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Sextou, Persephone, and Cory Smith. "Drama is for Life! Recreational Drama Activities for the Elderly in the UK." Text Matters, no. 7 (October 16, 2017): 273–90. http://dx.doi.org/10.1515/texmat-2017-0015.
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Applied Theatre is an inclusive term used to host a variety of powerful, community-based participatory processes and educational practices. Historically, Applied Theatre practices include Theatre-in-Education (TiE), Theatre-in-Health Education (THE), Theatre for Development (TfD), prison theatre, community theatre, theatre for conflict resolution/reconciliation, reminiscence theatre with elderly people, theatre in museums, galleries and heritage centres, theatre at historic sites, and more recently, theatre in hospitals. In this paper we are positioning the application of recreational dramatic activities with older adults (55+) under Applied Theatre and we are exploring the benefits they offer to the participants. We are concerned that their health and wellbeing in western societies is not prioritized and it is clear that loneliness in particular is a current and ongoing issue. We will present research results from a drama dissertation study that took place in a community hall in the South East England where drama is placed at the core of their practice with old populations. Data was collected by a mixed method (semi-structured interviews and semi-immersive observations) and was critically discussed amongst the authors to conclude that attending recreational drama classes brings a certain degree of happiness, social belonging and improvement of interaction with others to old people’s lives.
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Whybrow, Nicolas. "Young People's Theatre and the New Ideology of State Education." New Theatre Quarterly 10, no. 39 (August 1994): 267–80. http://dx.doi.org/10.1017/s0266464x00000579.
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In NTQ38 (May 1994) Nicolas Whybrow offered a brief account of the immediate threat facing theatre in education (TIE) in England and Wales. In the first of two articles in which he examines the general state of theatre produced for both the formal and the informal education sectors, he goes on to provide a more searching contextualization of some of the changes now taking place. Here, he analyzes the implications for TIE of the Education Reform Act of 1988, and the effect of Youth Service policies on theatre for youth work. Nicolas Whybrow recently completed a PhD based on the practices of Red Ladder, Blah Blah Blah, and Leeds TIE, and is about to take up a lecturing appointment at the Workshop Theatre (School of English), Leeds University.
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Whybrow, Nicolas. "The ‘Art‘ of Political Theatre-Making for Educational Contexts." New Theatre Quarterly 11, no. 43 (August 1995): 277–91. http://dx.doi.org/10.1017/s0266464x00009143.
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In NTQ 39 (August 1994) Nicolas Whybrow provided an analysis of ideological changes which have recently occurred in the organization and running of schools and youth clubs. He went on to discuss the ways in which theatre in education (TIE) and theatre in youth work – commonly grouped under the title of Young People's Theatre (YPT) – were being affected by these changes. Here, in the second of two articles, he shifts his perspective towards the standpoint of theatre companies themselves, with a view to locating where the political efficacy of their practices might lie. Nicolas Whybrow is a lecturer at the Workshop Theatre, School of English, Leeds University.
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Adega, Andrew Philips, Daniel Terna Degarr, and Myom Terkura. "Ator A Zan Adua (Christian Traditional Rulers) and Tiv Culture in the 21st Century." International Journal of Culture and History 8, no. 2 (August 8, 2021): 15. http://dx.doi.org/10.5296/ijch.v8i2.18915.
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The chieftaincy and traditional rulership institution is dynamic and one of the most enduring legacies from traditional African societies. Until the coming of the colonialists, the traditional institution led by chiefs, emirs, obas, Ezes, etc performed legislative and judicial functions as well as political, religious, social and economic roles etc. The chieftaincy and traditional rulership institution among the Tiv was not organised in a systematic manner until the creation of the Tor Tiv stool in 1946. With several reformations, the chieftaincy institution has taken a definite stage in Tiv society. However, the problem of the study has to do with the fact that there has arisen in the Tiv chieftaincy scene; the ator a zan adua (Christian traditional rulers) who rather than protect and preserve Tiv cultural heritage are in the vanguard of the corrosion of a culture they had taken an oath to protect and preserve. If prompt action is not taken by the Tiv, their culture would soon disappear as these ator a zan adua have “churchmentised” and Christianised Tiv culture. As scholars of Tiv History, Religion and Culture, the researchers are alarmed at this cultural imperialism being perpetrated by Tiv traditional rulers. The study adopts the historical, descriptive and evaluative methods. In data collection, the primary and secondary methods have been adopted. In the primary source, oral interviews and the observation methods have been used; whereas in the secondary sources of data collection, documented sources from books, journal articles, newspapers and e-sources have been employed. The study established that by the orientation of ator a zan a dua as Christians, they are on the verge of completely supplanting Tiv culture with a foreign one. The study noted that culture gives an identity to a group of people and without it, they cannot be defined. In view of this challenge, the study made various suggestions as means of preserving and sustaining Tiv cultural heritage for generations yet unborn. One of these suggestions is that traditional rulers in Tiv be made to take their oath of office by Swem (the Tiv symbol of justice) so that when they renege on their oath, they would immediately bear the consequences (death by swollen stomach, limbs and severe headache). The study concluded that Tiv culture must not be sacrificed on the altar of Christianity by anybody not even the ator (traditional rulers).
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Lertsirimunkon, Jadesada. "Costs per DALYs Averted of Quadrivalent Influenza Vaccine versus Trivalent Influenza Vaccine in Elderly Population in Thailand." Siriraj Medical Journal 73, no. 4 (March 26, 2021): 259–67. http://dx.doi.org/10.33192/smj.2021.34.
