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Journal articles on the topic 'Theatre for children and young audiences'
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1
Reason, Matthew. "‘Did You Watch the Man or Did You Watch the Goose?’ Children's Responses to Puppets in Live Theatre." New Theatre Quarterly 24, no. 4 (November 2008): 337–54. http://dx.doi.org/10.1017/s0266464x08000481.
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Puppets are inanimate objects that, when watched by an audience, are invested with life and motion and character. This is particularly the case, we imagine, with children's theatre, where there is a cultural assumption that young audiences engage with the illusion and imaginative experience. In this article Matthew Reason uses innovative visual arts-based audience research to explore this question, asking how children respond to puppets in live theatre. In doing so he engages with questions of reality, illusion, belief, and disbelief in the theatre, as well as with questions about the respect and sophistication of young audiences. Matthew Reason is a Senior Lecturer in Theatre and Head of Programme for MA Studies in Creative Practice at York St John University. In 2006 he published Documentation, Disappearance, and the Representation of Live Performance (Palgrave), and a full-length exploration of children's experiences of live theatre, The Young Audience, will be published by Trentham Books in 2010.
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Goldfinger, Evelyn. "TV-theatre: TV Presence in Contemporary Theatre for Children and Young Audiences in Buenos Aires." Youth Theatre Journal 23, no. 1 (May 14, 2009): 30–38. http://dx.doi.org/10.1080/08929090902851544.
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Shevelova, Oleksandra. "Children's and youth repertory of the modern musical theater in Ukraine: research problems of the director's concept." Ukrainian musicology 46 (October 27, 2020): 30–44. http://dx.doi.org/10.31318/0130-5298.2020.46.234590.
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The aim of the study is to determine the degree of research of the repertoire policy of the Ukrainian musical theatres in the context of works for children and youth; to emphasize the role of the director in selecting the appropriate techniques and artistic expressions aimed at young auditory. The object: children's and youth repertoire of modern Ukrainian musical theatre and its directorial incarnations, the nature of interpretations and their compliance with the young viewers' perception. The methodology implies the use of a system and analytical method, which allows carrying out theoretical and methodological generalization of scientific concepts, works and proposals of leading scientists in order to find a new scientific understanding of children's and youth repertoire of modern Ukrainian musical theatre. Functional-structural analysis makes it possible to determine the functional component of musical theatre and repertoire focused on the young audience, in particular, to form the principles and values of the influence of theatrical art on the individual. With the help of traditional methods of art research: genre, stylistic, interpretive approaches to directorial modifications of the repertoire in accordance with the modern requirements. The relevance of the study: exploring the little-studied topic of children's musical theatre in Ukraine, drawing the experts’ attention to the gaps that arise in the process of vector determination in the groups’ repertoire policy. The appeal to these aspects is signified by the need of finding the new directorial approaches if solving modern problems of children's and youth repertoire of musical theatres in Ukraine at the time of global changes in artistic culture. Art education of the young generation of the information technology era is an important component of comprehensive personal development. Findings and conclusion: the study of the problem of solving children's and youth subjects in Ukrainian musical theatres at the time of modern socio-cultural challenges allows us to state the lack of a systematic differentiated approach to the theme choice, directing techniques, artistic expression which are appropriate for the children's, teenagers’ and youth perception. The review of domestic and foreign researches on the chosen problems testifies to the existence of some separate developments in psychological and pedagogical, culturological, musicological, theatrical sciences. Unfortunately, there is still no comprehensive intersectoral scientific research that integrates the various achievement in order to create an artistically holistic performance for children and youth. The format of directorial incarnations of musical and theatrical performances of the specified repertoire implies the differentiation of directorial approaches to its interpretations in accordance with the peculiarities of the musical drama of works which are focused on the relevant audience. The further research prospects lay in the opportunity to identify examples of relevant works for the re-pertoire of the musical theatre in Ukraine and to establish the relevant directorial concepts that can be embodied in musical and theatrical performances aimed at children and youth audiences.
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Kempe, Andrew J. "Widening Participation in Theatre through ‘Relaxed Performances’." New Theatre Quarterly 31, no. 1 (January 30, 2015): 59–69. http://dx.doi.org/10.1017/s0266464x15000068.
