Relevant bibliographies by topics / Theater Theater Theater and society

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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 Theater and society'

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

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Journal articles on the topic "Theater Theater Theater and society"

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Forenza, Brad. "Sustained Community Theater Participation as Civil Society Involvement." Nonprofit and Voluntary Sector Quarterly 46, no. 3 (July 20, 2016): 549–66. http://dx.doi.org/10.1177/0899764016660385.

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Community theaters proliferate in every state in the nation, yet they are rarely considered in civil society research. Participation in civil society is capable of producing individual (psychological empowerment) and community-level outcomes, yet less is known about how community theaters might be capable of producing the same. Guided by the empirically tested dimensions of intra-organizational empowerment, this qualitative study interrogates four internal processes of voluntary membership in a community theater (shared beliefs, opportunity role structure, social support, and leadership). Directed content analysis of 14 in-depth interviews support and extend our understanding of existing theory for this less examined population. Implications for policy, practice, and future research are discussed.
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Brown, Lorraine A. "Pointing to the Future." Theatre Survey 36, no. 2 (November 1995): 83–87. http://dx.doi.org/10.1017/s0040557400001216.

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As many historians of American theater and culture know, the Fenwick Library of George Mason University (GMU) became the home in 1974 to a major collection of Federal Theatre Project (FTP) materials. As many researchers also know, some FTP material was removed from GMU to the Library of Congress in the fall of 1994. In this essay, I will bring Theatre Survey's readers up to date on the status of the FTP collection, which, because of its continuing development over two decades, houses not only a considerable body of FTP material but also early records of the American National Theatre and Academy (ANTA). ANTA in its earliest days was a worthy successor to the FTP in the drive to have a national theater in the United States. Since 1980, all of these holdings have been an integral part of the Center for Government, Society and the Arts (CGSA) at GMU. CGSA has been the site of many activities exploring the relationship between our government and the arts, ranging from conferences on theater and cultural studies to our own theatrical productions of FTP materials, some of which I will outline here.
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Modreanu, Cristina. "Elements of Ethics and Aesthetics in New Romanian Theatre." New Theatre Quarterly 29, no. 4 (November 2013): 385–93. http://dx.doi.org/10.1017/s0266464x13000705.

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Young Romanian theatre artists are very concerned to address issues from the recent past and in using collaborative art to educational and therapeutic ends. The implications of the increased ethical consciousness in their work is addressed here by Cristina Modreanu, who focuses on the productions of directors Gianina Cӑrbunariu and David Schwartz. She analyzes the relationship between ethics and aesthetics in contemporary work against the backdrop of post-Communist Romanian society and in a global context, as well as the dynamics connecting the new wave of Romanian theatre to internationall tendencies in contemporary art, as observed by authors such as Jaques Rancière and Claire Bishop. Cristina Modreanu's doctorate on Romanian theatre after 1989 is from Bucharest University of Theatre and Film, and she has also developed the subject in lectures at Tel Aviv University and Plymouth University. A Fulbright alumna and former Visiting Scholar at New York University, Performance Studies Department, Modreanu currently lectures in Contemporary Performance at Bucharest University. Her publications include articles on Romanian and Eastern European theatre for journals such as Theater, Theater der Zeit, and Alternatives Théâtrales, and for the anthology Romania after 2000: Five New Plays, edited by Martin E. Segal.
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Bartsch, Shadi, and William J. Slater. "Roman Theater and Society." Phoenix 53, no. 1/2 (1999): 152. http://dx.doi.org/10.2307/1088131.

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Karr, David. "“Thoughts that Flash like Lightning”: Thomas Holcroft, Radical Theater, and the Production of Meaning in 1790s London." Journal of British Studies 40, no. 3 (July 2001): 324–56. http://dx.doi.org/10.1086/386246.

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During the 1790s, political speech in London's public spaces and commercial sites of leisure came under intense governmental surveillance. Fearing revolutionary infection from across the channel in France, the Pitt ministry sent spies into popular organizations such as the London Corresponding Society and turned more attention to other sites as well, including coffeehouses, taverns, debating-club rooms, and the street. Recently, historians too have explored the ways in which radicals manipulated the ludic vocabularies of urban sociability to critique the regime, protest persecution, and argue for reform. In this article I address a site that figured prominently as a place for radical speech in the 1790s: the Theatre Royal at Covent Garden. Although it was a site whose content was strictly regulated by the state through the office of the Examiner of Plays, the royal theater was, like other eighteenth-century theaters, a place where performances multiplied: viewers watched the play, but in the well-lit and noisy pit, boxes, and galleries, they watched other viewers intently. All were engaged in a complex process of performance, reception, and counterperformance. Indeed, as scholars have shown, theater audiences in late Georgian London were highly skilled at appropriating a theatrical grammar by which to demand their perceived rights as English subjects. Such strategies revealed the potency of theatrical representation in a society where, as Gillian Russell notes, “performance, display and spectatorship were essential components of the social mechanism.”
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Lecińska-Ruchniewicz, Monika. "Rys historyczny Teatru Muzycznego Takarazuka – w poszukiwaniu nowego „teatru narodowego”." Slavia Occidentalis, no. 74/2 (December 10, 2018): 51–64. http://dx.doi.org/10.14746/so.2017.74.22.