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Objective: Influenza is an infection of the respiratory system with a high annual incident rate. Influenza vaccine can reduce the severity of influenza and prevent transmission of the virus. Influenza vaccines in Thailand are the Trivalent Influenza Vaccine (TIV) and the Quadrivalent Influenza Vaccine (QIV). The cost and the effectiveness of the QIV in preventing transmission of the virus are greater than the TIV. Until now, no studies have been conducted to compare the economic impact of using QIV or TIV. This study aimed to evaluate the economic effects of using QIV versus TIV in Thai populations age 60 years and over. Materials and Methods: The study was carried out from a societal perspective for cost per DALYs averted. A decision tree model was used to analyse the costs and DALYs averted of Thais after they received the vaccine. Results: In a period of one year, it was found that in Thais age 60 years and over, the total cost of TIV was 2,445.19 baht with 0.0094 DALYs and total cost of the QIV was 2,629.28 baht with 0.0082 DALYs and the incremental costeffectiveness ratio (ICER) of the QIV was 158,489.24 baht per DALYs averted. The acceptability curves demonstrated that the probability of QIV being cost-effective was 95% of the willingness to pay, being 1.2 times the Thai gross national income per capita. Conclusion: Therefore, in Thai people age over 60 years and over, QIV is more cost-effective than TIV. The results of this study can be used by policymakers to help inform their decisions about which influenza vaccine is more cost-effective.
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Ogunleye, Foluke. "Zimbabwe's theatre for young people." International Journal of Cultural Policy 10, no. 2 (July 2004): 219–33. http://dx.doi.org/10.1080/1028663042000255826.
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Oussoren, Joanne. "Shadow theatre and older people." Applied Theatre Research 8, no. 1 (July 1, 2020): 143–48. http://dx.doi.org/10.1386/atr_00032_1.
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For five years now, Stichting Droomtheater has been producing interdisciplinary puppet theatre and organizing presentations and workshops featuring shadow theatre. In conjunction with various narrative techniques, this ancient Chinese art form offers great possibilities for small-scale theatre shows and workshops for special target groups. The audiences are easily captured, fascinated and motivated to participate in the creative, interactive sessions following the theatre shows.
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Götrick, Kacke, Zakes Mda, and Kacke Gotrick. "When People Play People: Development Communication through Theatre." Canadian Journal of African Studies / Revue Canadienne des Études Africaines 29, no. 1 (1995): 154. http://dx.doi.org/10.2307/485799.
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BARBER, KARIN. "When People Play People: Development communication through theatre." African Affairs 94, no. 376 (July 1995): 422–24. http://dx.doi.org/10.1093/oxfordjournals.afraf.a098842.
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SHIJA, Terhemba. "Tragedy and its Cathartic Effect in Tiv Praise Poetry: A Reflection on Misery and Death in the Praise Poetry of Obadiah Kehemen Orkor." Nile Journal of English Studies 1, no. 1 (March 7, 2016): 67. http://dx.doi.org/10.20321/nilejes.v1i1.38.
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<p>There is an ironic sense of fatalism in the Praise Poetry of the Tiv people which is created to elicit honour, heroism and success. It is an art form that evokes extreme emotions but also purges them in a manner that puts the reader or hearer in control of himself.</p><p>This paper examines a selection of oral poems by Obadia Orkor from Ukum district of Benue State to prove that Tiv art is a secular craft that seeks rational interpretation of man’s tragic fate in the same manner Greek tragedies did in classical times.</p>
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Ikyer, Godwin Aondaofa. "Deep digital poetry: Interrogating Tiv oral poetry within postmodernity." Tydskrif vir Letterkunde 54, no. 1 (March 24, 2017): 196–210. http://dx.doi.org/10.17159/tvl.v.54i1.13.
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Poetry is one of the most vibrant artistic forms for socio-economic and political reconstruction of society among the Tiv of North Central Nigeria. The poets fix themselves in the forefront of arousing and propagating cultural consciousness, exposing vices, extolling virtues and personalities with such attributes, mobilizing people for unity and development, ensuring progressive change, maintaining social order and cohesion, unmasking socio-economic contradictions of class and polity, expressing the unheard voices of the voiceless in society and charting out a direction for the future of society. By reflecting the jeers, fears, aspirations, visions and general character of the society, they occupy a popular place and position in the social structure of Tiv society and their poetry is reinvigorated, in the usual popular way, in the new sensibilities of the digital technology being they dynamic in thematic exploration, traditional or modern. This article presents an exploratory overview of Tiv poetry in its changing digital forms of "secondary orality" which not only preserve the material but transform its productive, aesthetic and performance bounds to unending digital spaces creating in the wake a new character, a special effect, a new transmitting and storage pattern and the commodification of an individual's creations. The paper finally locates digi-orature, this new way of interrogating oral poets and their creations, within the ambience of postmodernity capable of attracting audiences outside the Tiv linguistic and geographical space.
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Simpson, Colin R., Nazir I. Lone, Kim Kavanagh, Tanya Englishby, Chris Robertson, Jim McMenamin, Beatrix von Wissman, et al. "Vaccine effectiveness of live attenuated and trivalent inactivated influenza vaccination in 2010/11 to 2015/16: the SIVE II record linkage study." Health Technology Assessment 24, no. 67 (December 2020): 1–66. http://dx.doi.org/10.3310/hta24670.
