Relevant bibliographies by topics / Theatre and Performance Studies

Contents

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

Academic literature on the topic 'Theatre and Performance Studies'

Author: Grafiati
Published: 4 June 2021
Last updated: 4 September 2024

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Journal articles on the topic "Theatre and Performance Studies"

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Kim Hyo. "Du 'theatre studies' au 'performance studies'." Drama Research ll, no. 31 (2009): 71–112. http://dx.doi.org/10.15716/dr.2009..31.71.

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Bala, Sruti. "Decolonising Theatre and Performance Studies." Tijdschrift voor Genderstudies 20, no. 3 (2017): 333–45. http://dx.doi.org/10.5117/tvgn2017.3.bala.

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Schechner, Richard. "Mainstream Theatre and Performance Studies." TDR/The Drama Review 44, no. 2 (2000): 4–6. http://dx.doi.org/10.1162/10542040051058672.

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Balme, Christopher. "European Theatre and Performance Studies." Forum Modernes Theater 28, no. 2 (2013): 103–4. http://dx.doi.org/10.1353/fmt.2013.0013.

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Barnes Lipscomb, Valerie. "“The play’s the thing”: theatre as a scholarly meeting ground in age studies." International Journal of Ageing and Later Life 7, no. 2 (2013): 117–41. http://dx.doi.org/10.3384/ijal.1652-8670.1272a6.

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Addressing three current critical turns in gerontology, this article proposes the theatre as a fertile ground for various theoretical angles in age studies - including the performative on and off stage, the narrative in the script and the critical questioning of age and ageism in the multiple realities of performance. Beginning from a shared site in the theatre, researchers may be able to establish greater common ground, resulting not only in multi-disciplinary efforts but also in truly interdisciplinary work. With a foundation in performance studies, this article suggests promising directions for age studies and theatre scholarship by examining three aspects of theatrical production: a play script, Jan de Hartog’s popular The Fourposter (1951); a collaborative development of a script and production, Jeanette Mathewes Stevens’ 2010 senior drama ElderSpeak; and a performance, a 2011 song-and-dance revue staged by an established senior theatre troupe, the Sarasota Senior Theater.
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Metzger, Sean. "Afterword: Performance Studies Reorient." Theatre Journal 75, no. 4 (2023): 547–52. http://dx.doi.org/10.1353/tj.2023.a922223.

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Abstract: Drawing on the print contributions to the seventy-fifth anniversary issue of Theatre Journal , this essay argues for a performance studies reorient. Rather than stabilize the field, this gambit attempts to encourage continual disciplinary reinvention that would expand the parameters of critical concern as theatre and performance studies scholars attend to widening geographies, new modes of historiography, and theoretical innovations. Emphasizing the “orient” in reorient, the writing places Asian American critique, understood as a transnational and intersectional knowledge project, as a central methodology to guide the future of the fields that the journal supports.
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Heim, Caroline. "‘Argue with Us!’: Audience Co-creation through Post-Performance Discussions." New Theatre Quarterly 28, no. 2 (2012): 189–97. http://dx.doi.org/10.1017/s0266464x12000279.

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In this article Caroline Heim explores an avenue for the audience's contribution to the theatrical event that has emerged as increasingly important over the past decade: postperformance discussions. With the exception of theatres that actively encourage argument such as the Staatstheater Stuttgart, most extant audience discussions in Western mainstream theatres privilege the voice of the theatre expert. Caroline Heim presents case studies of post-performance discussions held after performances of Anne of the Thousand Days and Who's Afraid of Virginia Woolf? which trialled a new model of audience co-creation. An audience text which informs the theatrical event was created, and a new role, that of audience critic, established in the process. Caroline Heim is a lecturer in Performance Studies at Queensland University of Technology. Her PhD examined the changing role of theatre audiences in recent years.
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Staniškytė, Jurgita. "Reinstalling the Fourth Wall: Digital Performance and Spectatorship in (Post-)Pandemic Era." Art History & Criticism 19, no. 1 (2023): 31–38. http://dx.doi.org/10.2478/mik-2023-0003.

