cloud tectonics /." Oxford, Ohio : Miami University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1218129542.

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Dailey, Zachary Elijah. "Finding the Rhythms and the Accidental Poetry: Annie Baker and the Condition of a Contemporary Female Playwright." Miami University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=miami1439378464.

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Deng, Xiaoyan. "Modernity and Hybridity: Tian Han's Xingeju Creations and Theatre Criticism(1937-1958)." Miami University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=miami1343706981.

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Mellas, Michael John. "Constructing Multiple Realities on Stage: Conceiving a Magical Realist Production of Jose Rivera's Cloud Tectonics." Miami University / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=miami1218129542.

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Nichols, Jeffrey Alan. "Everywhere You Look." OpenSIUC, 2011. https://opensiuc.lib.siu.edu/theses/619.

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Everywhere You Look documents the genesis, production process, performance history, and rewrites of a script informed by a concern for social justice issues in contemporary America. In the quest to generate believable, naturalistic dialogue and behavior informed by important questions of religious conviction, civil liberties, and the viability of violence as a political solution, the script is cast as social realism. After a discussion of the critical context in which the play exists, the lessons and pitfalls of collaboration in the production process are charted. A rewritten script is generated from a process of performance, talk-backs sessions, and committee recommendations. The thesis document includes Appendices containing pre-production and post-production versions of the script, as well as images from the program and color photos of the original thesis production.
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Zambrano, Gustavo. "A trajetória artística de Furtado Coelho nos palcos brasileiros : (1856-1867)." Universidade Estadual Paulista (UNESP), 2018. http://hdl.handle.net/11449/152956.

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Este trabalho tem por objetivo descrever a trajetória artística de Luiz Candido Furtado Coelho nos anos de 1856 a 1867, período esse em que o artista português desenvolveu os cargos de ator, ensaiador e empresário teatral no Rio de Janeiro e em outras regiões do país. Para isso, consultamos jornais e revistas do século XIX, disponibilizados pelo sítio da Hemeroteca Digital da Biblioteca Nacional, fato esse que se justifica em razão de nessa plataforma haver um grande volume de informações sobre o trabalho de Furtado Coelho, fundamentais para a escrita da biografia do artista. Assim, todas as menções a Furtado Coelho encontradas nos periódicos do século XIX, e que foram apresentadas neste estudo, tem como intenção melhor compreender a história do artista português e do teatro no Brasil. Como resultado, o trabalho irá mostrar a grande importância de Furtado Coelho nos palcos do Rio de Janeiro e, de certa forma, do Brasil. Em outras palavras, iremos detalhar que o artista em estudo foi um dos grandes responsáveis pelo estabelecimento do realismo teatral no Brasil, pois como ator Furtado Coelho inovou nos palcos brasileiros ao apresentar uma nova maneira de atuar alinhada à escola realista e como empresário continuou a levar ao palco do Teatro Ginásio peças de valor literário, alternando-as com espetáculos de entretenimento, em um período no qual sofria a concorrência do teatro cômico e musicado.
This work aims to describe the artistic trajectory of Luiz Candido Furtado Coelho in the years 1856 to 1867, when the Portuguese artist worked as actor, rehearser and theater manager in Rio de Janeiro and other regions of the country. For this, we consulted newspapers and magazines of the nineteenth century, made available by the website of the Digital Library of the National Library, a fact that is justified because there is a large volume of information on the work of Furtado Coelho, fundamental for the writing of the biography of the artist. Thus, all references to the artist found in those periodicals presented in this study are intended to better understand his history, as well as the history of theater in Brazil. As a result, the work will show the great importance of Furtado Coelho on the stages of Rio de Janeiro and, to a certain extent, in the whole country. In other words, we will show Furtado Coelho as highly responsible for the establishment of theatrical realism in Brazil, since, as an actor, he innovated in Brazilian stages by presenting a new way of acting in line with the realist school and, as an entrepreneur, he continued to stage plays of literary value ate the Ginásio Theater, alternating them with spectacles of entertainment, in a period in which it suffered the competition of the comic and musical theater.
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Taylor, Aaron. "The Pathology of Alienation: A Psycho-Sociological Approach to the Theater of Paloma Pedrero." Cincinnati, Ohio : University of Cincinnati, 2005. http://www.ohiolink.edu/etd/view.cgi?ucin1109022646.