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The Takarazuka Revue (Takarazuka Kagekidan) occupies an important place among Japanese modern theatres and enjoys unwavering popularity both in Japan and abroad. Both the artistic and commercial character of the idea that brought the first Japanese all-female revue to life in 1914 determined its further development and process of conversion from a simple choir to a full scale musical theater. Kobayashi – the founder of the Takarazuka Revue, an opera aficionado and theater critic – was driven by the need to create a new, affordable and easily understandable national theater that would meet the needs of modern Japanese society. Currently, the Takarazuka Revue is one of the most active and successful modern Japanese theaters. Its harmonious combinationof trends in mass culture and Japanese and Western theatrical traditions is fascinating. The highly characteristic fusion of simplicity and splendour, kitsch and sophistication that can be seen in the revue’s works, creates a unique, albeit somewhat controversial style, complemented by musumeyaku (female emploi) i otokoyaku (male emploi) played by actresses taught in a special school affiliated to the Takarazuka Revue.
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Nelson, John. "Opposing Official Nationality." Experiment 25, no. 1 (September 30, 2019): 115–29. http://dx.doi.org/10.1163/2211730x-12341333.

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Abstract It was political turmoil in Russia that brought Savva Mamontov and his Abramtsevo circle together with Nikolai Rimsky-Korsakov. The composer questioned whether the “Official Nationality” decree of Tsar Nicholas I, with its emphasis on autocracy, Orthodoxy, and nationality—which together asserted despotic rule—truly represented the values of a changing Russian society. In addition, his operas found little favor within the Imperial theater directorate. This changed, however, when the Imperial theater monopoly was abolished, allowing private theaters to operate freely. Mamontov opened his Private Opera in 1885 at Abramtsevo and in 1895 in Moscow. His aim was to demonstrate that a private opera house could compete with the Imperial theaters, in addition to giving Moscow the opportunity to see Russian-themed operas. It was Mamontov’s new approach to stage direction, including the incorporation of fine artists in the creative process, that attracted the composer. Harassment by the Tsar, the bureaucracy of the Imperial theaters, and the western-orientated repertoire committee, had all alienated the composer. Mamontov’s dedication to filling a gap in the Russian music world, as well as his challenge to the Imperial theaters, caught Rimsky-Korsakov’s attention. Through their collaboration they questioned the bureaucracy and publicly registered their protest against Nicholas II. Together, they challenged the foundations of the “Official Nationality” doctrine propounded by the tsars since the rule of Nicholas I, which in a changing Russian society had acquired a new meaning.
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Fernandez, Doreen G., and Resil B. Mojares. "Theater in Society, Society in Theater: Social History of a Cebuano Village, 1840-1940." World Literature Today 61, no. 1 (1987): 159. http://dx.doi.org/10.2307/40142695.

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Balaban, O. I., O. M. Venher, and O. B. Opanasyk. "Market fundamentals of organization of work in the field of stage and audio-visual arts and production." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 53, no. 53 (November 20, 2019): 200–214. http://dx.doi.org/10.34064/khnum1-53.12.