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Summary Theatre can be interpreted as a place where various modes of participation in the community or patterns of citizen behaviour can be rehearsed. In pre-pandemic Lithuanian theatre (as well as theatres of other Baltic countries) various forms of audience engagement were conspicuously emerging, ranging from physical co-creation practices to interactive forms of entertainment. After the global lockdown of theatre institutions the emerging forms of “virtual theatre”, ranging from performance recordings to zoom theatre, redefined the role of theatre spectatorship, in particular the notions of “active”, “passive”, “collective”, “individual”, fundamental for the understanding of the role of publics. Analysing the abundant examples of “pandemic theatre” one starts to think about the return of the digital “fourth wall”, where audiences are becoming distant spectators. This poses important questions to theatre research: whether these forms of theatre are strengthening the feeling of passivity and isolation, serve as platforms for much-needed psychological escapism or offer a critical revaluation of the essential principles of theatre art. With the help of two case studies, this paper will define and analyse the prevailing practices of pandemic Lithuanian theatre and will outline whether and how the fundamental categories associated with the spectator’s experience of theatre have changed in the post-pandemic era.
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Kavouras, Pavlos. "Between and Betwixt the Other Theatre and the Theatre of the Other:." Conatus 8, no. 1 (2023): 201–32. http://dx.doi.org/10.12681/cjp.32387.

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This article deals with the legendary figure of Eugenio Barba as a paradigmatic case to demonstrate the difference between the other theatre and the theatre of the other. Its main objective is to discuss the juxtaposition of performativity as (re)presenting, showing, and self-awareness by narrating the myth of Barba. The argument is presented through six interconnected caveats: the legend and its myth; The Moon rises from the Ganges: the story inside the myth; the critique of western civilization: an insider's story of self-reflexivity; the other theatre is not the theatre of the other; the life-world of the myth of Barba; and finally, performing otherness, othering performance. The article is addressed mainly but not exclusively to readers with a background in cultural anthropology, performance studies, theater studies, hermeneutics, phenomenology, history of civilization, literary theory, colonialism, and representation of the other.
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Roberts, David. "Ravishing Strides: Signs of the Peripatetic in Early Modern Performance." New Theatre Quarterly 17, no. 1 (2001): 18–30. http://dx.doi.org/10.1017/s0266464x00014299.

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Actors' feet are accepted as part of their expressive equipment – but doubts are often expressed that this has always been so. The evidence of early English theatre history is adduced to suggest otherwise, while recent treatments of the peripatetic in literary studies argue that the ‘visible walk’ attains prominence only in the Romantic period. But David Roberts argues that, from the emergence of permanent theatres, walking offered a metonymy for performance which persisted throughout the seventeenth century. Cross-dressing highlighted the expressive potential of the feet, while close examination of play-texts implies evolving styles of the peripatetic in performance, and the scenic theatres of the Restoration frequently portrayed walking as a cultural activity bound up with the status of both actors and scenery in post-revolutionary London. David Roberts teaches English and Drama at University College Worcester, and has published widely on theatre and literature from 1550 to 1789. He leads an AHRB-funded project on theatre criticism.
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Dissertations / Theses on the topic "Theatre and Performance Studies"

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Daniels, Thomas. "Studies in Methods of Performance Pedagogy." Marietta College Honors Theses / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=marhonors1335346433.

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Guse, Anna. ""I Am More Than an Inmate...": Re/Developing Expressions of Positive Identity in Community-Engaged Jail Performance." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1587636691932172.

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Wilson, Nicholas. "Theatre Scenic Design." Thesis, University of Iowa, 2017. https://ir.uiowa.edu/etd/4805.

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This document will journal the theatre scenic design work of Nicholas Wilson at the University of Iowa from August 2014 through the spring of 2017. Largely, the images included will be production photos of realized productions put on at the University of Iowa. Both large scale mainstage shows as well as smaller, low budget productions will be showcased as well as digital renderings and scale models to illuminate the design process.
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Mead-Finizio, Margaret Ann. "An exploration in theatre design." Thesis, University of Iowa, 2014. https://ir.uiowa.edu/etd/4693.

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Bosta, Taylor L. "Exploring the Standard: A Look into Modern Voice and Speech Curriculum." VCU Scholars Compass, 2019. https://scholarscompass.vcu.edu/etd/6003.