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Thesis (Ph. D.)--University of Cincinnati, 2005.
Advisor: Taylor. Title from electronic thesis title page (viewed \May 20, 2008). Keywords: Paloma Pedrero; Theater; Gestalt therapy; Robert Merton; Sociology; Alienation; Marginalization; Pathology; Theatrics; Aristotle; Brecht; Antonio Buero Vallejo; Neorealism; Twentieth-century Spain; Realism; Deviancy; Deviance; Socialization; Deviant; Retr. Includes abstract. Includes bibliographical references.
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Peterson, Anne Cordelia. "Reconsidering "Liveness":Interactivity and Presence in Hybrid Virtual Reality Theatre." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu159507997218491.

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Erken, Emily Alane. "Constructing the Russian Moral Project through the Classics: Reflections of Pushkin’s Eugene Onegin, 1833-2014." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1449191980.

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Boudier, Marion. "La représentation du monde sans jugement : Réalisme et neutralité dans la dramaturgie moderne et contemporaine." Thesis, Lyon, École normale supérieure, 2012. http://www.theses.fr/2012ENSL0796.

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L’idée de « représentation du monde sans jugement », double visée du réel et du neutre, rassemble des œuvres qui aspirent à donner à voir le monde sans en orienter le commentaire et en débusquant le jugement dans nos représentations. En faisant l’hypothèse d’un « réalisme neutre », nous étudions les stratégies dramaturgiques de suspension du sens qui répondent à cette intention. Nous interrogeons l’existence d’une lignée de dramaturges qui, depuis le théâtre clinique de Tchekhov et à l’opposé du théâtre critique brechtien, conduit le spectateur à « l’étonnement d’un monde sans procès » (Barthes). En confrontant ces représentations du monde sans jugement au théâtre documentaire et au réalisme critique brechtien, nous analysons un changement de paradigme dans la représentation du réel, sa modélisation clarifiante et engagée laissant place à une expérience ouverte à l’interprétation. De Horváth aux auteurs quotidiennistes, en passant par Fleisser, Adamov, Kroetz et jusqu’à des réinventions contemporaines d’un théâtre « presque documentaire », comment ces esthétiques de la monstration échappent-elles à une simple symptomatologie superficielle du monde ainsi qu’aux malentendus induits par la délégation du jugement au spectateur ? Cette question oriente notre étude des décentrements dramaturgiques du réalisme, à travers lesquels s’affirment une autre pensée de la responsabilité critique du dramaturge et une dimension politique du neutre. Les œuvres et démarches de M. Vinaver, O. Hirata, J. Pommerat et L. Norén illustrent quatre modalités de ce « réalisme neutre », de l’exemption à la pluralisation du sens, en passant par le trouble, l’errance ou le saisissement du spectateur
Prejudice-free depictions of the world are the aim both of reality and of any neutral approach. They bring together works of art that show the world without inducing any commentary while exposing our opinions in all representations. We will hypothesise the concept of “neutral realism” to analyse the strategies used by dramatic arts to produce suspension of meaning. We question the existence of a tradition of dramatic authors – ranging from Tchekhov’s “clinical theater” to Brecht’s “critical theater” – that lead spectators to what Barthes termed the “astonishment upon discovering a trial-free world”. We will weigh such prejudice-free representations of the world against documentary drama and against Brecht’s critical realism. Such a comparison will evidence a paradigm shift where an explicit, committed type of modelling seems to give way to a more open interpretative experience. From Horváth to daily-life authors and to Fleisser, Adamov, Kroetz and other contemporary re-inventors of “quasi- documentary-style” drama, the question can be thus articulated: how do such illustrative aesthetics succeed in circumventing both merely superficial symptomatology of the world and the misunderstandings that might arise from the decision of leaving the viewer to judge the work on their own? The answer to the question guides our analysis of the dramatic arts’ decentering of realism, through which another vision of the responsibility of the dramatic author emerges, as well as a new take on the political nature of a neutral approach. The works and reflections of M.Vinaver, O. Hirata, J. Pommerat and L. Norén evidence four aspects of this “neutral realism”, ranging from the cancellation of meaning to multifaceted meaning and to troubled, disconnected or awed spectators
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Books on the topic "Theater Theater Realism Realism"