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Background There is good evidence of vaccine effectiveness in healthy individuals but less robust evidence for vaccine effectiveness in the populations targeted for influenza vaccination. The live attenuated influenza vaccine (LAIV) has recently been recommended for children in the UK. The trivalent influenza vaccine (TIV) is recommended for all people aged ≥ 65 years and for those aged < 65 years who are at an increased risk of complications from influenza infection (e.g. people with asthma). Objective To examine the vaccine effectiveness of LAIV and TIV. Design Cohort study and test-negative designs to estimate vaccine effectiveness. A self-case series study to ascertain adverse events associated with vaccination. Setting A national linkage of patient-level general practice (GP) data from 230 Scottish GPs to the Scottish Immunisation & Recall Service, Health Protection Scotland virology database, admissions to Scottish hospitals and the Scottish death register. Participants A total of 1,250,000 people. Interventions LAIV for 2- to 11-year-olds and TIV for older people (aged ≥ 65 years) and those aged < 65 years who are at risk of diseases, from 2010/11 to 2015/16. Main outcome measures The main outcome measures include vaccine effectiveness against laboratory-confirmed influenza using real-time reverse-transcription polymerase chain reaction (RT-PCR), influenza-related morbidity and mortality, and adverse events associated with vaccination. Results Two-fifths (40%) of preschool-aged children and three-fifths (60%) of primary school-aged children registered in study practices were vaccinated. Uptake varied among groups [e.g. most affluent vs. most deprived in 2- to 4-year-olds, odds ratio 1.76, 95% confidence interval (CI) 1.70 to 1.82]. LAIV-adjusted vaccine effectiveness among children (aged 2–11 years) for preventing RT-PCR laboratory-confirmed influenza was 21% (95% CI –19% to 47%) in 2014/15 and 58% (95% CI 39% to 71%) in 2015/16. No significant adverse events were associated with LAIV. Among at-risk 18- to 64-year-olds, significant trivalent influenza vaccine effectiveness was found for four of the six seasons, with the highest vaccine effectiveness in 2010/11 (53%, 95% CI 21% to 72%). The seasons with non-significant vaccine effectiveness had low levels of circulating influenza virus (2011/12, 5%; 2013/14, 9%). Among those people aged ≥ 65 years, TIV effectiveness was positive in all six seasons, but in only one of the six seasons (2013/14) was significance achieved (57%, 95% CI 20% to 76%). Conclusions The study found that LAIV was safe and effective in decreasing RT-PCR-confirmed influenza in children. TIV was safe and significantly effective in most seasons for 18- to 64-year-olds, with positive vaccine effectiveness in most seasons for those people aged ≥ 65 years (although this was significant in only one season). Future work The UK Joint Committee on Vaccination and Immunisation has recommended the use of adjuvanted injectable vaccine for those people aged ≥ 65 years from season 2018/19 onwards. A future study will be required to evaluate this vaccine. Trial registration Current Controlled Trials ISRCTN88072400. Funding This project was funded by the National Institute for Health Research (NIHR) Health Technology Assessment programme and will be published in full in Health Technology Assessment; Vol. 24, No. 67. See the NIHR Journals Library website for further project information.
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Uji, Wilfred Terlumun. "Forced migration: The displacement of Tiv People of Central Nigeria in contemporary times." AFRREV IJAH: An International Journal of Arts and Humanities 5, no. 2 (June 6, 2016): 29. http://dx.doi.org/10.4314/ijah.v5i2.4.
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Tor-anyiin, T. A., R. Sha'ato, and H. O. A. Oluma. "Ethnobotanical Survey of Anti-Malarial Medicinal Plants Amongst the Tiv People of Nigeria." Journal of Herbs, Spices & Medicinal Plants 10, no. 3 (September 24, 2003): 61–74. http://dx.doi.org/10.1300/j044v10n03_07.
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Elliott, Matthew. "Young People as Legislators: Legislative Theatre and Youth Parliament." Applied Theatre Research 9, no. 1 (July 1, 2021): 73–86. http://dx.doi.org/10.1386/atr_00049_1.
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Young People as Legislators is the result of a six-month Legislative Theatre project with Collective Encounters Youth Theatre, Youth Focus NW and Youth Parliament UK. The project formed part of a wider scheme of practice as research that explored youth theatre practice as political engagement for young people. Legislative Theatre practice was utilized to work alongside the Youth Parliament’s Make Your Mark scheme, an annual poll for young people to decide on campaigning issues. In this article, I consider three elements: tokenism in youth engagement, differing experiences between artistic process and product, and applied theatre’s inability to develop long-term effects. Employing the critical theories of Paulo Freire, the article regards the practice as a failed attempt to develop critical youth theatre practice. I argue that the Legislative Theatre project led to uncritical engagement and no political change due to partner organizations regarding the theatre practice as a service to satisfy their own targets and requirements.
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Stefanova, Kalina. "Criticism without adjectives: A fable about people from the edge." Maska 31, no. 181 (December 1, 2016): 130–37. http://dx.doi.org/10.1386/maska.31.181-182.130_1.
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Theatre and puppet director Alexander Morfov has been slowly revolutionizing Bulgarian theatre over the last 25 years. His most important contribution to this theatre is its emancipation from prejudice against stage spectacle. He has achieved this by ingeniously fusing the languages of drama and puppet theatre, which remains the only truly original and novel theatre reality on Bulgarian stages. The article focuses mainly on his performance On the Edge.
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Harper, Peggy. "The Kwagh-hir of the People of Tiv: a Note on Dramatised History Telling and Constructions of Nature among the Tiv of Southern Nigeria." Environment and History 3, no. 3 (October 1, 1997): 371–76. http://dx.doi.org/10.3197/096734097779555845.
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Sheridan, Peter. "The Man Who Makes Theatre with People." Books Ireland, no. 220 (1999): 45. http://dx.doi.org/10.2307/20631758.
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Jordan, Noel. "Responsive Research: Investigating Theatre for Young People." Melbourne Studies in Education 43, no. 2 (November 2002): 108–18. http://dx.doi.org/10.1080/17508480209556407.
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Kalawski, Andrés, and Cristián Opazo. "Prophesizing the End of Theatre." TDR: The Drama Review 65, no. 3 (September 2021): 149–56. http://dx.doi.org/10.1017/s105420432100037x.
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The Chilean police keep firing pellets and tear gas bombs in the streets, blinding and injuring people by the hundreds. The people keep demonstrating. Two months before the protests of October 2019, a problematic documentary play, Animales invisibles, while distorting the genre, prophesied what was to come precisely in the way it departed from the documentary.
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Feldhendler, Daniel. "Playback Theatre." Scenario: A Journal of Performative Teaching, Learning, Research I, no. 2 (July 1, 2007): 46–55. http://dx.doi.org/10.33178/scenario.1.2.4.
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Playback Theatre (PT) was created in New York State (USA) in 1975. As a particular form of interactive theatre, PT strives to encourage dialogue and create connections among people. In his article, the author introduces the method’s basic forms and practical implementations as employed in his teaching at the J.W. Goethe University in Frankfurt/Main (Germany). A brief historical overview highlights the paths of his own practice-based research. The aim of his innovative courses is to methodologically integrate theatre, psychodrama, sociodrama, supervision, coaching, and bibliographical work. The article shows how, through action methods, active self-reflection can encourage autonomy and self-determination in post-secondary education. Moreover, the author investigates how PT can be useful both for mediation and for sensitization in multicultural situations. Further examples show how these innovative forms can be implemented in teacher training and EU projects in order to foster the development of democratic participation in linguistic, cultural, and aesthetic education. Playback Theatre (PT) was created in New York State (USA) in 1975. As a particular form of interactive theatre, PT strives to encourage dialogue and create connections among people. In his article, the author introduces the method’s basic forms and practical implementations as employed in his teaching at the J.W. Goethe University in Frankfurt/Main (Germany). A brief historical overview highlights the paths of his own practice-based research. The aim of his innovative courses is to methodologically integrate theatre, psychodrama, sociodrama, supervision, coaching, and bibliographical work. The article shows how, through action methods, active self-reflection can encourage autonomy and self-determination in post-secondary education. Moreover, the author investigates how PT can be useful both for mediation and for sensitization in multicultural situations. Further examples show how these innovative forms can be implemented in teacher training and EU projects in order to foster the development of democratic participation in linguistic, cultural, and aesthetic education.