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This thesis explores the current state of voice and speech education to discover if there is a standard of learning from university to university. By examining the history of voice and speech, discovering basic skills, breaking down teaching methodologies, and taking a look at current university and conservatory acting programs, the thesis discovers there is not a standard way of teaching, but there is a standard set of skills that should be upheld when planning voice and speech curriculum.
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Gatrell, Miles Miles. "I have no process: a detailed and required explanation of my process." Thesis, University of Iowa, 2018. https://ir.uiowa.edu/etd/6107.

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This is William Miles' Gatrell's relatively short diatribe about the inherent flaws in theatre academia followed by an examination of how fear stifles art. It concludes with a cliffhanger.
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Hight, Hartwell Keith. "Professional Theatre in the Academic Theatre Setting." VCU Scholars Compass, 2007. http://scholarscompass.vcu.edu/etd/655.

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Abstract: The purpose of this study is to discuss the dynamic of continued employment for the theatre instructor. Surprisingly, very little is written about continued employment for the theatre instructor. In the present study, the terms instructor and teacher carry the same meaning. Because theatre builds successful human beings, a theatre program must allows students, graduates, and other interested candidates the opportunity to work closely with experienced professionals in their field.
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White, Sullivan Canaday. "Training the Theatre Artist." VCU Scholars Compass, 2007. http://scholarscompass.vcu.edu/etd_retro/8.

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While most undergraduate theatre programs value the concept that their students should be acquainted with all areas of theatre, (acting, directing, design, playwrighting), they implement it by asking students to take classes in each area of specialization, which can reinforce the natural division between the fields. This thesis aims to create four courses that would be a part of a larger undergraduate curriculum that focus upon training the theatre student in a holistic manner through developing knowledge and skill in all fields of the theatre simultaneously and within a single class. Significantly, this process begins with a course in collaboration that consciously draws attention to the components and abilities necessary for fruitful ensemble work. Students participate in non-hierarchical methods for creating theatre and then apply these same concepts to the elements (actor, text, light, sound, etc.) that contribute to creating theatrical moments. This type of training encourages students to view themselves not just as an actor or director or designer or playwright, but as theatre artists who have a sense of ownership of the knowledge of how these various fields work together within him or herself, but also within the theatre as a whole. My experience has been that after such courses students have an even greater sense of respect for what it means to make theatre with a group of people, and as theatre is never done in isolation, this is a step toward more empowered theatre artists.
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Lauritzen, Chareen Hardy. "The Roberta Jones Junior Theatre : a model children's theatre /." Diss., CLICK HERE for online access, 2009. http://contentdm.lib.byu.edu/ETD/image/etd2882.pdf.

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Warren, Cynthia L. "Just the Basics: A Guide Through Stagecraft." VCU Scholars Compass, 2019. https://scholarscompass.vcu.edu/etd/5846.

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After working over twenty years in theatre and the entertainment industries, I began teaching high school level stagecraft and looked for a textbook geared towards those students just stepping into the world of technical theatre. What I found was that there is no one single source textbook for high school level students. The textbooks were either too elementary or had too much information that was written for college level students. I begin my teaching career using a textbook I thought would serve the purpose, but found my students were frustrated with the text as much as I was. I began incorporating material from other sources to cover the various components of the class; construction, rigging, lighting and sound, to name a few. After a couple of years having my students telling me that I should just write a stagecraft book, I thought maybe I could. After talking and sending out a survey to other technical directors, or the alike, in high school theatre, I found I was not alone in the way I had to cover the content of the course. Therefore, I decided to take my students challenge and write a textbook for them. I hope this will be a good resource for both students and teachers like me.
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Books on the topic "Theatre and Performance Studies"

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Berghaus, Günter, ed. New Approaches to Theatre Studies and Performance Analysis. DE GRUYTER, 2001. http://dx.doi.org/10.1515/9783110910582.

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Hakhoe, Han'guk Yŏn'gŭk, ed. P'ŏp'omŏnsŭ yŏn'gu wa yŏn'gŭk: Performance studies and theatre. Yŏn'gŭk kwa In'gan, 2010.

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Christopher, Balme, and Wagner Meike, eds. Beyond aesthetics: Performance, media, and cultural studies. Wissenschaftlicher Verlag, 2004.

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A, McConachie Bruce, and Hart F. Elizabeth 1959-, eds. Performance and cognition: Theatre studies and the cognitive turn. Routledge, 2006.

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1934-, Schechner Richard, and Appel Willa, eds. By means of performance: Intercultural studies of theatre and ritual. Cambridge University Press, 1990.