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Theater, communication, critical realism. New York: Palgrave Macmillan, 2010.

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Musical theatre, realism and entertainment. Farnham, Surrey, England: Ashgate, 2012.

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German actors of the eighteenth and nineteenth centuries: Idealism, romanticism, and realism. Westport, Conn: Greenwood Press, 1985.

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Williams, Simon. German actors of the eighteenth and ninteenth centuries: Idealism, romanticism, and realism. Westport, Conn: Greenwood Press, 1985.

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Cong xie shi zhu yi dao hou xian dai zhu yi: Ni ye ke yi da tong ren du er mo! Taibei Shi: Shu lin chu ban you xian gong si, 1995.

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Modernism to realism on the Soviet stage: Tairov-Vakhtangov-Okhlopkov. Cambridge [Cambridgeshire]: Cambridge University Press, 1989.

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Stephen, Lacey. British Realist Theatre. London: Taylor & Francis Group Plc, 2004.

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Schattenhofer, Monika. Eine Modellwirklichkeit: Literarisches Theater der 50er und 60er Jahre, Tankred Dorst schreibt "Toller". Frankfurt: P. Lang, 1985.

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Shadows of realism: Dramaturgy and the theories and practices of modernism. Westport, Conn: Greenwood Press, 1996.

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Shadows of realism: Dramaturgy and the theories and practices of modernism. Westport, Conn: Praeger, 1996.

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Book chapters on the topic "Theater Theater Realism Realism"

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Kolodezh, Sam, and Bryan Reynolds. "For the Love of Hamlet’s Headspace: Noodling with Deleuze, Thomas Ostermeier’s Nodals, and Allo-Realism." In Intermedial Theater, 241–76. London: Palgrave Macmillan UK, 2017. http://dx.doi.org/10.1057/978-1-137-50838-6_7.

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Saal, Ilka. "Plays of Cash and Cabbages: From Proletarian Melodrama to Revolutionary Realism." In New Deal Theater, 77–109. New York: Palgrave Macmillan US, 2007. http://dx.doi.org/10.1057/9780230608832_5.

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Kosok, Heinz. "Realism versus Reality." In The Theatre of War, 103–11. London: Palgrave Macmillan UK, 2007. http://dx.doi.org/10.1057/9780230590649_12.

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Bhattacharya, Sourit. "The Question of Literary Form: Realism in the Poetry and Theater of the 1943 Bengal Famine." In The Aesthetics and Politics of Global Hunger, 57–88. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-47485-4_3.

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Aust, Hugo. "Drama und Theater." In Realismus, 263–99. Stuttgart: J.B. Metzler, 2006. http://dx.doi.org/10.1007/978-3-476-05033-5_4.

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Nellhaus, Tobin. "Philosophy, History, Theatre." In Theatre, Communication, Critical Realism, 19–55. New York: Palgrave Macmillan US, 2010. http://dx.doi.org/10.1057/9780230107953_2.

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Shem-Tov, Naphtaly. "Docudrama and social realism." In Israeli Theatre, 62–85. London ; New York : Routledge, 2021. | Series: Routledge Jewish studies series: Routledge, 2021. http://dx.doi.org/10.4324/9781351009089-4.