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In this article Andy Kempe discusses how a nationwide project has marked a significant step forward in improving access to the theatre for UK audiences who have hitherto felt largely excluded from theatre by mounting a number of ‘relaxed performances’. He makes particular reference to autistic spectrum disorders to illustrate how, in order to widen participation, theatres need to cater for a diverse range of individual needs. The article explores the challenges of catering for children and young people who may be, variously, under- or over-sensitive to sensory stimuli, in both the way performances are adapted and how the front-of-house is organized. A case study is offered of how one small regional theatre sought to address these challenges by giving a ‘relaxed performance’ of its annual pantomime. The impact of the production is considered as well as insights that have emerged from the enterprise. Andy Kempe is Professor of Drama Education and a Teaching Fellow of the University of Reading. His work with students of all ages and abilities has informed his numerous publications on a variety of issues in drama and arts education, including Drama, Disability, and Education (Routledge, 2012).
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Bedard, Roger L. "The Cultural Construction of Theatre for Children and Young Audiences: A Captive Eddy of Recursive Harmonies." Youth Theatre Journal 23, no. 1 (May 14, 2009): 22–29. http://dx.doi.org/10.1080/08929090902851551.
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Scullion, Adrienne. "‘And So This Is What Happened’: War Stories in New Plays for Children." New Theatre Quarterly 21, no. 4 (October 19, 2005): 317–30. http://dx.doi.org/10.1017/s0266464x05000199.
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In this essay Adrienne Scullion explores the representation of war – and in particular of the Second World War – in contemporary theatre for children, considering how the narrative and performative conventions of drama communicate ideas about the conflict to young audiences. She argues that a taxonomy identified in relation to juvenile war literature – discourses of testimony and documentary, propaganda and escapism, myth and metaphor – resonates just as significantly in drama. This proposition is investigated in readings of three recent plays – Stephen Greenhorn's King Matt (TAG, 2001), David Greig's Dr Korczak's Example (TAG, 2001), and Nicola McCartney's Lifeboat (Catherine Wheels, 2002). She proposes that all three plays make different use of the conventions of telling war stories and those of theatrical performance to represent and describe war and, thereby, to explore contemporary values and expressions of citizenship – a declared goal of public policy-making in the UK. Adrienne Scullion teaches in the Department of Theatre, Film and Television Studies at the University of Glasgow.
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Mages, Wendy K. "Educational drama and theatre pedagogy: An integral part of training English-as-a-Foreign-Language teachers." Scenario: A Journal for Performative Teaching, Learning, Research XIV, no. 1 (July 3, 2020): 11–23. http://dx.doi.org/10.33178/scenario.14.1.2.
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This mixed-methods research documents the integration of educational drama and theatre into a teacher-preparation program for Austrian teachers-in-training who plan to teach English-as-a-foreign-language to Austrian school children. Observations were conducted of the plays developed and performed in English by two cohorts of Austrian teachers-in-training who participated in the teacher-preparation program. Observations were also conducted of the second cohort’s process developing a script based on an English young adult novel, as well as their process of producing and performing the play in English for middle-school and adult audiences. In addition, a survey of participants’ perceptions of the program was conducted. This study investigates how the teachers-in-training responded to the process of creating and performing a play in English, and their perceptions of its benefits and challenges for themselves, as well as for their future students.
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Hald, Niklas. "On the art of reflection in the arts!" Scenario: A Journal of Performative Teaching, Learning, Research XII, no. 2 (July 1, 2018): 76–78. http://dx.doi.org/10.33178/scenario.12.2.12.
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I was invited to the symposium in order to hold the workshop A crash course in RPK (Reflections on Practical Knowledge). Since I work both as a lecturer and as an actor, and of one the key ingredients in RPK is reflecting on our personal experiences, I thought the best way of introducing my workshop, during the introductory Sunshine speeches, would be through telling a story about my life as an actor. This story starts with myself as a young actor performing for small children. It all begins in an early November morning with chaotic weather, snowstorm and myself as the “lone hero” trying to solve everything that comes in my way, being late and constantly exposed to new problems. After running around like a mad man on a problem-solving mission while building the set, I can finally open the doors and let the young audience in. However, a couple of minutes into the performance I hear a young girl say loudly: “When does the theatre begin?” I’ve used this story in a lot of situations to explain some of the circumstances I can face as an actor in a small company on tour. To me it is a typical ...
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Yu., Filipchuk, and Kubai R. "DESIGN RESULTS OF CULTURAL AND EDUCATIONAL, THEATRICAL AND ENTERTAINMENT BUILDINGS." Architectural Studies 6, no. 1 (September 1, 2020): 143–48. http://dx.doi.org/10.23939/as2020.01.143.