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Lanipekun, Jennifer. Communication in theatre directing and performance: From rehearsal to production. Cambria Press, 2011.

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Wetmore, Kevin J. Staging Irish dramas in Japanese theatre: Studies in comparative theatrical performance. The Edwin Mellen Press, 2014.

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Fischer-Lichte, Erika. Theatre and Performance Studies. Taylor & Francis Group, 2014.

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Catalogue. THEATRE AND PERFORMANCE STUDIES CATALOGUE 2000. Other, 2000.

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Flaconieri, John V. Theatre Annual : A Journal of Performance Studies (Theatre Annual). Theatre Annual, 2002.

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Book chapters on the topic "Theatre and Performance Studies"

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Pavis, Patrice. "Postdramatic Theatre." In Performance Studies. Macmillan Education UK, 2014. http://dx.doi.org/10.1007/978-1-137-46315-9_30.

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Limon, Jerzy. "Time in Theatre." In Performance Studies. Macmillan Education UK, 2014. http://dx.doi.org/10.1007/978-1-137-46315-9_25.

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Maniutiu, Mihai. "Magic in Theatre." In Performance Studies. Macmillan Education UK, 2014. http://dx.doi.org/10.1007/978-1-137-46315-9_28.

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Pizzato, Mark. "Evo-Neuro-Theatre." In Performance Studies. Macmillan Education UK, 2014. http://dx.doi.org/10.1007/978-1-137-46315-9_31.

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Pickering, Kenneth, and Mark Woolgar. "Varieties of Theatre Performance." In Theatre Studies. Macmillan Education UK, 2009. http://dx.doi.org/10.1007/978-1-349-92330-4_6.

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LeVine, Mark, and Bryan Reynolds. "Theatre of Immediacy, Transversal Poetics." In Performance Studies. Macmillan Education UK, 2014. http://dx.doi.org/10.1007/978-1-137-46315-9_24.

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Lavery, Carl. "Globalization, the Glocal, Third Space Theatre." In Performance Studies. Macmillan Education UK, 2014. http://dx.doi.org/10.1007/978-1-137-46315-9_23.

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Dobkowska, Sylwia. "Absence and theatre studies." In Performance of Absence in Theatre, Performance and Visual Art. Routledge, 2021. http://dx.doi.org/10.4324/9781003033516-2.

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Orozco, Lourdes. "Theatre and Performance Studies Within Animal Studies." In Theatre & Animals. Macmillan Education UK, 2013. http://dx.doi.org/10.1007/978-1-137-10431-1_2.

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Garić-Komnenić, Sanja. "Adaptation and Dialogue Studies." In Adaptation in Theatre and Performance. Springer International Publishing, 2024. http://dx.doi.org/10.1007/978-3-031-47134-6_5.

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Conference papers on the topic "Theatre and Performance Studies"

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Chronopoulou, Anna. "Music in the service of the directorial vision: The case study of the theatrical performance of Acharnians in 1976 by the Greek Art Theatre (Theatro Technis)." In 8th International e-Conference on Studies in Humanities and Social Sciences. Center for Open Access in Science, Belgrade, 2022. http://dx.doi.org/10.32591/coas.e-conf.08.03033c.