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Elstob, Kevin. "Introduction: Francophone Theatre Today." Theatre Research International 21, no. 3 (1996): 191–95. http://dx.doi.org/10.1017/s0307883300015303.
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In the wake of French colonization, exploration and trade throughout the world, the French language permeated cultures on five continents. Depending on the source of the statistics, today's world-wide French-speaking population numbers anywhere from 67 to 450 million people. It is estimated that in the year 2000 there will be 500 million French speakers. French is the world's twelfth language, but next to English, the only language to be spoken on all five major continents. From such statistics we might project a community, but do these figures represent a genuinely united people? And, why, if the francophone community is growing should French governmental and cultural organizations be so concerned about the preservation of French? Before examining these questions, let us briefly outline the evolution of ‘la francophonie’.
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Davis, Jim, and Tracy C. Davis. "The People of the “People's Theatre”: The Social Demography of the Britannia Theatre (Hoxton)." Theatre Survey 32, no. 2 (November 1991): 137–65. http://dx.doi.org/10.1017/s0040557400001046.
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In 1882, Walter Besant declared that the hinterland beyond Aldgate had two million people yet “no institutions of their own to speak of, no public buildings of any importance, no municipality, no gentry, no carriages, no soldiers, no picture-galleries, no theatres, no opera—they have nothing.” The fact that Whitechapel first appeared in the theatrical annals in 1557, Stepney contained several of the largest engineering projects in Regency London, and Shoreditch's Britannia was one of the most successful theatres in Victorian Britain belies the prejudice in Besant's statement. Cultural historians of all types need to resist such propaganda and have good cause to suspect the entire record of life, leisure, and entertainment in the industrialized inner suburbs. The history of nineteenth-century English theatre has—with very few exceptions—focussed on London, yet apart from essays by Michael Booth and Clive Barker little serious attention has been paid to theatre in the East End. Booth points out the limitations arising from scholarship that ignores the area where half of the metropolitan theatre seats were located, while Barker shows the methodological difficulties that arise once a redressive investigation into the audience is undertaken. The omissions from the historical record are compounded by narrow selectivity of enquiries: leading performers receive scholarly attention while supernumeraries (supers), ballet dancers, front of house staff, property makers, and the many functionaries who made up the whole community responsible for running a theatre are consistently neglected. These characteristics are somehow more evident in scholarship on the East End, where no matter how sociogeographically biased the enquirers may be the working class and its conditions are central themes, and the repertoire has always been allowed (perhaps stereotyped) as sensational.
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Kobayashi, Yuriko. "Drama and theatre for young people in Japan." Research in Drama Education: The Journal of Applied Theatre and Performance 9, no. 1 (March 2004): 93–95. http://dx.doi.org/10.1080/1356978042000185939.
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Totterdill, Peter, and Rosemary Exton. "Interactive Theatre." Strategic Direction 30, no. 9 (August 5, 2014): 35–37. http://dx.doi.org/10.1108/sd-09-2014-0120.
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Purpose – This paper aims to discuss how Interactive Theatre can be implemented and it also gives examples of it in action with feedback from clients. Unlocking employee creativity is one of the key challenges of implementing organisational change to improve performance and enhance working life. Design/methodology/approach – Interactive Theatre is a dynamic event that helps to release employee inhibitions that prevent them from expressing their views while engaging them in critical reflection and creative thinking through facilitated dialogue and collaboration. Findings – Using theatre to dramatise the issues and situations created by poor work organisation, inadequate skills and ineffective management practice encourages employers and employees alike to take action. Drama reveals all the tensions and problems that can exist in the business, while at the same time being fun and captivating. As a result, people are more likely to have an open mind about the need for change and to become actively involved in its design and implementation. Originality/value – This paper discusses how Interactive Theatre can be implemented and gives examples of it in action with feedback from clients.
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Abatte Herrera, Paola. "PROTAGONISMO Y ESTÉTICA DEL VÍNCULO EN APPLIED THEATRE WITH YOUNG PEOPLE / PROTAGONISM AND RELATIONSHIP AESTHETICS IN APPLIED THEATRE WITH YOUNG PEOPLE." ARTSEDUCA. Revista electrónica de educación en las Artes, no. 26 (2020): 78–91. http://dx.doi.org/10.6035/artseduca.2020.26.7.
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Rowen, Bess. "People Come to the Theatre to Feel Something Old: Branden Jacobs-Jenkins and Theatre History." Journal of Dramatic Theory and Criticism 33, no. 2 (2019): 81–94. http://dx.doi.org/10.1353/dtc.2019.0005.
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Fiebach, Joachim. "Cultural Identities, Interculturalism, and Theatre: On the Popular Yoruba Travelling Theatre." Theatre Research International 21, no. 1 (1996): 52–58. http://dx.doi.org/10.1017/s0307883300012700.
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Intercultural processes have become a major concern of European theatre people and critics since the 1970s. They serve to bolster the postmodern discourse marked by endlessly alterable and changing cultures and, therefore, by essentially elusive cultural identities. But the aggressive global expansion of audiovisually mediated performing culture, primarily American television, film, and video, is being viewed as a menace to received cultural identities. There are fears that European cultures are being submerged and disfigured by an ever increasing inundation of overpowering American cultural productions and may even disintegrate altogether.