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theatrical and entertainment buildings, designed by teachers and students of the Department of architectural environmental design, Institute of Architecture, National University of Lviv Polytechnic. Nowadays, the theater architectural industry in Ukraine that specializes in youth audiences and students has no clear answer to the question of what the architecture of contemporary theater for children and young people should be and what functional colors and scenographic palette it should include. The theatrical architecture of buildings for children and youth in modern Ukraine continues to be a copy of the building since the Soviet Union. At the beginning of the 21st century nothing new appeared except analogs of the Theater of Young Spectators and the Puppet Theater of the former era. The analysis of more than 25 projects of all ranks has shown that most of them are based not only on the ideas of architects of the second half of the twentieth century but also those that made up a network of cultural and educational, theatrical and spectacular buildings in the former USSR. However, in recent years the projects of the Lviv School of Architecture, and especially after the creation of the Department of Architectural Environmental Design, have changed direction towards finding solutions for the architecture of the future. Evidence of the results of both educational, competitive design and the creation of special courses that reanimate the ideas of the architecture of futurists of the twentieth century - F. Kiesler, I. Leonidov and other architects of futurists in the applied sphere A. Quarmby, K. Tange, B. Fuller and those engaged in the search for architecture, which is at least partially called the architecture of the future - G. Holmin, Wolf D. Prix, G. Krieger. The materials of the article highlight the main principles of designing cultural and educational, theatrical, and entertainment centers in the 21st century. The author outlines the factors that continue to harm the future development of cultural and educational, theatrical, and entertainment centers in Ukraine. Highlighted experience of designing search, educational and competition projects on the example of the activity of the Department of architectural environmental design proves that it can find application in the applied architectural and construction industry of the country as a whole.
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Beauchamp, Hélène. "Theatre Research as (Theatrical) Practice: Recognizing Theatre for Young Audiences." Theatre Research in Canada 14, no. 2 (January 1993): 178–95. http://dx.doi.org/10.3138/tric.14.2.178.
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This article is about research on theatre as an ongoing theatrical practice. It discusses the often contradictory demands of proximity and distance, ofinvolvement and observation/recording, of advocacy and objective analysisall using the author's approximately twenty years of activity in the field oftheatre for young audiences as the basis for the discussion. It asks questions,and does not always provide answers. It proposes that the artists of the stageare researchers in their own right. Without them, there would be no theatre,and no theatre research. It points to the fact that theatre is a living art, in aconstant state of transformation, and that to try to pin it down is hazardous.
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Bloom, Davida. "Feminist Dramatic Criticism for Theatre for Young Audiences." Youth Theatre Journal 12, no. 1 (May 1998): 25–35. http://dx.doi.org/10.1080/08929092.1998.10012492.
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Wartemann, Geesche. "Theatre as Interplay: Processes of Collective Creativity in Theatre for Young Audiences." Youth Theatre Journal 23, no. 1 (May 14, 2009): 6–14. http://dx.doi.org/10.1080/08929090902851528.
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Buljubašić, Iva. "EXPLORING THE MOTIVES OF YOUNG AUDIENCE FOR THEATRE ATTENDANCE." International Journal Vallis Aurea 6, no. 2 (December 21, 2020): 5–15. http://dx.doi.org/10.2507/ijva.6.2.1.70.
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This paper presents scientific research at the national level in the Republic of Croatia, i.e. the analysis of the motives for the arrival of the younger age group, the generation Y so-called millennials and generation Z's in city and national theatres. The institutions of culture in the Republic of Croatia are always trying to find the best way to contain existing and attract new audiences. The aim of this paper is to investigate the development of young theatre audiences, i.e. their motives, but also the obstacles of attendance in to city and national theatres.
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Laverty, Ashley. "Suzan Zeder versus Pinkalicious: Today’s Theatre for Young Audiences." Theatre Symposium 23, no. 1 (2015): 117–23. http://dx.doi.org/10.1353/tsy.2015.0002.
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Johanson, Katya, and Hilary Glow. "Being and Becoming: Children as Audiences." New Theatre Quarterly 27, no. 1 (February 2011): 60–70. http://dx.doi.org/10.1017/s0266464x11000054.