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Someone could claim that a well prepared, contemporary theatrical production consists of a thorough planning, a period of rehearsals and the final presentation of the work before the audience. Whether we talk about a collective theatrical organization or a hierarchical one, we should agree upon the fact that the directorial vision could be considered as the motivating gear of a theatrical performance. It is the director’s or the team’s directorial vision – in the cases of alternative, collective theatrical productions – which guides those who participate in a theatrical performance and, therefore, it is commonly accepted by actors and actresses that one should follow instructions, find his path and “build” his role as part of a team which serves a certain objective. Because of the diversity and complexity of modern productions as well as the increasing need for high quality, original performances – in terms of mise-en-scène, acting, stage and costume design, lightning and music – certain professional collaborates are called to participate in the stage of the preparation and contribute to the final aesthetics of a production. In the case of preparing the theatrical performance of an ancient Greek Comedy, the musician plays a significant role, as the choruses of ancient comedy are an integral part of this genre. The performance of the ancient Greek Comedy Acharnes in 1976 by the theatrical group of Greek Art Theatre (Theatro Technis), under the directorial guidance of Karolos Koun and the music which Christos Leontis composed for its needs, is a case study for the current thesis, the analysis of which intends to reveal the way the composer collaborated with the director and the members of the theatre company. The play, written by Aristophanes, was first taught and presented to the ancient Athenian audience in 425 B.C. The choral parts, accompanied by music and sang by the members of the chorus, have since antiquity been considered to be of significant importance for this ancient theatrical genre. It is, therefore, quite intriguing to thoroughly and methodologically examine the way the music composed for the needs of a specific performance contributed to the overall outgrowth of a contemporary attempt to present the ideas and the beliefs of an ancient Greek poet to the modern Greek theatrical audience. Did the composer follow the instructions of the director? Did he serve the directorial vision? Did he interact with the director and the members of the Greek Art Theatre? In what ways and up to what extent was music co-responsible for the commonly accepted success of this particular performance? It will be attempted to answer the above questions with the help of the composer’s personal testimony, his kind contribution of archival material from his personal files, accompanied by the simultaneous, cross-examined analysis of the performance which was filmed in 1976.
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Kumar, Manivendra, and Dr Ananya Ghoshal. "Theatre as a Catalyst for Social Change: Understanding Habib Tanvir as a Reformist Playwright in ‘Charandas Chor’ (1975)." In 5th World Conference on Arts, Humanities, Social Sciences and Education. Eurasia Conferences, 2024. http://dx.doi.org/10.62422/978-81-968539-1-4-015.

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Post-independence canon of Indian theatre is marked by a paradigmatic shift in the reformist agendas of the playwrights. Some playwrights used the method of proscenium plays, while others relied on street or folk theatre to present the socio-cultural turbulences of the time. Habib Tanvir is one reformist playwright of the period whose works can be traced at the intersections of proscenium and rural/folk theatre. Tanvir’s plays are considered milestones in the amalgamation of Indian folk theatre arts and the contemporary perspective of the world. Scholars such as Katheryn Hansen and Javed Mallick have credited Tanvir for bringing together the rural and urban paradigms of theatre arts and propagating a form that was of, for, and by the people. The present paper expands this proposition and studies Tanvir’s Charandas Chor for its distinct representation of rural folk tales in an urban theatrical model. By studying the play closely, the paper argues that Tanvir creates a liminal space that challenges the established notions of reformist drama in India. It also examines the form, content, and meaning of the play through Richard Schechner’s lenses of drama, theatre, and performance. It further explores reformist agendas that subvert the affiliation of social etiquettes through Henri Bergson’s idea of inversion. The paper establishes that Tanvir’s theatre’s uniqueness lies in harnessing the intersectional dimensions of rural and urban theatrical models, which he uses to express plebian issues that are represented through the vibrant performative elements of folk theatre and the urban techniques of theatre.
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Drossinou-Korea, Maria. "Targeted, individually structured special education and training intervention programs and pedagogical applications in museum." In 7th International e-Conference on Studies in Humanities and Social Sciences. Center for Open Access in Science, Belgrade, 2021. http://dx.doi.org/10.32591/coas.e-conf.07.11107d.

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Anthropocentric museums are “an important place in public debate, creation and questioning ideas” because they can have a positive impact on the lives of underprivileged or marginalized people. They can also strengthen specific communities and contribute to the creation of fairer societies. The science of Museology together with the science of Special Education and Training (SET) support with the Targeted Individual Structured and Integrated Program for Students with Special Educational needs (TISIPfSEN), in children and young people with special educational needs and disabilities (SENDs). The purpose of this work was to study museology applications in accordance with the pedagogical tool TISIPfSEN. The main working hypothesis explored access to theatre and entertainment events, museums and archaeological sites of people with SENDs, which is not always an easy process given that they are a heterogeneous group due to their inherent or acquired specificity. The applications also drew pedagogical materials through the charm of the art of theatre and puppetry. In this context, performances were given free of charge through the Kalamata Experimental Stage to children and young people with SENDs, in the city of Kalamata and Sparta. This project led to voluntary application from students of department of history of University of Peloponnese. The results showed that people’s disability does not always mean impotence. Accessibility to museum programs and theatrical events in modern organized societies is possible. The learning process becomes accessible with the pedagogical tool TISIPfSEN to people with special needs. Necessary conditions, knowledge in the SET and the necessary training of all according to universal design. In conclusion, TISIPfSEN museum pedagogical programs facilitate different social groups in approaching, understanding the differential material culture, with alternative forms of communication and learning, given that heterogeneity in nature is a universal phenomenon.
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Mahmutoglu, Vildan. "Memory Shaping in Migration Age: Amal’s Walking." In GLOCAL Conference on Mediterranean and European Linguistic Anthropology Linguistic Anthropology 2022. The GLOCAL Unit, SOAS University of London, 2023. http://dx.doi.org/10.47298/comela22.9-1.