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Scullion, Adrienne. "The Citizenship Debate and Theatre for Young People in Contemporary Scotland." New Theatre Quarterly 24, no. 4 (November 2008): 379–93. http://dx.doi.org/10.1017/s0266464x08000511.
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In this article Adrienne Scullion reviews the citizenship debate in education policy within contemporary – and specifically post-devolution – Scotland. She identifies something of the impact that this debate has had on theatre-making for children and young people, with a particular focus on projects that are participatory in nature. Her key examples are drawn from TAG Theatre Company's ‘Making the Nation’ project, a major three-year initiative that sought to engage children and young people throughout Scotland in ideas around democracy, politics, and government. Revisiting a classic cultural policy stand-off between instrumental and aesthetic outcomes, she asks whether a policy-sanctioned emphasis on process, transferable skills, and capacity building limits the potential for theatre projects to develop other kinds of theatre skills, such as critical reading and/or spectatorship. With its emphasis on participatory projects rather than plays for children and young people, the article complements her earlier essay, ‘“And So This Is What Happened”: War Stories in New Drama for Children’, in NTQ 84 (November 2005). Adrienne Scullion teaches in the Department of Theatre, Film, and Television Studies at the University of Glasgow.
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Parikeno, Parno. "Puppets and masters." Index on Censorship 26, no. 2 (March 1997): 70–72. http://dx.doi.org/10.1177/030642209702600222.
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Jefrizal, Jefrizal. "RELEVANSI KEHIDUPAN SEHARI-HARI DENGAN SENI PERTUNJUKAN TRADISIONAL." Jurnal Ilmu Budaya 14, no. 1 (September 29, 2017): 11–21. http://dx.doi.org/10.31849/jib.v14i1.1131.
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This writing deals with the relevance of daily life and traditional theatre performance, tonil. In this case, the traditional theatre performance focuses only on the existence and phenomena of Ogam in the life of Bengkalis’ people in which it is related to the people’a theatre performance. Ogam is a simple chat people utter in some conditions. The better the people chat, the more successful those people attract other attention. In certain situation, it is also found that someone doesn’t chat properly and it may cause uncomfortable chat and it may also stop the interesting chat. This ogam is signed by many coffee shops found in Bengkalis in which people usually spend their time practising ogam in those coffee shops. In traditional theatre performance, the actor or actress do not use script, so the skill in Ogam is very useful to improvise.
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Rezanezhadamirdehi, A. "Comparisonal Investigation of Personality Traits and Mental Health in Artistic People and Normal People." European Psychiatry 26, S2 (March 2011): 1041. http://dx.doi.org/10.1016/s0924-9338(11)72746-8.
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Introduction & objectivesThe aim of research was comparisonal investigation of personality traits and mental health in people with artistic jobs and without artistic jobs.MethodThe research sample was comprised by 70 people with artistic experiences and jobs such as musician, theatre player, poet, actors, local singer, and 70 people without artistic jobs and experiences. The sample's characteristics were measured by Revised NEO Personality Inventory (FFM PI-R) and Goldberg's general health questionnaire (GHQ). Data were analyzed with T independent test.ResultsFindings showed significant differences between variables. People with artistic experiences and jobs were more extroverted, agreeable and conscientiousness in personality traits and were low in components of mental illness than people without artistic jobs and experiences.ConclusionBased on results it is concluded that art and its fields such as music, theatre, poem and singing have positive effect on mental health and well-being.
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DOLZHENKOVA, Marina Igorevna, Olga Alekseyevna DOROZHKINA, Larisa Aleksandrovna ROMANINA, and Oksana Germanovna PROKHOROVA. "THEATRE THERAPY TECHNOLOGY IN MODERN SOCIAL REHABILITATION." Tambov University Review. Series: Humanities, no. 177 (2018): 59–69. http://dx.doi.org/10.20310/1810-0201-2018-23-177-59-69.
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The technologies of theatre therapy in modern social rehabilitation are presented, the components of the pair of theatre system are revealed: game therapy; hospital clownery; psychodrama; psychomelodrama; satidrama; figurative psychodrama; pesso-therapy; psychogymnastics; “theatre of the oppressed”; forum theatre; “political theatre”; invisible theatre; theatre of memories; playback theatre; theatre of homeless artists or other unprotected categories; theatre of sports. It is noted that theatre therapy is extremely important for the social rehabilitation of children. We discuss some of the most outstanding achievements of the experimental technology theatre therapy in different countries: USA (project “Invisible People”); Greece; Russia (Project “Invizibl people” or “People Invisible”; All-Russian Festival of Special Theatres “ProTeatr”; project “Ariadne's Thread”; project “Touch-Ables”; “Theatre of Open-Hearted”; “ARTель inspiration”; “NeFoрмат”; “Speak Freely” (L.V. Soloveva)). It is indicated that by means of theatre therapy there is an improvement of skills of conscious action in the conditions of dramatic work, processes of self-knowledge in the context of development of emotional-strong-willed and intellectual-cognitive spheres of the personality are stimulated. The implementation of art therapy technologies in the modern practice of social rehabilitation is extremely relevant and in demand. That is why so important theoretical and methodological justification of formation and promising directions of development of these technologies, as well as creating the appropriate database information and methodological support that takes into account the latest advances in medical and psycho-pedagogical branches of scientific knowledge. Also important specialized programs for retraining and advanced training of social workers, taking into account innovative developments in the field of social rehabilitation, including technologies of theatre therapy.
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BERNARD, MIRIAM, MICHELLE RICKETT, DAVID AMIGONI, LUCY MUNRO, MICHAEL MURRAY, and JILL REZZANO. "Ages and Stages: the place of theatre in the lives of older people." Ageing and Society 35, no. 6 (March 10, 2014): 1119–45. http://dx.doi.org/10.1017/s0144686x14000038.