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In this article, Katya Johanson and Hilary Glow examine the ways in which performing arts companies and arts policy institutions perceive the needs of children as audiences. Historically, children have been promoted as arts audiences. Some of these represent an attempt to fashion the adults of the future – as audiences, citizens of a nation, or members of a specific community. Other rationales focus on the needs or rights of the child, such as educational goals or the provision of an antidote to the perceived corrupting effect of electronic entertainment. Drawing on interviews with performing arts practitioners, the authors explore some of these themes through case studies of three children's theatre companies, identifying the development of policy rationales for the support of practices directed at children which are primarily based on pedagogical principles. The case studies reveal a shift away from educational goals for children's theatre, and identify a new emphasis on the importance of valuing children's aesthetic choices, examining how these trends are enacted within the case-study organizations, and the implications of these trends for company programming. Hilary Glow is Senior Lecturer and Director of the Arts Management Program at Deakin University, Victoria. She has published articles on cultural policy and the audience experience in various journals, and in a monograph on Australian political theatre (2007). Katya Johanson lectures and researches in the School of Communication and Creative Arts at Deakin University. She has published on Australian cultural policy and on the relationship between art, politics and national identity. With Glow she is the author of a monograph on Australian indigenous performing arts (2009).
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Omasta, Matt. "Artist Intention and Audience Reception in Theatre for Young Audiences." Youth Theatre Journal 25, no. 1 (May 2, 2011): 32–50. http://dx.doi.org/10.1080/08929092.2011.569530.
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Giannini, Annie. "Young, Troubled, and Queer: Gay and Lesbian Representation in Theatre for Young Audiences." Youth Theatre Journal 24, no. 1 (April 29, 2010): 4–8. http://dx.doi.org/10.1080/08929091003732864.
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Grytsun, Yuliia. "The reflection of fabulousness in Igor Kovach’s musical theatre (on the example of the fairy-tale ballet “Bambi”)." Aspects of Historical Musicology 23, no. 23 (March 26, 2021): 78–91. http://dx.doi.org/10.34064/khnum2-23.05.
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Problem statement. Among Kharkiv composers, one of the significant places is occupied by Igor Kovach (1924–2003), a representative of the Kharkiv School of composers and Ukrainian musical culture of the 20th century. His works include music and stage, orchestra, concert, song, choral and literary-musical compositions, music for theatre performances, music for films and TV films. The creative legacy of Igor Kostyantynovych Kovach has a close connection with the children’s audience; it includes both instrumental music for young performers and theatrical music, where children from performers become listener, among them the fairy-tale ballets “The Northern Tale” and “Bambi”. The children’s music by I. K. Kovach did not receive proper consideration except for short newspaper essays and magazine notes, M. Bevz’s (2007) article devoted to children’s piano music. Thus, the problem of holistic study of children’s stage music by Igor Kovach still remains open. Objectives. The present article is devoted to the identification of musicalthematic, timbre-texture, genre-stylistic features, with the help of which the multifaceted figurative world of the ballet “Bambi” is embodied. The aim and the tasks of this research – to reveal the specifics of the figurative world of the fairytale ballet “Bambi” and to identify the musical means by which it is embodied. The role of the orchestra is established, the means of thematic characteristics of the characters are traced, and the peculiarities of the musical language stipulated by the requirements of the chosen genre are noted. Methodology. To achieve the aim we have used special scientific methods: genre, stylistic, intonation-dramaturgical and compositional ones. The presentation of the main material. The music for the fairy-tale ballet “Bambi” belongs to two authors: Igor Kovach and his son Yuri. The new features inherent in the sound palette are manifested in the instrumentation, where along with the usual composition of a modern symphony orchestra there are saxophones, rhythm- and bass-guitars, drums, which due to their timbres bring a sharp taste of emotional and behavioural looseness. Introducing the qualities of non-academic tradition into the academic orchestra, the authors, on the one hand, use them according to their origin, on the other – turn them into an organic part of the symphonic score. By making a “concession” to pop music, simplifying harmonious language, freeing it from the extreme manifestations of expanded tonality, bringing it closer, on the one hand, to classical-romantic, on the other – to jazz, Igor Kovach showed his inherent sense of modernity, “address quality” of creativity. Conclusions. Thus, the fabulous multifaceted world of “Bambi” is revealed in the ballet owing to the bright thinking and language of the composer. The action of the ballet takes place against the background of bright genre sketches, which are as if immersed in the very density of life. This impression arises due to the dynamics of rhythms, colourful orchestration, and a variety of styles, addressed to the sound world of today. Generalized intonations of academic art organically coexist with the turns of song quality of different origins, dance quality, march quality, jazz improvisations, which was facilitated by the co-authorship with Yuri Kovach.
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Šimić, Mirna Leko, and Ana Pap. "Insights into Classic Theatre Market Segments." Naše gospodarstvo/Our economy 66, no. 4 (December 1, 2020): 50–62. http://dx.doi.org/10.2478/ngoe-2020-0023.