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Background. Survival and further development is an acute problem for any modern Ukrainian repertory theater. According to the Law (which is only a framework, since it does not answer all the questions that arise), repertory theaters are non-profit organizations and exist for budget funds. The latter are steadily declining and depreciating in the conditions of market relations exist in modern Ukraine. The purpose of the article is to consider and propose methodological approaches to the development and implementation of innovations in the organization of cultural institutions in the field of cultural industries, theater, film and television. Presentation of the main material. The modern development of society is extraordinary – it is filled with changes and transformations caused by the influence of such phenomena as globalization, cheap labor, a large number of competitors. The spread of information and nanotechnology, computer networks is causing changes in the structure of organizations and cultural institutions, in particular, a reduction in their size, which, in turn, predetermines innovation as a result of a creative search for original, non-standard solutions to various problems. Globalization today is not only fierce competition. It also affects the human capital of enterprises, in particular, transforms the concept of a permanent place of work. Technogenic civilization and the rapid change of information technology make cultural institutions need to work extraordinary in such relevant areas as technology, personnel and organizational aspects of business. The most important qualities of the modern cultural space, concerning cultural and educational institutions, creative industries, are openness of thoughts and the possibility to avoid stereotypes. As a result of the development of market relations in Ukraine, cultural institutions have economic freedom, respectively, freedom in choosing directions and guidelines for development, as well as of markets for activities, determining directions for using and attracting own funds, creating a competitive policy, etc. In the same time, the following threats were identified that are relevant for any modern Ukrainian repertory theater, namely: 1) the growth of the budget deficit of the country and the region, which can suspend the budget maintenance of theaters; 2) an increase in inflation; 3) economic instability; 4) political instability; 5) the growth of tax rates; 6) a decrease in the solvency of the audience; 7) low demand from the audience for theatrical services; 8) significant variability in the needs of the audience; 9) a high level of competitiveness of other theaters and cultural institutions; 10) changes in public values; 11) low social consciousness of the population. Due to these conditions, the solution of the problem of survival and development requires the search for new strategic approaches to the organization of activities and management of these theaters, which seems quite relevant. The possibilities are contained in the Law itself, which allows theaters to earn money through various types of commercial activities. Strategically, the most promising is production, which is used by almost all foreign non-commercial theaters. The opportunities provided by “The Law on Public-Private Partnership”, 2010, in the fields of tourism, re-creation, culture and sports can be included in support of such activities. The effectiveness and profitability of cultural institutions depends on the quality of management, as well as monitoring the implementation and quality of services. The high potential of cultural institutions with an underestimation of activity and inefficient management leads to insufficient funding for the development of cultural institutions, a lack of working capital, and low material interest of workers. This situation makes it necessary to constantly increase the budget line for the maintenance of institutions. But to increase the budget revenues of cultural institutions, it is possible to use crisis management technologies. The development of crisis management methods by the management company (with an emphasis on theatrical activities) will be aimed at: protecting intellectual property and patenting by type of activity, developing and applying franchising schemes in theatrical activities; constant monitoring of the theater audience in order to identify trends in the development of culture and demand from the audience; collecting and summarizing the practice of successful European theater projects and managerial decisions to create a system of training the managerial staff of cultural institutions; collecting and analyzing information about the interaction of theaters with the external environment, tracking new trends and market contradictions; creating the basis for adjusting the regulatory framework; increasing the profitability of theaters; development of areas related to the core business; attraction and use of various types of financing (budget, grants, commercial, credit, investment funds); reduction of the budget load and the transition from current financing schemes to the financing of theater projects and programs; the creation of new financial instruments for the development of the theater, including depreciation and accumulation of income; the search for opportunities for the management company to implement external financial management and carry out financial planning, control over improving the effectiveness of theater management; creation of systems of motivation and interest of the creative team of theaters; creative audit of theatrical productions and repertoire policy, assessment of the positioning of theaters and theatrical productions. Summing up the above, we can reach the statements: 1) the rapid reduction of budget support for modern Ukrainian repertory theaters may end with a complete rejection of it; 2) under such conditions, it will be appropriate to study the experience of organizing the activities of foreign non-profit theaters that successfully survive in market conditions; 3) this becomes possible through the use of a rather specific activity called “producing”; 4) modern Ukrainian repertory theaters will have to master it; 5) for this purpose, it seems appropriate to create a "production center" in the theater, which can be started as a startup; 6) this creates a new creative and production system that becomes productive.
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Saefudin, NFN. "TEATER TUTUR BAPANDUNG DALAM MASYARAKAT BANJAR." UNDAS: Jurnal Hasil Penelitian Bahasa dan Sastra 15, no. 2 (December 1, 2019): 107. http://dx.doi.org/10.26499/und.v15i2.1525.

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The problem discusses in this study is how does the form of narrative theater bapandung (monologue) in Banjar society. The aim of this study is to reveal the form of narrative theater bapandung (monologue) in Banjar society. Banjar society in South Kalimantan has lots of oral traditions, one of them is narrative theater bapandung. A man is called story teller because of his cleverness telling a story in monologue way and playing several characters, that man is called pamandungan. The story in bapandung has lots of jokes played by pamandungan or the performance player. This study uses descriptive qualitative method. It is a method to get information about narrative theater bapandung in Banjar society deeply. The result shows about the description of narrative theater bapandung in Banjar society.
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Dissertations / Theses on the topic "Theater Theater Theater and society"

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Turnbull, Olivia. "Bringing down the house : the inevitable crisis in England's regional theatres, 1979-1997 /." Thesis, Connect to Dissertations & Theses @ Tufts University, 2004.