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ABSTRACTDespite the growing interest amongst gerontologists and literary and cultural scholars alike, in arts participation, ageing and the artistic outputs of older people, comparatively little attention has yet been paid to theatre and drama. Likewise, community or participatory theatre has long been used to address issues affecting marginalised or excluded groups, but it is a presently under-utilised medium for exploring ageing or for conveying positive messages about growing older. This paper seeks to address this lack of attention through a detailed case study of the place of one particular theatre – the Victoria/New Victoria Theatre in North Staffordshire, England – in the lives of older people. It provides an overview of the interdisciplinaryAges and Stagesproject which brought together social gerontologists, humanities scholars, psychologists, anthropologists and theatre practitioners, and presents findings from: the archival and empirical work exploring the theatre's pioneering social documentaries and its archive; individual/couple and group interviews with older people involved with the theatre (as audience members, volunteers, employees and sources); and ethnographic data gathered throughout the study. The findings reaffirm the continuing need to challenge stereotypes that the capacity for creativity and participation in later life unavoidably and inevitably declines; show how participation in creative and voluntary activities shapes meanings associated with key life transitions such as bereavement and retirement; and emphasise the positive role that theatre and drama can play as a medium for the inclusion of both older and younger people.
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Awai, Erdoo P., and John O. Igoli. "Medicinal Plants Used in Antenatal and Perinatal Care Among the Tiv People of Benue State, Nigeria." Indo Global Journal of Pharmaceutical Sciences 05, no. 01 (2015): 90–93. http://dx.doi.org/10.35652/igjps.2015.26.
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Sigurðardóttir, Gerður Halldóra. "Popular Participation: Why do People Participate in Amateur Theatre?" Nordic Theatre Studies 29, no. 2 (March 5, 2018): 184. http://dx.doi.org/10.7146/nts.v29i2.104611.
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There are about sixty amateur theatre companies in Iceland. Hundreds of people every year participate in various theatrical activities, from staging large and intricate productions to smaller and more intimate readings and programs, attending workshops and seminars, writing plays both short and “full-length”, meeting in groups not only to rehearse but to practice and develop theatrical crafts. None get paid. Some are even ready to part with fairly large sums for aforementioned workshops and seminars. All of them put in untold work hours and a lot of effort – after they get done with their day jobs. These are not “professionals”. Mostly, they don’t want to be. They have no interest in pursuing a theatrical career for a living. They just want to make theatre.In my article I explore what it is that people experience when participating in amateur theatre. The paper will mainly be based on a number of in depth interviews I conducted in 2009 and 2010 with people from the Selfoss Amateur Theatre Company, as well as my own experience of being a member of the same company for the last 25 years. Using analytical tools such as thematic analysis and Richard Schechner’s performance process as a time-space sequence I explore how making theatre creates communities and worlds and gives the participants freedom to let loose and play, if only for a time.
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Walker, Ethel Pitts. "Krigwa, a Theatre by, for, and about Black People." Theatre Journal 40, no. 3 (October 1988): 347. http://dx.doi.org/10.2307/3208324.
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Khoury, Tania El. "Sexist and Racist People Go to the Theatre Too." Performing Ethos: International Journal of Ethics in Theatre & Performance 3, no. 2 (December 1, 2012): 209–12. http://dx.doi.org/10.1386/peet.3.2.209_7.
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Bollen, Jonathan. "Data Models for Theatre Research: People, Places, and Performance." Theatre Journal 68, no. 4 (2016): 615–32. http://dx.doi.org/10.1353/tj.2016.0109.
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Fiebach, Joachim. "Book Review: African Popular Theatre: From Pre-Colonial Times to the Present Day, and: When People Play People: Development Communication Through Theatre." Theatre Journal 49, no. 1 (1997): 83–85. http://dx.doi.org/10.1353/tj.1997.0008.
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Christensen, Bent. "Totaldigteren Grundtvig En kommenteret forskningshistorisk oversigt som bidrag til bestemmelsen af Grundtvigs egenart som digter." Grundtvig-Studier 62, no. 1 (January 1, 2011): 16–50. http://dx.doi.org/10.7146/grs.v62i1.16578.
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Totaldigteren Grundtvig: En kommenteret forskningshistorisk oversigt som bidrag til bestemmelsen af Grundtvigs egenart som digter[The Total Poet Grundtvig. A commented survey of the history of literary Grundtvig research as a contribution to the understanding of Grundtvig 's character as a poet]By Bent ChristensenIn his Omkring Grundtvigs Vidskab (About Grundtvig’s Vidskab: An Inquiry into N. F. S. Grundtvig’s View of the Knowledge Aspect of the Commitment to Life that Is a Necessary Part of Christianity), the author first and foremost sees Grundtvig as a “kirkelig og folkelig totaldigter” (total poet of the church and the people). The term “total poet” is analogous to “total theatre”, in which the spectator is drawn into the drama and the actors mingle with the audience.An extensive examination of the poetic aspect of the said commitment is desirable but outside the scope of this article. This commented survey of the literary Grundtvig research and criticism therefore presents some key points in the understanding of Grundtvig as a “total poet”.First, following an exchange of views with Poul Borum regarding the various attempts to use Grundtvig for certain purposes, there is an analysis of the extended text of Gustav Albeck’s lecture “Har Grundtvig-Selskabet forsømt Digteren Grundtvig?” (Has the Grundtvig Society Neglected the Poet Grundtvig?). Albeck provides an overview of the Grundtvig literary research and criticism from the nineteenth century till Poul Borum’s book Digteren Grundtvig (Grundtvig the Poet), and he shows that the study of Grundtvig’s poetry requires a different approach than that of usual literary criticism and research.Next, Albeck’s own contribution Omkring Grundtvigs Digtsamlinger (About Grundtvig’s Collections of Poems) is dealt with. Albeck especially calls attention to Grundtvig’s half jocular characterisation of himself as a “deponentisk digter” (deponent poet - the term “deponent” from Latin grammar indicating passive form and active meaning in verbs). It is pointed out that the active side of Grundtvig’s efforts eventually developed into an actual historical and political interactive commitment increasingly centring on the idea of “Folkelighed” (meaning both what comes from and what pertains to “the people”).In Grundtvigs Symbolverden (Grundtvig’s Universe of Poetic Symbols), Helge Toldberg focuses on mapping all main symbols which Grundtvig since 1814/15 constantly draws upon in his poetry. From his chosen perspective of theories on symbolism, Toldberg registers a