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Abstract Marketing segmentation is one of the key strategic elements in marketing planning that helps identifying key consumer groups and their characteristics and enables the adaptation of marketing strategies to different target consumers. The aim of this paper is paper aims to segment classic theatre audiences based on their attendance frequency and identify major socio-demographic characteristics of each segment. A self-completion questionnaire was developed upon analysis of previous studies and was distributed to the population in an area of about 50 km around Osijek. The research was conducted on a convenient sample, using an in-person method in two different intervals: in the first interval, research was conducted on young respondents (18-34), and in the second interval, research was conducted on adult respondents (age 35+). Altogether 1315 participants took part in the research. Statistical techniques of univariate analysis (frequency distribution and central tendency measures), ANOVA, and two-step cluster analysis were used. The results of the study have identified six classic theatre segments: young theatre friends, young theatre acquaintances, young theatre strangers, adult theatre friends, adult theatre acquaintances, adult theatre strangers. Each segment is described in detail by their geographic (distance from the venue), demographic (age, income, marital status, education, employment) and psychographic characteristics (social activities, free time spending, and informing gathering about classic theatre offer) characteristics. The research results emphasized the differences in classic theatre audiences, which calls for continuous market segmentation in order to ensure timely recognition of consumer trends and changes in preferences. This would enable theatre management to adapt and implement adequate marketing initiatives and strategies.
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McLauchlan, Debra. "Playlinks: a theatre-for-young audiences artist-in-the-classroom project." Pedagogies: An International Journal 12, no. 1 (January 2, 2017): 130–42. http://dx.doi.org/10.1080/1554480x.2017.1283998.
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McCaslin, Nellie. "Seeking the Aesthetic in Creative Drama and Theatre for Young Audiences." Journal of Aesthetic Education 39, no. 4 (2005): 12–19. http://dx.doi.org/10.1353/jae.2005.0045.
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van de Water, Manon. "Constructed Narratives: Situating Theatre for Young Audiences in the United States." Youth Theatre Journal 14, no. 1 (May 2000): 101–13. http://dx.doi.org/10.1080/08929092.2000.10012521.
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Omasta, Matt. "Adult Stakeholder Perspectives on Social Issues in Theatre for Young Audiences." Youth Theatre Journal 29, no. 1 (January 2, 2015): 73–86. http://dx.doi.org/10.1080/08929092.2015.1018470.
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Md Khir, Roselina Johari. "Developing Theatre for the Young in Malaysia: Benefits and Challenges." Jurai Sembah 1, no. 1 (June 16, 2020): 1–7. http://dx.doi.org/10.37134/juraisembah.vol1.1.1.2020.
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This study investigates how young people in Malaysia enjoy theatre or find it relevant at all in the era of television, films and technology. The research was done using three approaches: A Naturalistic Inquiry methodology where the research was done at site which is in Kinabatangan, in East Malaysia with 25 young people to develop a script; a creative arts methodology was done in the studio where the script was explored and developed into a performance; the last phase of the research used a primary qualitative methodology to explore how young audiences watch theatre in which the research instruments used were questionnaires and open-ended interviews. There were 9 respondents from a Primary School and 23 respondents from a secondary School. This research that came out of the practice, enabled the researcher to investigate children’s life experiences and listen to themThe knowledge gathered is that the young in Malaysia are definitely excited about theatre which communicates to them and which has aesthetic, entertaining, imaginative and educational merits. The research connected the young in East Malaysia as participants who contributed to the script with the young in West Malaysia who performed it and young audiences who watched it.
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Linden, Saphira Barbara. "Participatory family theatre: A historical review of Theatre Workshop Boston’s creative, transformational, healing theatre for young audiences and families." Drama Therapy Review 4, no. 1 (April 1, 2018): 85–100. http://dx.doi.org/10.1386/dtr.4.1.85_1.
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Ernst, Manilla, and Willmar Sauter. "Antigone’s Diary – Young Audiences as Co-creators of GPS-guided Radio Drama." Nordic Theatre Studies 27, no. 1 (May 12, 2015): 32. http://dx.doi.org/10.7146/nts.v27i1.24245.