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Nellhaus, Tobin. "Orality, Literacy, and Early Theatre." In Theatre, Communication, Critical Realism, 57–94. New York: Palgrave Macmillan US, 2010. http://dx.doi.org/10.1057/9780230107953_3.

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Nellhaus, Tobin. "Introduction." In Theatre, Communication, Critical Realism, 1–17. New York: Palgrave Macmillan US, 2010. http://dx.doi.org/10.1057/9780230107953_1.

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Nellhaus, Tobin. "Embodiment, Agency, and Performance Strategies." In Theatre, Communication, Critical Realism, 95–141. New York: Palgrave Macmillan US, 2010. http://dx.doi.org/10.1057/9780230107953_4.

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Conference papers on the topic "Theater Theater Realism Realism"

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Di Gregorio, Giuseppe. "THE TAORMINA THEATER: THE DIGITAL SURVEY SYSTEM OF KNOWLEDGE OPEN IN TIME." In ARQUEOLÓGICA 2.0 - 9th International Congress & 3rd GEORES - GEOmatics and pREServation. Editorial Universitat Politécnica de Valéncia: Editorial Universitat Politécnica de Valéncia, 2021. http://dx.doi.org/10.4995/arqueologica9.2021.12168.

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In Sicily there are 19 show venues including ancient theaters and theatrical architectures. Many of these structures are fully functional and subject to visitor flows such as the theater of Syracuse and that of Taormina. They are object of interest and curiosity, revealed in the eighteenth century during the grand tour by travelers and landscape painters, in the last twenty years they have become reasons for study in various scientific areas as from acoustics to archeology, always passing through digital surveying. Studied through classical photogrammetry, structure from motion (SFM), 3D laser scanner, their representation as well as by increasingly refined and detailed two-dimensional graphics, makes use of 3D representations and techniques of virtual reality (VR) and augmented reality (AR). Due to their particular geometry, the need for studies and research is considered essential to deepen the methods of the surveys and plan their developments. Examples and problems for the archaeological survey are reported with the aim of critically evaluating the current state of the art of 3D survey, the potential and possible future developments, in the present study the results obtained for the survey of the Taormina theater (ME) and in-depth analysis of the versure environments.
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Colombero, Corrie, Andy Hunsucker, Pui Mo, and Monét Rouse. "Augmented reality theater experience." In ACM SIGGRAPH 2014 Posters. New York, New York, USA: ACM Press, 2014. http://dx.doi.org/10.1145/2614217.2614247.

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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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He, Linjia, Hongsong Li, Tong Xue, Deyuan Sun, Shoulun Zhu, and Gangyi Ding. "Am I in the theater?" In VRST '18: 24th ACM Symposium on Virtual Reality Software and Technology. New York, NY, USA: ACM, 2018. http://dx.doi.org/10.1145/3281505.3281508.

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Fourmi, Esteban, JiaXuan Hon, and Aoi Nakamura. "Whist: Dance theatre and Virtual Reality." In Electronic Visualisation and the Arts. BCS Learning & Development, 2016. http://dx.doi.org/10.14236/ewic/eva2016.39.

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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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Way, Der-Lor, Weng-Kei Lau, and Tzu Ying Huang. "Glove puppetry cloud theater through a virtual reality network." In SIGGRAPH '19: Special Interest Group on Computer Graphics and Interactive Techniques Conference. New York, NY, USA: ACM, 2019. http://dx.doi.org/10.1145/3306214.3338564.

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Coulombe, Alex, David Gochfeld, Brendan Bradley, Kevin Laibson, Robert Long, and Roman Miletitch. "Virtual Reality Live Theatre on No Budget." In SIGGRAPH '21: Special Interest Group on Computer Graphics and Interactive Techniques Conference. New York, NY, USA: ACM, 2021. http://dx.doi.org/10.1145/3450549.3464413.

