Relevant bibliographies by topics / Theater Theater Theater and state

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
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Academic literature on the topic 'Theater Theater Theater and state'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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

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Veksler, Asya F. "Nadezhda Bromley and Boris Sushkevich: Actors, Directors, Vakhtangov Followers (Materials for a Creative Biography)." Observatory of Culture 17, no. 5 (November 12, 2020): 526–37. http://dx.doi.org/10.25281/2072-3156-2020-17-5-526-537.

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Boris Sushkevich and Nadezhda Bromley (Sushkevich-Bromley) are remarkable theatrical figures, actors and directors whose lot was connected with the bright and dramatic periods of our country’s theatrical life from the beginning to the middle of the 20th century. They devoted a part of their professional life to the 1st Studio of the Moscow Art Theatre (from 1919 — Moscow Art Academic Theatre), which later became a separate theater (Moscow Art Academic Theatre II, 1924—1936). Since the middle of the 1930s, they worked in leading Leningrad theaters — the Leningrad State Academic Drama Theater (Alexandrinsky Theatre) and the New Theater (1933—1953, now the Saint Petersburg Lensoviet Theatre). This article introduces little-studied archival sources of biographical nature related to the work of these outstanding cultural figures.Nadezhda Nikolayevna Bromley was a heiress of the Bromley — Sherwood creative dynasties, which had made a significant contribution to Russian culture. She joined the troupe of the Moscow Art Theater in 1908, performed on the stage of the 1st Studio (1918—1924), was one of the leading actresses of the Moscow Art Academic Theatre II after its separation, participated in its Directing Department being in charge of the literary part. Generously gifted by nature, N. Bromley wrote poems, short stories, novels; her fictional works “From the Notes of the Last God” (1927) and “Gargantua’s Descendant” (1930) earned critical acclaim. Two plays by N. Bromley were staged in the Moscow Art Academic Theatre II. One of them — the full of hyperbole and grotesque “Archangel Michael” — was passionately accepted by E.B. Vakhtangov and A.V. Lunacharsky, though never shown to a wide audience. At the Leningrad State Academic Drama Theater and the New Theater, N. Bromley not only successfully played, but also staged performances based on the works by A.P. Chekhov, A. Tolstoy, M. Gorky, F. Schiller, and W. Shakespeare.Boris Mikhailovich Sushkevich, brought up by the Theater School of the Moscow Art Academic Theatre and in the Vakhtangov tradition of the playing grotesque, is one of the most interesting and original theater directors of his time. His directorial work in the play “The Cricket on the Hearth” based on a Christmas fairy tale by Charles Dickens became the hallmark of the 1st Studio (and later of the Moscow Art Academic Theatre II as well). This play remained in the theatre’s repertoire until January 1936. B. Sushkevich was a recognized theatre teacher — with his help, the Leningrad Theater Institute (now the Russian State Institute of Performing Arts) was established in 1939. Together with N. Bromley, he managed to fill the New Theater with bright creative content and make it a favorite of the Leningrad audience.This research expands the understanding of a number of yet unexplored aspects of the history of theater in our country and recreates the event context of the era.
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Agaeva, Ekaterina V., Tikhon S. Sergeev, and Renata V. Mikhailova. "THE PROBLEM OF TRAINING THEATER PERSONNEL FOR CHUVASHIA IN THE 20–30s OF THE XX CENTURY." Vestnik Chuvashskogo universiteta, no. 2 (June 25, 2021): 5–10. http://dx.doi.org/10.47026/1810-1909-2021-2-5-10.