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The play, Antigone’s Diary, is a re-written version of Sophocles’ classical play, developed with teenage schoolchildren in the riot-ridden suburb Husby, a 30-minute subway ride away from the centre of Stockholm. Rebecca Forsberg of RATS Theatre adapted the plot into an interactive radio performance with a mobile audience, walking through the suburb and responding via text messages to Antigone’s questions after each of the twelve scenes. Young audiences were of especial interest for this project. Therefore, school performances for teenagers are the focus of this survey. The responses of pupils were studied during and after performances by means of observations, qualitative interviews and quantitative analysis of the text messages that the participants sent in response to Antigone’s questions. The seriousness and enthusiasm of young audiences were one of the stunning outcomes of this survey and a number of quotations illustrate the immersive power of this production. Furthermore, this experiment also served as a test bed for the Department of Computer and System Science, to which Rats Theatre is closely tied. The multimedia performance, combining radio drama, mobile audiences in a local environment and the options of interactive participation, demonstrated the potential of participatory experiences to engage audiences in democratic processes that can be applied to issues of political interest and decision making in the public sphere.
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Carner, Niccole. "Building national identity and cultural confidence in the National Theatre of Scotland’s theatre for young audiences." Youth Theatre Journal 32, no. 2 (July 3, 2018): 138–46. http://dx.doi.org/10.1080/08929092.2018.1520769.
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Avram, Cristi. "Theatre for Young Audiences – 3 Texts Mihai Ignat – Selma Dragoş – Andrei Ursu." Theatrical Colloquia 8, no. 2 (December 1, 2018): 401–9. http://dx.doi.org/10.2478/tco-2018-0030.
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Abstract This article surprises some thoughts and ideas about the volume Teatru pentru publicul tânăr – 3 texte (Theatre for Young Audiences – 3 Texts), published by Editura Timpul, in October 2018. This book contains texts signed by three young playwrights, Mihai Ignat, Selma Dragoş and Andrei Ursu, who wrote plays for youths “of all ages”, as Oltiţa Cîntec warns us in the Preface. The plays are part of a residence program, a partnership between three institutions in Iaşi, and are extremely different as genre and yet contemporary. My review follows exactly these aspects and a personal interpretation of the messages, situations and characters.
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Henderson, Julia. "Disrupting Age Stereotypes in Theatre for Young Audiences with Older-Bodied Puppets." Theatre Research in Canada 41, no. 2 (December 2020): 239–57. http://dx.doi.org/10.3138/tric.41.2.a03.
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Reason, Matthew. "Young audiences and live theatre, Part 2: Perceptions of liveness in performance." Studies in Theatre and Performance 26, no. 3 (October 13, 2006): 221–41. http://dx.doi.org/10.1386/stap.26.3.221/1.
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Klein, Jeanne, and Shifra Schonmann. "Theorizing Aesthetic Transactions from Children's Criterial Values in Theatre for Young Audiences." Youth Theatre Journal 23, no. 1 (May 14, 2009): 60–74. http://dx.doi.org/10.1080/08929090902851379.
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Nechit, Diana. "Taming the Monster through Theatre. The Therapeutic Valences of Theatre for Young Audiences. The Case of Sibiu." Theatrical Colloquia 8, no. 2 (December 1, 2018): 381–98. http://dx.doi.org/10.2478/tco-2018-0029.
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Abstract The present article aims to demonstrate, starting from a textual and spectacular sample of four texts and performances on the stage of Sibiu, the extent and development that the theatre for young audiences has had in the Romanian theatrical field in recent years. Starting from some general features of this theatrical subgenre, we aim to highlight the close connection between the theme, the character’s construction and a certain type of awareness, of therapy through theatre, operated through this artistic formula. At the same time, our attention focuses on two performances based on the texts of Elise Wilk (Paper Airplanes and Green Cat), an adaptation for the stage of Eleanor Estes’ book, The Hundred Dresses, and a performance created by Yann Verburgh, The Rules of the Game.
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Wartemann, Geesche. "“Not All Performing Is Acting”1: Models of Theatre as Research in Contemporary Theatre for Young Audiences." Youth Theatre Journal 27, no. 2 (July 2013): 121–29. http://dx.doi.org/10.1080/08929092.2013.837700.
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Wagner, Anton. "Infinite Variety or a Canadian 'National' Theatre: Roly Young and the Toronto Civic Theatre Association, 1945-1949." Theatre Research in Canada 9, no. 2 (January 1988): 157a. http://dx.doi.org/10.3138/tric.9.2.157a.
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The founding of the Civic Theatre Association in Toronto in 1945, and its four-season production history until 1949, provide a microcosm of the embryonic development stage of post-World War II indigenous Canadian theatre. Created through the merger of fourteen Toronto-area amateur companies under the leadership of the film and theatre critic Roly Young (1903-48), the CTA sought to finance adequate theatre facilities and to provide work opportunities and appreciative audiences for Canadian artists and playwrights. Young's opposition to the principle of government arts subsidies to create a Canadian 'national' theatre placed him in direct conflict with the organizational work of John Coulter and Herman Voaden at the Arts and Letters Club and the Canadian Arts Council.