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Thesis (Ph.D.)--Tufts University, 2004.
Adviser: Barbara Grossman. Submitted to the Dept. of Drama. Includes bibliographical references (leaves 385-393). Access restricted to members of the Tufts University community. Also available via the World Wide Web;
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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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Taub, Lora E. "Enterprising drama : the rise of commercial theater in early modern London /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 1998. http://wwwlib.umi.com/cr/ucsd/fullcit?p9835408.

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Toure, Jean-Marie. "Théâtre et liberté en Afrique noire francophone de 1930-1985." Villeneuve d'Ascq : Presses universitaires du Septentrion, 1999. http://books.google.com/books?id=2l1cAAAAMAAJ.

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Graham, Catherine (Catherine Elizabeth). "Dramaturgy and community-building in Canadian popular theatre : English Canadian, Québécois, and native approaches." Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=42044.

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The Canadian popular theatre movement's refusal to accept one of the key binary oppositions that organizes Euroamerican theatre practice, the split between community-based and professional theatre, makes it a particularly interesting subject of inquiry for theatre scholars. This dissertation develops a methodology for analyzing this movement by approaching theatre, not as a unified institution or a series of texts, but as a mode of cognition that can overcome another of the basic binary oppositions of modern Euroamerican thought, the opposition between mind and body. Following an introductory chapter that situates the Canadian popular theatre movement in the context of recent Canadian theatre history and of other popular theatre movements around the world, a theoretical chapter lays the foundation for this methodology by exploring such key terms as "community," "professional," and "theatrical." It suggests that theatre is a particularly appropriate cognitive tool for building participatory community in heterogeneous social milieus. Chapters 3, 4, and 5 analyze three stages in the popular theatre process in these terms. Chapter 3 looks at how methods of organizing community workshops put in place particular forms of community. Chapter 4 explores the ways in which the dramaturgic structures of plays created by Headlines Theatre, the Theatre Parminou, and Red Roots Community Theatre are formed both by their creation processes and by their analyses of the problems in the dominant public spheres of the larger society. Chapter 5 looks at the specific contribution professional theatre workers make in focusing audience attention on key elements in community participants' stories. The dissertation concludes by suggesting that popular theatre events can be most fairly evaluated by looking at their contribution to the creation of new categories of thought through which we might publicly discuss and enact truly participatory communities.
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Melo, Carla Beatriz. "Squatting dystopia performative invasions of real and imagined spaces in contemporary Brazil /." Diss., Restricted to subscribing institutions, 2007. http://proquest.umi.com/pqdweb?did=1467889861&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Young, Clinton David. "Zarzuela or lyric theatre as consumer nationalism in Spain, 1874-1930 /." Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2006. http://wwwlib.umi.com/cr/ucsd/fullcit?p3211378.

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Thesis (Ph. D.)--University of California, San Diego, 2006.
Title from first page of PDF file (viewed June 14, 2006). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references (p. 392-417).
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Bastani, Nava Corinne. "A project proposal for the formation of People's Theatre : a community drama project for the moral development and empowerment of the youth in Hout Bay /." Link to the online version, 2007. http://hdl.handle.net/10019/1670.

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Amato, Danielle Anna. "Collage corporeality : body and technology in contemporary American performance /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC IP addresses, 2003. http://wwwlib.umi.com/cr/ucsd/fullcit?p3099913.

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Tener, John V. "Exhibiting the Victorians: Melodrama and Modernity in Post Civil War American Show Prints." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu149259715322474.

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Books on the topic "Theater Theater Theater and society"

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Wiegand, Helmut. Theater im Dialog: Heiter, aufmüpfig und demokratisch : deutsche und europäische Anwendungen des Theaters der Unterdrückten. Stuttgart: Ibidem, 2004.

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

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Lahr, John. Life-show: How to see theater in life and life in theater. New York: Limelight Editions, 1989.

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Theaters. New York: W.W. Norton & Co., 2005.

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Morrison, Andrew Craig. Theaters. New York: W.W. Norton & Co., 2006.

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Theater in society, society in theater: Social history of a Cebuano village, 1840 - 1940. Quezon City, Metro Manila: Ateneo de Manila University Press, 1985.

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König, Marianne. Theater als Lebensweise, Theater als Ethnologie: Der indonesische Regisseur Boedi S. Otong. Tübingen: G. Narr, 1997.

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Steadman, Ian. Popular culture and performance in South Africa. Durban: Contemporary Cultural Studies Unit, University of Natal, 1986.

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Theatre & Ireland. Houndmills, Basingstoke, Hampshire, UK: Palgrave Macmillan, 2010.