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Lee, Kyunghan, Gaetan Guerrero, Seunghoon Cha, Younghui Kim, and Sungmin Cho. "VR Theater, a Virtual Reality based Multi-Screen Movie Theater Simulator for Verifying Multi-Screen Content and Environment." In SMPTE Technical Conference. IEEE, 2017. http://dx.doi.org/10.5594/m001790.

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Li, Sophia, Yazhou Huang, Vinh-Sang Tri, Johan Elvek, Samuel Wan, Jan Kjallstrom, Nils Andersson, Mats Johansson, and Dan Lejerskar. "Interactive theater-sized dome design for edutainment and immersive training." In VRIC '14: Virtual Reality International Conference - Laval Virtual 2014. New York, NY, USA: ACM, 2014. http://dx.doi.org/10.1145/2617841.2620693.

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Reports on the topic "Theater Theater Realism Realism"

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Prysyazhnyi, Mykhaylo. UNIQUE, BUT UNCOMPLETED PROJECTS (FROM HISTORY OF THE UKRAINIAN EMIGRANT PRESS). Ivan Franko National University of Lviv, March 2021. http://dx.doi.org/10.30970/vjo.2021.50.11093.

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Abstract:
In the article investigational three magazines which went out after Second World war in Germany and Austria in the environment of the Ukrainian emigrants, is «Theater» (edition of association of artists of the Ukrainian stage), «Student flag» (a magazine of the Ukrainian academic young people is in Austria), «Young friends» (a plastoviy magazine is for senior children and youth). The thematic structure of magazines, which is inferior the association of different on age, is considered, by vital experience and professional orientation of people in the conditions of the forced emigration, paid regard to graphic registration of magazines, which, without regard to absence of the proper publisher-polydiene bases, marked structuralness and expressiveness. A repertoire of periodicals of Ukrainian migration is in the American, English and French areas of occupation of Germany and Austria after Second world war, which consists of 200 names, strikes the tipologichnoy vseokhopnistyu and testifies to the high intellectual level of the moved persons, desire of yaknaynovishe, to realize the considerable potential in new terms with hope on transference of the purchased experience to Ukraine. On ruins of Europe for two-three years the network of the press, which could be proud of the European state is separately taken, is created. Different was a period of their appearance: from odnogo-dvokh there are to a few hundred numbers, that it is related to intensive migration of Ukrainians to the USA, Canada, countries of South America, Australia. But indisputable is a fact of forming of conceptions of newspapers and magazines, which it follows to study, doslidzhuvati and adjust them to present Ukrainian realities. Here not superfluous will be an example of a few editions on the thematic range of which the names – «Plastun» specify, «Skob», «Mali druzi», «Sonechko», «Yunackiy shliah», «Iyzhak», «Lys Mykyta» (satire, humour), «Literaturna gazeta», «Ukraina і svit», «Ridne slovo», «Hrystyianskyi shliah», «Golos derzhavnyka», «Ukrainskyi samostiynyk», «Gart», «Zmag» (sport), «Litopys politviaznia», «Ukrains’ka shkola», «Torgivlia i promysel», «Gospodars’ko-kooperatyvne zhyttia», «Ukrainskyi gospodar», «Ukrainskyi esperantist», «Radiotehnik», «Politviazen’», «Ukrainskyi selianyn» Considering three riznovektorni magazines «Teatr» (edition of Association Mistciv the Ukrainian Stage), «Studentskyi prapor» (a magazine of the Ukrainian academic young people is in Austria), «Yuni druzi» (a plastoviy magazine is for senior children and youth) assert that maintenance all three magazines directed on creation of different on age and by the professional orientation of national associations for achievement of the unique purpose – cherishing and maintainance of environments of ukrainstva, identity, in the conditions of strange land. Without regard to unfavorable publisher-polydiene possibilities, absence of financial support and proper encouragement, release, followed the intensive necessity of concentration of efforts for achievement of primary purpose – receipt and re-erecting of the Ukrainian State.
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