number of connections and associations which are also being considered in Omkring Grundtvigs Vidskab.Already in Fra drøm til program (From Dream to Programme: The Place and Significance of Human Life and Its World in the Theology of N. F. S. Grundtvig), the author agrees with Flemming Lundgreen-Nielsen’s understanding of the year 1819 as the year when Grundtvig places himself totally outside ordinary poetry. And he also agrees with Lundgreen-Nielsen in so far as his concept “selvsymbolik” (self-symbolism) is concerned. But according to the author, the literary scholar Flemming Lundgreen-Nielsen does not go sufficiently deep into the matter when sticking to the question as to whether Grundtvig, despite his unique character, still has a sense of common literary poetic factors. The contrast between “aesthetics” and “poetry” in Grundtvig’s works is not only a contrast between the “total poet Grundtvig” and “aesthetics” but also a contrast between the merely “aesthetic” and the poetical depth dimension as a whole. But Flemming Lundgreen-Nielsen provides an apt expression of Grundtvig’s unique character as a poet when saying in Det handlende ord (The Operative Word: The Poetry, Literary Criticism and Poetics of N. F. S. Grundtvig 1798-1819) (1980) that Grundtvig’s book is composed as a progression from the 15-year-old schoolboy’s exercise books to “Grundtvig understood by himself as a symbolic character in the history of Denmark”.In Digteren Grundtvig (Grundtvig the Poet), Poul Borum looks upon Grundtvig as a “total poet”, stressing above all his qualities as a “poet” and taking a “total poetic” view of him as the prophet bard (“skjalde-profeten”).Finally, Hans Hauge’s reply to Poul Borum called “Alt-i-alt” (All in all) is considered. Hauge’s conception of Borum’s book as belonging to the aesthetic and literary 1980s, placed between the political 1970s and the universalising 1990s, seems particularly interesting. However, it is hard to tell Hauge’s own notion of Grundtvig as a poet.In conclusion, the author suggests that it is specific to Grundtvig that, for one thing, within a peculiar historical vision or construction and in a peculiar, highly unified, symbolic world, he conducts an extensive and continuous interweaving of the nation and his own fate, and that, for another, Christianity is almost always included in his poetry.
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Kozáková, Zdeňka. "3. Specifics of Implementation Forum Theatre for People with Mild and Moderate Mental Retardation." Review of Artistic Education 11, no. 1 (March 1, 2016): 146–57. http://dx.doi.org/10.1515/rae-2016-0018.
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Abstract The paper presents an empirical study in the area of implementation theatre forum for people with mild and moderate mental retardation in an environment of sheltered housing. Forum Theatre already takes place in primary schools, in orphanages, in the Roma community and so on. There is a lack of experience and research studies with the target group of people with intellectual disabilities. The present research was carried out in several phases over a period of one year. The main objective was to determine whether it is possible to use forum theatre techniques and subjects with mild to moderate mental retardation - whether this target group will be able to process the theatre forum to engage, understand the meaning and function of these techniques and that these techniques can be used as an alternative remedy to solve the problem and conflict situations. The research sample consisted of 11 adult clients of sheltered housing with mild to moderate mental retardation and 11 members of the realization team of the forum theatre (7 Actors and 4 employees in direct care in sheltered housing). Used qualitative research methods were focus groups (always followed the realization of the theatre workshop forum), participant observation and quantitative method was a questionnaire. Research has brought new insights and information.
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Bacci, Roberto. "Theatre is the People who make it the Romanian Theatre-Work Experience by an Italian Director." Studia Universitatis Babeş-Bolyai Dramatica 63, no. 2 (December 28, 2018): 133–50. http://dx.doi.org/10.24193/subbdrama.2018.2.07.
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Hunter, Mary Ann. "Anxious Futures: Magpie2 and ‘New Generationalism’ in Australian Youth-Specific Theatre." Theatre Research International 26, no. 1 (March 2001): 71–81. http://dx.doi.org/10.1017/s0307883301000074.
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The field of contemporary youth-specific theatre in Australia is one of change and, in some cases, anxiety. While Drama Studies continue to grow in popularity in schools, previously conventional developmental paradigms have become less mandatory for theatre for, by, and about young people outside the school context. Instead, ‘new generation’ approaches in youth-specific performance are placing greater value on young people's own preferences in cultural activity. Yet this development is being tempered and further complicated by a cultural ‘generationalism’, particularly in larger arts organizations as the youth sector becomes a more integral part of marketing strategies for the future. The resulting ambiguity in the representation, value, and positioning of young people and youth-specific arts in Australia's theatre industry is considered by focusing on Magpie2, a former youth-specific company attached to the State Theatre Company of South Australia. Magpie2 ceased operation in 1998 after experimenting with a ‘new generation’ approach to theatre for young people in the State Theatre realm. Both the artistic policy of Magpie2 Director, Benedict Andrews, and the critical reception of his two productions in 1997, Future Tense and Features of Blown Youth, demonstrate how competing systems of cultural value characterize the field of youth-specific theatre in Australia.
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Ukpokodu, I. Peter. "Theatre and Political Discord: Theatre Rebels of Zimbabwe and Kenya." Theatre Research International 23, no. 1 (1998): 38–43. http://dx.doi.org/10.1017/s0307883300018198.
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Though the world is aware of the political activities of the Nigerian playwright, Wole Soyinka, it might be difficult to find a better example of the relationship between a nation in a state of socio-political chaos and the arts in an African country than that of Ngugi wa Thiong'o's Kenya as exemplified in Matigari:Matigari, the main character [in Ngugi wa Thiong'o's Matigari], is puzzled by a world where the producer is not the one who has the last word on what he has produced; a world where lies are rewarded and truth punished. He goes round the country asking questions about truth and justice. People who had read [Matigari] started talking about Matigari and the questions he was raising as if Matigari was a real person in life. When Dictator Moi [President of Kenya] heard that there was a Kenyan roaming around the country asking such questions, he issued orders for the man's arrest. But when the police found that he was only a character in fiction, Moi was even more angry and he issued fresh orders for the arrest of the book itself.
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Cowan, Isla. "Pests and People in Stef Smith’s Human Animals." New Theatre Quarterly 37, no. 2 (April 29, 2021): 159–73. http://dx.doi.org/10.1017/s0266464x2100004x.