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Berger, Verena. Theater und Sprache: Das katalanische Theater zwischen Diktatur und Demokratie. Wien: Edition Praesens, 1999.

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Book chapters on the topic "Theater Theater Theater and society"

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Hackel, Astrid. "Disco und Diskurs: Die performing society als Denkfigur zwischen Kapitalismuskritik und Performancekunst (Boyan Manchev & Willy Prager)." In Theorie und Theater, 37–51. Wiesbaden: Springer Fachmedien Wiesbaden, 2014. http://dx.doi.org/10.1007/978-3-658-08353-3_3.

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Li-ling, Hsiao. "Theater and society in the Ming world." In The Ming World, 185–200. Abingdon, Oxon; New York, NY: Routledge, 2019. | Series: The Routledge worlds: Routledge, 2019. http://dx.doi.org/10.4324/9780429318719-12.

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Lim, Lorraine. "Negotiation and Adaptation: Singapore Theater as Civil Society." In Cultural Policies in East Asia, 104–19. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137327772_7.

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Grasmück-Zhang, Shaohua. "Restoration and Conservation of the Yisu Society Theater in Xi’an." In Authenticity in Architectural Heritage Conservation, 201–18. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-30523-3_9.

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Giacomucci, Scott. "Sociodrama, Activism, and Role Training to Empower Communities." In Social Work, Sociometry, and Psychodrama, 373–92. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-33-6342-7_19.

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AbstractThis chapter will highlight the use of role-playing, especially sociodramaand role trainingin community empowerment and social activist movements. Historical context will be provided for the traditions of using drama, theater, and role-play in social work and social activismincluding Jacob Moreno’s vision of the theater as a modality for societal change. The sociodramatic approach will be outlined with focus on its utility in community settings as an experiential and communal experience of social action. Multiple examples of sociodrama or role training in communities are depicted with an emphasis on its adaptability for different settings and its effectiveness at empowering people. Examples include its application with youth, law enforcement, intergenerational dialogues, domestic violence response teams, undocumented immigrant communities, social work students, and to empower advocacy with employers, insurance providers, funders, or policy makers.
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Acree, William. "Playing Creole: circus dramas, the theater marketplace, and urban society in Argentina and Uruguay." In Performances that Change the Americas, 20–37. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003043638-2.

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Keating-Miller, Jennifer. "Testimony and Theater: The Controversy of Truth-Telling in Post-Apartheid South Africa and Post-Conflict Northern Ireland." In Outrage: Art, Controversy, and Society, 207–22. London: Palgrave Macmillan UK, 2012. http://dx.doi.org/10.1057/9781137283542_9.

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

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

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

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Conference papers on the topic "Theater Theater Theater and society"

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Iannace, Gino, and Umberto Berardi. "Acoustic virtual reconstruction of the Roman theater of Posillipo, Naples." In 173rd Meeting of Acoustical Society of America and 8th Forum Acusticum. Acoustical Society of America, 2017. http://dx.doi.org/10.1121/2.0000607.

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Spanoudakis, N. S., A. Vafidis, A. Paganis, N. Andronikidis, N. Hatzidakis, and V. Niniou-Kindeli. "Geophysical Survey at the Area of the Ancient Theater of Aptera." In 8th Congress of the Balkan Geophysical Society. Netherlands: EAGE Publications BV, 2015. http://dx.doi.org/10.3997/2214-4609.201414164.

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Postma, Barteld N. J., and Brian F. G. Katz. "Influence of visual rendering on the acoustic judgements of a theater auralization." In 173rd Meeting of Acoustical Society of America and 8th Forum Acusticum. Acoustical Society of America, 2017. http://dx.doi.org/10.1121/2.0000575.

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Melnikov, Anton, Marcus Maeder, Monika Gatt, Michael Scheffler, and Steffen Marburg. "Development of a novel sound pressure level requirement for characterizing noise disturbances from theater and opera stages." In 173rd Meeting of Acoustical Society of America and 8th Forum Acusticum. Acoustical Society of America, 2017. http://dx.doi.org/10.1121/2.0000638.

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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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Friedrich, M., M. Boos, and L. J. "Silent Operating Theater Optimization System (SOTOS): A New Noise Reduction and Information Management System—Effects on Stress, Concentration, Well-being, and Communication of OT Crews." In 50th Annual Meeting of the German Society for Thoracic and Cardiovascular Surgery (DGTHG). Georg Thieme Verlag KG, 2021. http://dx.doi.org/10.1055/s-0041-1725655.

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

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

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

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

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Reports on the topic "Theater Theater Theater and society"

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

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

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

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

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

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

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

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

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

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

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