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Eisenbichler, Konrad. "Words, Characters, and Context: Giovan Maria Cecchi and the Language of Theatre." Quaderni d'italianistica 36, no. 1 (January 27, 2016): 91–113. http://dx.doi.org/10.33137/q.i..v36i1.26275.
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With over sixty plays to his credit, the Florentine notary Giovan Maria Cecchi (1518–87) was the most prolific Italian dramatist of the entire Renaissance. Not surprisingly, his fellow Florentines nicknamed him il Comico (the playwright) not only because of his great productivity, but also because of the unquestioned success of his works. In fact, his plays seemed to please audiences that ran the gamut from adolescent boys in confraternities to the grand-ducal court, from cloistered nuns in convents to carnival brigades of carefree young men. Clearly, Cecchi knew something about theatre and about audiences that worked to his advantage. This article proposes that Cecchi’s dramatic talent rested, in part, on his keen sense of language and on his ability to adapt it as required not only by the plots and characters of his plays, but also by his audiences, their context, and the changing social political situation of sixteenth-century Florence.
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Phipps, Alison M. "Risking Everything: Political Theatre for Mass Audiences in Rural Germany." New Theatre Quarterly 15, no. 2 (May 1999): 109–22. http://dx.doi.org/10.1017/s0266464x0001280x.
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In the south-west German village of Hayingen, the playwright-director Martin Schleker presents large open-air productions of politically sensitive yet entertaining plays to mass audiences on an annual basis. This article explores the element of risk in Schleker's work: his use of purely amateur performers; his job-creation schemes for young people; and his left-wing and often anti-Catholic stance on issues such as racism and nuclear arms before often deeply conservative, culturally Catholic audiences. Schleker's work is situated in the wider context of the state-funded, civic theatres in Germany, and of the tradition of open-air ‘Naturtheater’ which is particularly strong in the Swabian region. Some assumptions surrounding such binary divides as amateur-professional and high art-entertainment are also explored. Data for this article was collected in the Hayingen ‘Naturtheater’ during a period of ethnographic research supported by the Leverhulme Trust. Having completed her doctorate at Sheffield University, Alison Phipps has been working as a lecturer in the Department of German – and in particular in the Centre for Intercultural Germanistics – at Glasgow University since October 1995. She has published in the areas of her research interests, which include contemporary German theatre and performance research, Ethnographic approaches to language education, and popular German culture and intercultural studies.
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Reason, Matthew. "Young audiences and live theatre, Part 1: Methods, participation and memory in audience research." Studies in Theatre and Performance 26, no. 2 (August 10, 2006): 129–45. http://dx.doi.org/10.1386/stap.26.2.129/1.
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López-de-la-Roche, Maritza. "Do young audiences learn from media?" Comunicar 15, no. 30 (March 1, 2008): 55–59. http://dx.doi.org/10.3916/c30-2008-01-008.
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The article revisits the old debate about media influence, focusing on whether children learn from television or not. It argues that TV per se does not guarantee that a child will build knowledge because mediations connected to family members, peers, or school teachers are necessary to activate learning processes. From this perspective the issue of media influence is related to cultural and school capital and to impersonal communication. Attention is drawn to the contribution of the media to the child’s acquisition of cultural capital. El artículo retoma el antiguo debate acerca de la influencia de los medios, enfocándolo en la pregunta acerca del aprendizaje del niño a partir de la televisión. Plantea que si no ocurren procesos de comunicación interpersonal, como las mediaciones de los adultos y pares del grupo familiar o las de los maestros en el sistema escolar, este medio «per se» no garantiza que el niño construya conocimiento. El problema de la influencia se analiza entonces relacionándolo con los factores de capital escolar/cultural del niño y su familia, y con los procesos de interacción. Se tiene en cuenta la contribución actual a la adquisición de capital escolar y cultural del niño.
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Shevtsova, Maria. "The Baltic House Theatre Festival, St Petersburg: Twenty-Five Years On." New Theatre Quarterly 32, no. 1 (January 7, 2016): 61–67. http://dx.doi.org/10.1017/s0266464x1500086x.