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In the 1920s Chuvashia was developing rapidly, and the growth in the number of cultural institutions was observed. The cadres of the creative intelligentsia were in demand, but there were no field-oriented specialized educational institutions in the republic. The issue of training specialists began to be dealt with at the level of state and party bodies. One of the first to open was the theater studio, which gave the opportunity to strengthen the staff of two republican theaters. Moderate funding allocated to support the theater arts, and the entire culture as a whole, of course affected its quality. But the enthusiasm of I.S. Maksimov-Koshkinsky, I.A. Slobodsky and other people of art allowed to continue the work of personnel training. In the 1920s and 1930s, training of creative intelligentsia cadres reached a new qualitative level. Financing of cultural institutions, provision with qualified teaching staff, regulation of admission, training, and graduation in educational institutions yielded positive results. In 1935, a theater vocational school was opened in Cheboksary. In 1934, a special collective farm-state farm department was opened at the extramural department of the State Institute of Theater Arts, and a little later, in 1940, a specialized Chuvash theater studio was opened. The activity of the theater school was curtailed, but specialists training was successfully conducted by the studio under GITIS (the Russian University of Theatre Arts). In the pre-war years, 6 new theaters were opened in the republic. The national creative intelligentsia was formed.
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Khubulova, Svetlana. "FORMATION OF THE NEW THEATER IN TIMES OF THE REVOLUTION AND CIVIL WAR ON TEREK." History, Archeology and Ethnography of the Caucasus 15, no. 1 (March 19, 2019): 22–27. http://dx.doi.org/10.32653/ch15122-27.

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Abstract. The article is devoted to the problem of the state of theatre life in the Terek region in 1917-1920, which is little studied in the regional historiography. The author introduces into the scientific circulation a corpus of new archival documents, which makes it possible to reconstruct the main activities of local theaters, to consider the influence of Moscow touring groups on the theatrical repertoire and audience preferences in the Terek region. The author dwelled on the difficulties experienced by theater companies in the difficult conditions of the revolution, the Civil War and the post-war devastation. The analysis of the documents allowed us to identify new forms of theatrical art, including workers, amateur and national theatrical societies, which fit well into the concept of educating the “new” Soviet person. In the conditions of the most fierce ideological battles, theaters were given the task of introducing the broad masses to art, who had previously been far from it and preferred simpler forms of leisure. In this regard, the repertoire of theaters was represented not only by classical works but also by revolutionary plays of mediocre quality. By trial and error, the theater acquired a new repertoire in a new environment, a spectator who was to educate and instill a good taste for highly artistic theatrical productions. The role of M. Bulgakov in the development of the proletarian theater is also interesting: the plays written by him had ideological fullness and in quality were much higher than those that were present in the repertoire of local theaters. Thanks to the writer’s efforts, the Ossetian Youth Studio was founded in Vladikavkaz, which became the basis of the future professional theater.
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Szuster, Magdalena. "Theater Without a Script—Improvisation and the Experimental Stage of the Early Mid-Twentieth Century in the United States." Text Matters, no. 9 (December 30, 2019): 374–92. http://dx.doi.org/10.18778/2083-2931.09.23.

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It was in the mid-twentieth century that the independent theatrical form based entirely on improvisation, known now as improvisational/improvised theatre, impro or improv, came into existence and took shape. Viola Spolin, the intellectual and the logician behind the improvisational movement, first used her improvised games as a WPA worker running theater classes for underprivileged youth in Chicago in 1939. But it was not until 1955 that her son, Paul Sills, together with a college theater group, the Compass Players, used Spolin’s games on stage. In the 1970s Sills made the format famous with his other project, the Second City. Since the emergence of improv in the US coincides with the renaissance of improvisation in theater, in this paper, I will look back at what may have prepared and propelled the emergence of improvised theater in the United States. Hence, this article is an attempt to look at the use of improvisation in theater and performing arts in the United States in the second half of the 20th century in order to highlight the various roles and functions of improvisation in the experimental theater of the day by analyzing how some of the most influential experimental theaters used improvisation as a means of play development, a component of actor training and an important element of the rehearsal process.
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Vukajlov, Ljiljana, Aleksandra Milinkovic, Dijana Brkljac, and Olivera Dobrivojevic. "Evaluation model of the quality of theater locations: Case study - Novi Sad, Serbia." Facta universitatis - series: Architecture and Civil Engineering 15, no. 2 (2017): 225–38. http://dx.doi.org/10.2298/fuace170206017v.