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Memory forms through visual and auditory perception and experience. Yet, memory studies frequently note that past traumas influence memory and the shaping of memory. Here, studies on past suffering influence the field of memory studies. For example, Huyssen notes that the narratives concerning past trauma not only transfer this past pain but also build memory which will emerge in the future (2018). At the present time, the creation of narratives is increasingly shifting away from large institutions, where short story pieces are gaining a place in general media through their formation as micronarratives, thus structuring contemporary communication. Such is the case with puppet theatre and its narratives. For example, in Turkey, one popular current puppet theatre narrative is the journey of the puppet Amal, the Syrian girl protagonist in a puppet play created by the Good Chance Theatre. Within the narrative, Amal begins her journey in Gaziantep, a city in southern Turkey near the Turkish-Syrian border, and reaches the large city of Izmir, in Turkey, as a final destination. This study was carried out in Izmir, which is the last stop of Amal in Turkey. Before leaving Turkey, there were several activities held, and refugee children and Turkish children came together with Amal in those events. They played some games together to contribute to Amal's Izmir Diary – (Izmir Art, July 6, 2022). In the research, focus groups and in-depth interviews were realized with the children who participated in these events. By analysing the interviews, the effect of Amal’s walking performance on Syrian children will be revealed by keeping in the mind the key phrase ‘forming the memory’ and micronarrative.
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Curri-Memeti, Almira, and Diar Selimi. "GREEN HUMAN RESOURCE MANAGEMENT - PERFORMANCE MANAGEMENT AND EVALUATION." In Economic and Business Trends Shaping the Future. Ss Cyril and Methodius University, Faculty of Economics-Skopje, 2020. http://dx.doi.org/10.47063/ebtsf.2020.0034.

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The concern for the natural environment began a long time ago. Throughout the previous two decades, the globe appealed for proactive ecological management. The term eco- friendly or environmentally friendly is also widespread nowadays, relating to laws, activities, products, services etc., theatre having, minimal, reduced or not having negative impact on eco- systems and the environment. Environmental performance is the relationship between the organization and the environment. Current writing on environmental management recognizes that with a specific end goal to accomplish environmental sustainability objectives, associations can use proper human resource management practices to motivate their employees. To this end, incredible endeavors have been made to investigate what drives workers to participate in proecologic practices that help their organization to turn green and be sustainable. Additionally, a number of studies demonstrate that there is a connection among the green activities, organizational performance and corporate profitability within any association. The main purpose behind this thesis is to extend our understanding of how the concept of green management can be positioned as part of the human resource function. The motivation is to highlight the importance of building sustainable and eco-friendly business, and to gain knowledge of the outcomes after adopting Green human resource management in the organizations.
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Kulkarni, S. G., X. L. Gao, N. V. David, S. E. Horner, and J. Q. Zheng. "Ballistic Helmets: Their Design, Materials, and Performance Against Traumatic Brain Injury." In ASME 2012 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2012. http://dx.doi.org/10.1115/imece2012-86340.