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Throughout the history of western theatre, animals onstage have invariably been read in relation to human concerns. The reviews of Stef Smith’s Human Animals (2016) at the Royal Court followed in this tradition, interpreting the play’s central animal players as symbolic stand-ins for humans. By examining the particularity of the non-human animals at the centre of Human Animals’ urban eco-crisis, this article aims to rectify previous anthropocentric readings and acknowledge the agency and autonomy of the play’s non-human animals, namely pigeons and foxes. Building on Una Chaudhuri’s ‘Theatre of Species’, this article demonstrates Human Animals’ deep engagement with animal alterity, subverting conventional socio-zoological classifications of ‘pest’ animals and popular preconceptions of pigeons and foxes in British culture. While Smith’s play uses the dystopian mode to dramatize a small-scale, localized eco-crisis, this article highlights how its focus on urban animal encounters and zoonotic disease holds broader implications for re-imagining inter-species relations and planetary health. An award-winning playwright, Isla Cowan is also a PhD student at the University of Glasgow. Her current research investigates ideas of ecological consciousness in contemporary Scottish theatre and is funded by the Arts and Humanities Research Council (SGSAH).
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Richardson, C. "Preceptorship for Practitioners New to Theatre Departments." Journal of Perioperative Practice 27, no. 5 (May 2017): 99–104. http://dx.doi.org/10.1177/175045891702700503.
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The aim of this study was to identify the influences and constraints of a preceptorship programme for perioperative practitioners and to assess the potential impact on the learning process. The programme takes into account the values of the NHS trust for which I work: to care about our patients, quality, the future, serving local people, improvement and being stronger together. This foundation NHS trust has a vision for the future that puts the patient at the heart of everything it does and is guided by the principles and values about which the people care deeply.
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Yuzykayn, Erik A. "Prehistory and prerequisites of the creation of the Mari national theatre (1907–1919)." Finno-Ugric World 12, no. 3 (October 26, 2020): 332–43. http://dx.doi.org/10.15507/2076-2577.012.2020.03.332-343.
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Introduction. Alongside with other cultural initiatives, the development of the theatre movement as a forerunner of the creation of the Mari national theatre was the result of the development of Mari cultural nationalism in the early twentieth century. The purpose of this article is to consider the facts of the prehistory of the creation of the Mari national theatre, which was set up in November 1919, and the factors that influenced the development of the theatre movement among Mari people. Materials and Methods. To achieve the goals, the author reviewed the first Mari periodicals, research and publications on the history of the Mari theatre and the development of the national movement, and the protocols of the Mari congresses. The systematic analysis of sources for the reviewed period, an attempt to restore events in chronological order allows us to formulate the most objective answers to the research problems. Results and Discussions. One of the key factors that influenced the development of the Mari theatre movement and interest to the theatre was the movement for the national and cultural education and development of the Mari people, initiated by Mari cultural nationalists that gradually developed since the beginning of the twentieth century. Prehistory of the creation of the Mari national theatre in November 1919 goes back about ten years and it is linked with the publication of the first periodical in the Mari language “Marla calendar”, development of literary creativity in the Mari language, and the first amateur initiatives to stage performances. The climax of this prehistory was the decisions made by the first Mari forums on theatre issues, and the rapid development of interest to the theatre among the people in 1917–1919. Along with this factor, the cultural and social specific features of Mari played an important role: a theatrical tradition in the festive and ritual spheres and the low level of literacy of the people in this period. Conclusion. The processes of development of modern Mari national culture, began with the publication of “Marla calendars”, were crucial for the entire Mari people. The ideological contradictions that appeared with the development of Soviet power among the Mari intelligentsia did not immediately begin to influence the work of the first Mari playwrights. The supporters of different ideological movements were the colleagues for many years. Although they had disagreements, they acted in a single direction in the development of their native people, in particular in support of the theatre movement. Newspaper publications and increased dramatic creativity clearly indicate that the Mari activists intuitively, and sometimes purposefully, fuelled interest in theatrical creativity, promoted and, thus, preceded the appearance of their own national professional theatre.
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McGrath, John. "Theatre and Democracy." New Theatre Quarterly 18, no. 2 (May 2002): 133–39. http://dx.doi.org/10.1017/s0266464x02000222.
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John McGrath died from leukaemia in January 2002, having put the final touches to his last book, Naked Thoughts That Roam About: Reflections on Theatre, 1958–2001, edited by Nadine Holdsworth (Nick Hern Books, 2002). The following article forms the conclusion to this collection of essays, lectures, interviews, theatre reviews, 7:84 company documents, programme notes, letters, and poems, for which McGrath provides a contextualizing commentary. Like the other pieces in the book, it testifies to McGrath's faith in theatre's ability to contribute to humanity through its engagement with people, communities, and political processes – a commitment he maintained and developed to the end of his life. In ‘Theatre and Democracy’ he drew on the work of the Greek philosopher Cornelius Castoriadis to frame his hopes for theatre in the twenty-first century – a theatre which would operate in public dialectical debate with the society from which it evolves, and, by asking hard questions about the social processes that construct that society, provide a voice for oppositional opinion and the marginalized. The essay was reworked from a keynote address to the ‘European Theatre, Justice, and Morality’ conference held at the University of London in June 1999, and in its earlier form appeared in the conference proceedings, published as Morality and Justice: the Challenge of European Theatre, edited by Edward Batley and David Bradby (Rodopi, 2001).
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Aubrey, Meg. "CLICK: Arts education and critical social dialogue within global youth work practice." International Journal of Development Education and Global Learning 7, no. 1 (June 1, 2015): 71–91. http://dx.doi.org/10.18546/ijdegl.07.1.05.
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This article discusses CLICK, a collaborative theatre project between the Mess Up The Mess Theatre Company in Wales, the Hong Kong Academy for Performing Arts, the Australian Theatre for Young People, and Inspired Productions in New Zealand. This case study demonstrates the value of using arts education to bring together young people from multiple countries across the world through the use of social media and theatre for development work, and to explore issues of diversity and identity through Education for Sustainable Development and Global Citizenship (ESDGC). This article will explore the use of social media within arts education and global youth work practice to promote critical social dialogue around sensitive issues as a catalyst for positive social change.