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With the development of information technologies and weakening of the economic power of citizens in the Republic of Serbia, interest in classical theater has decreased. As a result of their reduced activity, theater facilities are gradually deteriorating, and some are being adapted while others are being closed. The main objective of this paper is to evaluate the quality of significant urban parameters, to observe the possibilities for improvement of the functioning of theaters, and to propose concrete measures for revitalization of their surroundings. The efficiency and validity of a defined research methodology were tested on three representative examples, the Serbian National Theater, the Youth Theater, and the Novi Sad Theater, located in Novi Sad in Serbia. Upon recognition of the current state of the spatial, physical, functional and ecological conditions of the areas surrounding the representative theaters, the current problems were recorded, and measures are proposed that would be necessary for the theaters? revitalization.
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Agratina, Elena E. "Jean-Honoré Fragonard’s Work and the Theatre Culture of the 18th Century." Observatory of Culture 16, no. 4 (September 13, 2019): 406–17. http://dx.doi.org/10.25281/2072-3156-2019-16-4-406-417.

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The article, for the first time, exami­nes the work of the master of the 18th century Jean-Honoré Fragonard (1732—1806) within the context of the theatre culture of that time. Being a student of François Boucher (1703—1770), who was working as a theater decorator for a long time, Fra­gonard from his youth had the opportunity to join the world of theater. The painter’s passion for the stage greatly influenced the thema­tic and figu­rative composition of his works. Early histo­rical pain­tings of Fragonard, such as “Jeroboam Sacrifi­cing to Idols” (1752, School of Fine Arts, Paris), were crea­ted under the influence of Baroque thea­ter and decorative art and opera productions. Undoubtedly, Fragonard’s familiarity with theatre was promoted by his long stay in Italy, where the famous families of theater decorators Bibiena and Galliari was wor­king at that time. The article pays special attention to the process of planning and execution of the painting “The High Priest Coresus Sacrificing Himself to Save Callirhoe” (1765, Louvre), made not without regard to the opera “Callirhoe”, popular in Paris in the 18th century. It was theater that inspired the master to create his famous costume series of “Fantasy Portraits”, one of which depicted Marie-Madeleine Guimard (1743—1816), who not only had posed for the artist, but also ordered him to design her own mansion conceived as a temple of Terpsichore, the Muse of dance. In addition, Fragonard was the author of several panoramic genre paintings conveying the atmosphere of the then popular street theater. Works of this brilliant master exem­plify the relationship of arts that determined the nature of the cultural environment of that era and requires constant attention from modern researchers.
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Earnest, Steve. "The East/West Dialectic in German Actor Training." New Theatre Quarterly 26, no. 1 (February 2010): 81–89. http://dx.doi.org/10.1017/s0266464x10000096.

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In this article Steve Earnest discusses contemporary approaches to performance training in Germany, comparing the content and methods of selected programmes from the former Federal Republic of Germany to those of the former German Democratic Republic. The Hochschule für Musik und Theater Rostock and the University of the Arts in Berlin are here utilized as primary sources, while reference is also made to the Bayerische Theater-akademie ‘August Everding’ Prinzregententheater in Munich, the Hochschule für Musik und Theater ‘Felix Mendelssohn Bartholdy’ in Leipzig, and Justus Leibig Universität in Giessen. The aim is to provide insight into theatre-training processes in Germany and to explore how these relate to the national characteristics that have emerged since reunification. Steve Earnest is Associate Professor of Theatre at Coastal Carolina University in Myrtle Beach, South Carolina. His publications include The State Acting Academy of East Berlin (Mellen Press, 1999) and articles in Performer Training (Harwood Publishers, 2001), New Theatre Quarterly, Theatre Journal, and Western European Stages.
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Misirača, Marko. "50 Years of Drama from Bosnia & Herzegovina in Theater Festival of Bosnia and Herzegovina in Jajce: A Short History of Bosnian Theater Plays Through an Overview of Participation in the B&H Theater Festival in Jajce." Društvene i humanističke studije (Online) 6, no. 3(16) (July 27, 2021): 59–70. http://dx.doi.org/10.51558/2490-3647.2021.6.3.59.