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Protecting a soldier’s head from injury is critical to function and survivability. Traditionally, combat helmets have been utilized to provide protection against shrapnel and ballistic threats, which have reduced head injuries and fatalities. However, home-made bombs or improvised explosive devices (IEDs) have been increasingly used in theatre of operations since the Iraq and Afghanistan conflicts. Traumatic brain injury (TBI), particularly blast-induced TBI, which is typically not accompanied by external body injuries, is becoming increasingly prevalent among injured soldiers. The response of personal protective equipment, especially combat helmets, to blast events is relatively unknown. There is an urgent need to develop head protection systems with blast protection/ mitigation capabilities in addition to ballistic protection. Modern military operations, ammunitions, and technology driven war tactics require a lightweight headgear that integrates protection mechanisms (against ballistics, blasts, heat, and noise), sensors, night vision devices, and laser range finders into a single system. The current paper provides a comparative study on the design, materials, ballistic and blast performance of the combat helmets used by the U.S. Army based on a comprehensive and critical review of existing studies. Mechanisms of ballistic energy absorption, effects of helmet curvatures on ballistic performance, and performance measures of helmets are discussed. Properties of current helmet materials (including Kevlar® K29 and K129 fibers, and thermoset resins) and future candidate materials for helmets (such as nano-composites, thermoplastic polymers, and carbon fibers) are elaborated. Also, experimental and computational studies on blast-induced TBI are examined, and constitutive models developed for brain tissues are reviewed. Finally, the effectiveness of current combat helmets against TBI is analyzed along with possible avenues for future research.
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BELLEAU, Sylvie. "The Otherness through Le rêve d’Urmila (Urmila’s Dream), an Interdisciplinary and Intercultural Research Creation Doctoral Project through Natyashastra." In The International Conference of Doctoral Schools “George Enescu” National University of Arts Iaşi, Romania. Artes Publishing House UNAGE Iasi, 2023. http://dx.doi.org/10.35218/icds-2023-0016.

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This communication will present how research creation based doctoral project can be an opportunity to explore the Otherness and other disciplines, to open to new realms of research as well as to question the artist’s posture in his journey between the culture of origin and the culture of the discipline in which he trains. As an apprentice, I studied kathakali in South India in my early twenties and it influenced all my theatre practice. The dance-theatre of Kerala has been part of my creative tools since the beginning of my creative life as a professional stage artist. My doctoral research was a way to question the footprint of the kathakali training in a creation project, to deepen my knowledge of Indian theatre and to explore the connections between kathakali, Natyasastra, the classical Indian treaty of dramaturgy, and my doctoral creation, Le rêve d’Urmila, which has been presented in September 2018 at Université Laval, in Quebec City. As part of my doctoral research on cultural hybridity, I had to train a group of western artists to dance and play with the codes of Indian dance to reach the level of cultural and disciplinary competence needed to produce the doctoral creation. I will thus present the specificities of the training process and expose the ways in which we explored various elements of the kathakali performance: the four abhinaya, rhythmic and musical elements, etc.
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"Defining Verbatim Theatre as a Form of Documentary Theatre." In International Visible Conference on Educational Studies and Applied Linguistics. Tishk International University, 2021. http://dx.doi.org/10.23918/vesal2021v12.

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Vermisso, Emmanouil, Marco Mandra, Juanita Bernal, and Sitki Sipahi. "Adjustable Casts." In 2016 ACSA International Conference. ACSA Press, 2016. http://dx.doi.org/10.35483/acsa.intlp.2016.12.

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The design proposals Jørn Utzon completed for the structural resolution of t the Sydney Opera House (1956-57/completed1973), Kuwait National Assembly (1971-71/completed 1985)and Zurich Theatre (1964, unbuilt), examine the relationship between shape (structural profile) and material performance. Virtually, the roof modules of these projects consist of infinite numbers of structurally efficient profiles which are expressed through a geometric continuity. Using profile succession from ‘T’ to ‘’U”, among other combinations, Utzon explored the location of “material where it is structurally most useful” (M A Andersen 2014). These studies examine the analogue algorithm used by Ove Arup and Jørn Utzon to design the concourse beams (often called the “moment” beams) at the Sydney Opera House. The beam design is based on optimal material arrangement, in an attempt to unite form and structure: towards mid-span, where bending moment is greater, the beam cross-section assumes the shape of a “T” while the cross-section at the end conditions turns into a “U”. The surface geometry of the beam is defined by interpolating between these three conditions (U to T to U), resulting in a fluid, doubly curved geometry that ranges between these two shapes, thereby creating a ‘family’ of shapes.
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Gherghișan, Alina. "Theatre Of Elite Performance." In ICPESK 2018 - International Congress of Physical Education, Sports and Kinetotherapy. Education and Sports Science in the 21st Century, Edition dedicated to the 95th anniversary of UNEFS. Cognitive-Crcs, 2019. http://dx.doi.org/10.15405/epsbs.2019.02.71.