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The text reviews the presence of Bosnian drama and prose literature on professional theater stages in BiH through performances that participated in the Theater Festival of BiH in Jajce in the last 50 years. Through an overview of the participation of performances at one of the most important state festivals, the presence of BiH plays in professional theaters in Bosnia is analyzed in the mentioned period - the treatment of BiH dramas by theaters as well as perceptions of them by the professional audience.
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M., Yatsiv. "LIGHT IN THE ARCHITECTURE OF MODERN THEATER BUILDINGS." Architectural Studies 6, no. 1 (September 1, 2020): 46–52. http://dx.doi.org/10.23939/as2020.01.046.

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The article discusses the role and functions of light in the space of modern theater buildings outside the auditorium and stage space. The architectural and structural factors of the formation of the lighting environment in modern theater buildings are determined; trends and features of the functioning of light in the space of modern theaters are revealed. The influence of the architectonics of buildings on the nature of the illumination of theatrical spaces is established. The experience of the formation of the lighting environment of theater buildings on the example of modern domestic and foreign theaters is analyzed.
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Dunkelberg, Kermit. "Confrontation, Simulation, Admiration: The Wooster Group's Poor Theater." TDR/The Drama Review 49, no. 3 (September 2005): 43–57. http://dx.doi.org/10.1162/1054204054742444.

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The Wooster Group's Poor Theater questions the state of contemporary performance by trying on the styles of a vanished group, the Polish Laboratory Theatre, dissolved in 1984; and a vanishing one, the Ballett Frankfurt, disbanded in August 2004 (half a year after Poor Theater had its first showing) and resurrected as the smaller Forsythe Company in 2005.
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Dissertations / Theses on the topic "Theater Theater Theater and state"

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Midthun, Amy L. "Manipulating the Stage: A Comparison of the Government-Sponsored Theaters of the United States and Nazi Germany." Ohio : Ohio University, 2002. http://www.ohiolink.edu/etd/view.cgi?ohiou1040072155.

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Recklies, Donald F. "Spectacle and illusion : the mechanics of the horse race on the theatrical stage, 1883-1923 /." The Ohio State University, 1985. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487259580263868.

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Blumenthal, Arthur R. "Giulio Parigi's stage designs Florence and the early Baroque spectacle /." New York : Garland Pub, 1986. http://books.google.com/books?id=iDVVAAAAMAAJ.

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Konesko, Patrick M. "Representing Childhood: The Social, Historical, and Theatrical Significance of the Child on Stage." Bowling Green State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1365154777.

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Phillips, Chelsea L. "“Carrying All Before Her:” Pregnancy and Performance on the British Stage in the Long Eighteenth Century, 1689-1807." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1418649014.

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Gainey, Thomas K. "Taking charge of joint theater logistics : the case for a theater logistics command /." Norfolk, Va. : Joint Forces Staff College, Joint Advanced Warfighting School, 2006. http://handle.dtic.mil/100.2/ADA451236.

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Thesis (M.S. in Joint Campaign Planning and Strategy)--Joint Forces Staff College, Joint Advanced Warfighting School, 2006.
"14 April 2006." Vita. "National Defense Univ Norfolk VA"--DTIC cover. Includes bibliographical references (p. 74-76). Also available via the Internet.
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Gambill, Christin N. "" A Poor Player That Struts and Frets His Hour Upon the Stage..." The English Theatre in Transition." University of Akron / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=akron1458984846.

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Kovarik, Kathleen R. "In Riches, Rags, Rhythm, and Rhyme: Designing Kent State University's Production of Ragtime." Kent State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=kent1334610228.