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Reports on the topic "Theatre and Performance Studies"

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Kolomiiets, Viacheslav. Ballet Art of Soviet Ukraine from the Late 1910s to the Early 1930s: Classical Performances, Modern Intentions, Socialist Realism Canon. Intellectual Archive, 2024. http://dx.doi.org/10.32370/ia_2024_03_11.

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The article conceptualizes the development of ballet art in Soviet Ukraine from the late 1910s to the early 1930s. The active use of ballets of classical heritage (Corsair, Futile Warning, Swan Lake, etc.) in the repertoire of opera theaters of Kyiv, Kharkiv, Odesa and the penetration of modern features into the ballet stage (Flying Ballet) were demonstrated. It is noted that elements of modern dance were cultivated in the activities of private choreographic and theater studios. The collapse of modernism with the introduction of the method of socialist realism in art with a focus on ideology, nationalism, and partisanship is noted. It was concluded that the state of ballet art in Soviet Ukraine from the late 1910s to the early 1930s can be qualified as a transition from modernization intentions, which were not realized, to the gradual introduction of the socialist realist method of artistic creation as the only one officially recognized by the Soviet authorities.
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Kolomiiets, Viacheslav. Ballet Art of Soviet Ukraine from the Late 1910s to the Early 1930s: Classical Performances, Modern Intentions, Socialist Realism Canon. Intellectual Archive, 2024. http://dx.doi.org/10.32370/ia_2024_01_11.

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The article conceptualizes the development of ballet art in Soviet Ukraine from the late 1910s to the early 1930s. The active use of ballets of classical heritage (Corsair, Futile Warning, Swan Lake, etc.) in the repertoire of opera theaters of Kyiv, Kharkiv, Odesa and the penetration of modern features into the ballet stage (Flying Ballet) were demonstrated. It is noted that elements of modern dance were cultivated in the activities of private choreographic and theater studios. The collapse of modernism with the introduction of the method of socialist realism in art with a focus on ideology, nationalism, and partisanship is noted. It was concluded that the state of ballet art in Soviet Ukraine from the late 1910s to the early 1930s can be qualified as a transition from modernization intentions, which were not realized, to the gradual introduction of the socialist realist method of artistic creation as the only one officially recognized by the Soviet authorities.
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Ingram, Charlie, Sarah Whatley, Nick Henry, and Susanne Foellmer. Innovatory Methods in Policymaking: Introducing the Use of Verbatim Theatre. Coventry University, 2022. http://dx.doi.org/10.18552/cdare/2024/0002.

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This report introduces Headphone Verbatim Theatre (HVT), a method of data gathering that involves a performance created solely from the words spoken by interview participants. HVT responds to the challenges faced by policymakers around incorporating citizen experiences in policy design and evaluation. After identifying the problem policymakers currently face in capturing the voices of citizens, the report outlines the method of HVT and summarises its key benefits. Through embedded video clips, the report gives examples of where the method has been used and further, how dissemination in a live performance offers an effective and emotive connection between citizens and policy makers. In the final section it details the method’s operational requirements.
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Pizzuto, Domenico. D0 central tracking chamber performance studies. Office of Scientific and Technical Information (OSTI), 1991. http://dx.doi.org/10.2172/10135909.

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Pizzuto, Domenico. D0 Central Tracking Chamber Performance Studies. Office of Scientific and Technical Information (OSTI), 1991. http://dx.doi.org/10.2172/1372872.

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Lopez, A. M. Ring-imaging Cerenkov studies. Final performance report. Office of Scientific and Technical Information (OSTI), 1997. http://dx.doi.org/10.2172/631231.

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Belenky, Gregory. Naturalistic Field Studies of Sleep and Performance. Defense Technical Information Center, 2011. http://dx.doi.org/10.21236/ada580970.

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Belenky, Gregory. Naturalistic Field Studies of Sleep and Performance. Defense Technical Information Center, 2009. http://dx.doi.org/10.21236/ada600638.

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Belenky, Gregory. Naturalistic Field Studies of Sleep and Performance. Defense Technical Information Center, 2010. http://dx.doi.org/10.21236/ada600648.

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Aamodt, R. E., P. J. Catto, D. A. D`Ippolito, J. R. Myra, and D. A. Russell. Fundamental studies of fusion plasmas. Annual performance report. Office of Scientific and Technical Information (OSTI), 1993. http://dx.doi.org/10.2172/10146266.

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