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Calcamp, Kevin. "The Semiotics of Celebrity at the Intersection of Hollywood and Broadway." Bowling Green State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1471741170.

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Bond, Alisha J. "Creating Kate from an Inspired State: Application of the Michael Chekhov Technique in Musical Theatre." Miami University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=miami1501293965312088.

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Books on the topic "Theater Theater Theater and state"

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Theater & politics. Evanston, Ill: Northwestern University Press, 1992.

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Theater technology. New York: McGraw-Hill Book Co., 1988.

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Izenour, George C. Theater technology. 2nd ed. New Haven [Conn.]: Yale University Press, 1996.

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1893-1974, Knudsen Vern Oliver, and Newman Robert B. 1917-1983, eds. Theater design. 2nd ed. New Haven: Yale University Press, 1996.

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Shakespeare's theater. Chicago: Heinemann Library, 2000.

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Morley, Jacqueline. Shakespeare's theater. New York: P. Bedrick Books, 1994.

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Dukore, Bernard Frank. Shaw's theater. Gainesville: University Press of Florida, 2000.

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Environmental theater. New York: Applause, 1994.

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Morley, Jacqueline. A Shakespearean theater. Columbus, Ohio: Peter Bedrick Books, 2003.

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Nardo, Don. The Globe Theater. San Diego, Calif: Blackbirch Press, 2005.

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

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Coulter, Todd J. "Reactive Theater: State Theater and New Voices in China and France." In Transcultural Aesthetics in the Plays of Gao Xingjian, 18–29. New York: Palgrave Macmillan US, 2014. http://dx.doi.org/10.1057/9781137440747_2.

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Kelz, Robert. "Theater on the Move." In Competing Germanies, 58–90. Cornell University Press, 2020. http://dx.doi.org/10.7591/cornell/9781501739859.003.0003.

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This chapter traces the journey of the German Theater's founder, Ludwig Ney, from Europe to Paraguay and, ultimately, Argentina. Shifting to Jewish actors, the chapter then reconstructs three Jewish thespian refugees' flights to South America and explores how their work onstage both exposed them to Nazi persecution and facilitated their escapes to an unlikely reunion in Argentina. This discussion emphasizes the interdependency between actors and audiences at theaters in times of crisis, casting dramatic performances as a laboratory for testing survival strategies amid the rise of European fascism. Another focus is the evolution of theater management during the 1930s. Bereft of state subventions, stages were compelled to upend the tradition of cultural theater, adopting instead a market-based approach to repertoire and advertising similar to popular entertainment venues, like the cinema. This controversial model became the blueprint for the Free German Stage in Buenos Aires.
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Thayer, Willy. "The Destruction of Theater." In Technologies of Critique, translated by John Kraniauskas, 107–11. Fordham University Press, 2020. http://dx.doi.org/10.5422/fordham/9780823286744.003.0035.

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This chapter discusses how the destruction of the metaphysics of right is at the same time the destruction of the metaphysics of representation. It explains how the destruction of the metaphysics is involved in the destruction of metaphysical theater and Western theater. Strikes and progressive, foundational revolutionary movements have happened and left the marks of both critique and crisis on theater. The chapter analyzes strikes and movements that have nourished the abstract principle of representation and its oppositional dialectic, the topos, dynamic and transferential economy between stage and stalls, state and people. It mentions the Benjaminian pure strike, which is involved in the unworking of theatre, the fetish of revolution, and sovereign strikes whose evangelist version of the extinction of bourgeois theatre has constituted ratification in the negative.
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Hannerz, Ulf. "American Theater State:." In America Observed, 103–19. Berghahn Books, 2016. http://dx.doi.org/10.2307/j.ctvss40db.7.

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"The Theater." In Stage Management Basics, 19–29. New York : Routledge, 2016.: Routledge, 2016. http://dx.doi.org/10.4324/9781315660257-4.

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"THEATER TODAY." In Contemporary Women Stage Directors. Methuen Drama, 2019. http://dx.doi.org/10.5040/9781474268561.ch-007.

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"The Theater." In From the Shtetl to the Stage, edited by Alexander Granach and Herbert S. Lewis, 117–28. Routledge, 2017. http://dx.doi.org/10.4324/9780203791141-23.

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Perrotta, Maria Antonella. "Theater School." In Handbook of Research on Didactic Strategies and Technologies for Education, 462–72. IGI Global, 2013. http://dx.doi.org/10.4018/978-1-4666-2122-0.ch041.

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The “Teatro a Scuola” (Theater School) project, directed at 14-18 year-old, Real innovation lies in the involvement of students as writers, in a collaborative theatrical storytelling. During the theater workshop the teacher in charge of the project planned and implemented with the participants experimental activity that was inserted within the Italian program. Its purpose is to stimulate participants’ creativity. It aims at to become an integral part of the activities foreseen by the school syllabus and to offer, next to the traditional learning method, a form of learning by doing. The project consists in three distinct, yet interdependent, moments: a first theoretical stage, which foresees a short series of lessons on the history of theater; a second stage dedicated to a theater workshop (elocution, lively reading, mime, song, dance etc.); and a final show, i.e. a genuine theatrical representation for the whole school and all citizens. Characteristics of innovation and experimentation of the project were that: students were not only actors but also authors and screenwriters; also, the project involved elders of the University of the Third Age (NGO)
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"The Theater of State." In Localizing Paradise, 139–80. BRILL, 2005. http://dx.doi.org/10.1163/9781684173990_005.

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"Introduction." In Theater of State, 1–10. Stanford University Press, 2012. http://dx.doi.org/10.11126/stanford/9780804752886.003.0001.

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

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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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Ya Liu, Chengbin Chu, and Kanliang Wang. "Aggregated state dynamic programming for operating theater planning." In 2010 IEEE International Conference on Automation Science and Engineering (CASE 2010). IEEE, 2010. http://dx.doi.org/10.1109/coase.2010.5584004.

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Dimarogonas, Andrew D. "Mechanisms of the Ancient Greek Theater." In ASME 1992 Design Technical Conferences. American Society of Mechanical Engineers, 1992. http://dx.doi.org/10.1115/detc1992-0301.

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Abstract The word Mechanism is a derivative of the Greek word mechane (which meant machine, more precisely, machine element) meaning an assemblage of machines. While it was used for the first time by Homer in the Iliad to describe the political manipulation, it was used with its modern meaning first in Aeschylos times to describe the stage machine used to bring the gods or the heroes of the tragedy on stage, known with the Latin term Deus ex machina. At the same time, the word mechanopoios, meaning the machine maker or engineer, was introduced for the man who designed, built and operated the mechane. None of these machines, made of perishable materials, is extant. However, there are numerous references to such machines in extant tragedies or comedies and vase paintings from which they can be reconstructed: They were large mechanisms consisting of beams, wheels and ropes which could raise weights up-to one ton and, in some cases, move them back-and-forth violently to depict space travel, when the play demanded it. The vertical dimensions were over 4 m while the horizontal travel could be more than 8 m. They were well-balanced and they could be operated, with some exaggeration perhaps, by the finger of the engineer. There is indirect information about the timing of these mechanisms. During the loading and the motion there were specific lines of the chorus, from which we can infer the duration of the respective operation. The reconstructed mechane is a spatial three- or four-bar linkage designed for path generation.
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Zheng, Ying. "The Development Research of Digital Technology in Russian Theater Stage Design." In Proceedings of the 2nd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icassee-18.2018.161.

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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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Majdanova, M. N. "On the problem of the stage implementation of content in the Russian director's theater beginning of XX century." In Scientific Trends: Philology, Culturology, Art history. LJournal, 2019. http://dx.doi.org/10.18411/spc-26-03-2019-11.

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Geiser, Kyle, William Maier, Nicholas Ives, Jared Van Curen, Gunnar Tamm, Brodie Hoyer, and Harry Moore. "Field Improvised Electric Arc Welder." In ASME 2016 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2016. http://dx.doi.org/10.1115/imece2016-67890.

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Generations of warfighters have benefited from field manuals to provide instructional knowledge for creating improvised devices and capabilities from readily available resources. These devices range from simple fundamentals to classified advances in materials and technologies. A collaborative effort between the United States Military Academy and the U.S. Army Armament Research, Development and Engineering Center is creating the latest repertoire of capabilities for soldiers in theater. An improvised electric arc welder was developed to provide field expedient capabilities to them. Both AC wall power and DC power from car batteries were utilized to demonstrate various options. This paper provides the electrical models, experimental results and lessons learned. Welds were tested in a tension tester to determine their viability.
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Aust, Matthias, Matthias de Clerk, Roland Blach, and Manfred Dangelmaier. "Towards a Holistic Workflow Pattern for Using VR for Design Decisions: Learning From Other Disciplines." In ASME 2011 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. ASMEDC, 2011. http://dx.doi.org/10.1115/detc2011-47460.

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In their respective design processes automobile manufacturers use more and more virtual prototyping. Today, even some design decisions are made, based on purely digital vehicle models. This is a report of a recent study, which was done with a German car manufacturer, that has looked into different academic disciplines besides computer science, to find new ways to vitalize and stage digital vehicle models. Usability engineering, psychology, dramatics, and theater teaching were consulted. As a result a novel workflow pattern is proposed, exemplarily conceptualized for Design Reviews of automobiles. It embeds the use of Virtual Reality (VR) or Mixed Reality (MR) between Briefing and Debriefing phases, to give the users a chance for preparing and postprocessing the digital experience. This workflow pattern and its pragmatic conception are introduced in this paper.
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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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Reports on the topic "Theater Theater Theater and state"

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Rivera, Francisco. Intra-theater Air Mobility and Theater Distribution for the Joint Force Commander: Is the United States Central Command Model the Best. Fort Belvoir, VA: Defense Technical Information Center, June 2010. http://dx.doi.org/10.21236/ad1019182.

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Corey, Brian K. Theater Ballistic Missile Defense, an Achilles Heel for the United States. Fort Belvoir, VA: Defense Technical Information Center, February 1999. http://dx.doi.org/10.21236/ada363251.

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Thomas, Gary L. United States Marine Corps Air-Ground Integration in the Pacific Theater. Fort Belvoir, VA: Defense Technical Information Center, March 1999. http://dx.doi.org/10.21236/ada424520.

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Christie, R. A. The United States' Second Major Theater of War: A Bridge Too Far? Fort Belvoir, VA: Defense Technical Information Center, January 2000. http://dx.doi.org/10.21236/ada432180.

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Vining, Lisa C. Aligning the Mountain and the Molehill: How the Combatant Commander Coordinates his Theater Security Cooperation Plan with the State Department. Fort Belvoir, VA: Defense Technical Information Center, February 2005. http://dx.doi.org/10.21236/ada464326.

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Kabat, Brian W. The Sun as a Non-state Actor: The Implications on Military Operations and Theater Security of a Catastrophic Space Weather Event. Fort Belvoir, VA: Defense Technical Information Center, May 2010. http://dx.doi.org/10.21236/ada525043.

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Elam, Richard L. A Theater of War Big Enough for All Services: The U.S. Army's Operational Role in the United States Pacific Command. Fort Belvoir, VA: Defense Technical Information Center, April 1990. http://dx.doi.org/10.21236/ada234970.

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Vernon, Michael H. Air Interdiction: Joint Coordination Issues for the United States Army and Air Force Conducting Coalition Warfare within the NATO Theater of Operations. Fort Belvoir, VA: Defense Technical Information Center, April 1986. http://dx.doi.org/10.21236/ada174193.

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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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