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One of the most important theatre festivals in Russia, the Baltic House Theatre Festival has a well-defined focus, as its name suggests. During the twenty-five years of its existence, it has showcased and in other ways nurtured and encouraged some of the greatest talents – actors, directors, designers – of the Baltic region. It has invited such leading directors as Eimuntas Nekrosius to prepare and rehearse works in its theatre – in the case of Boris Godunov in 2015, performed by the National Theatre of Vilnius. The Festival has also financed co-productions, to extend the reach of its own theatre and develop young audiences, inviting, for example, Luk Perceval and Silviu Purcarete to mount Macbeth (2014) and A Midsummer Night's Dream (2015), respectively, with the Baltic House company. Maria Shevtsova is co-editor of New Theatre Quarterly and Professor of Drama and Theatre Arts at Goldsmiths, University of London
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Matthews, Kelly. "Brian Friel, the BBC, and Ronald Mason." Irish University Review 47, supplement (November 2017): 470–85. http://dx.doi.org/10.3366/iur.2017.0304.
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Accepted theatre history awards Sir Tyrone Guthrie a singular position of influence on Brian Friel's early career. But hundreds of documents newly discovered in BBC archives reveal that Belfast radio drama producer Ronald Mason was perhaps more important to the young playwright's initial development. Not only did Mason coach Friel on revising his scripts for radio audiences, he also introduced Friel's work to James Ellis of the Ulster Group Theatre, while singing his praises to Guthrie. In the pivotal first decade of Friel's writing life, Ronald Mason was a sincere friend and a worldly-wise supporter: exactly the advocate Friel needed.
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Hatley, Barbara. "Contemporary Indonesian Theatre in the Regions: Stage Idiom and Social Referentiality." Theatre Research International 19, no. 1 (1994): 17–28. http://dx.doi.org/10.1017/s0307883300018782.
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In 1973, the poet and essayist Goenawan Mohamad wrote a lengthy and incisive defence of contemporary Indonesian theatre (that is to say, modern, Indonesian language plays of roughly the mid-60s onwards) against the complaints of its critics.1 The lack of dramatic and psychological development noted in many plays, the sketchy scripts, bizarre dramatic happenings, showy settings and inappropriate mixture of comic and serious elements—all of these purported ‘faults’, in Goenawan's view, were associated with the great strength of contemporary Indonesian theatre, its concern with the process of performance, and with intimate communication with its audiences. Previous playwrights had written worthy, wordy ‘schoolroom’ dramas, and members of a small European-educated élite performed them, for an amorphous, universal ‘general public’. Their view that the current minority position of modern theatre would strengthen as Indonesian society became better educated, at the same time revealed a sense of distance between plays and their public. But for the new breed of playwrights, people like Rendra, Arifin Noer and Putu Wijaya, who directed and performed in their own plays and were fully involved in the totality of production,2 there was no such gap. Spectacle and humour, colloquial, everyday language, and the improvisatory possibilities of sketchy scripts, served to entertain, engage and involve audiences drawn from a particular sector of society. Theatre audiences were identified by Goenawan as overwhelmingly young, educated but not used to reading. They had been brought up in a ‘post-literate’ culture of radio, television and film, influenced in some ways, certainly in its group-oriented entertainment habits, by the ‘pre-literate’ aural-oral regional cultures of their parents.
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Santa María Muxica, Luz. "Learning strategies for engagement and retention of young audiences." IFLA Journal 44, no. 4 (August 31, 2018): 258–68. http://dx.doi.org/10.1177/0340035218793156.
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This article examines the available literature on engaging young audiences to visit libraries, museums and performing arts shows, and their strategies for developing permanent audiences. The recommendations drawn from the review serve as an input for the Latin American Library for Children and Youth that is currently in a planning stage. Ideas regarding program, partnerships, communication and promotion of libraries in the context of the 21st century are explained in accordance with an audience approach that emphasises the presentness of children and youth, the demands and motivation of cultural participants, and the need to enable cultural rights.
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Fedenko, Alevtyna. "The importance of M. Kropyvnytskyi’s children’s theater for the formation of a professional musical children’s theater in Ukraine." Aspects of Historical Musicology 19, no. 19 (February 7, 2020): 332–45. http://dx.doi.org/10.34064/khnum2-19.19.
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Introduction and statement of the problem. Before the revolution of 1917, artists, writers, musicians and teachers created a rich literary fund that could be the basis for professional musical children’s theater in Ukraine. That is why there is a need to study the children’s musical and dramatic heritage of the past, which is an inexhaustible treasury of cultural and educational ideas that can be creatively developed and successfully applied in modern conditions. The process of creative development of the genre of children’s musical performance is today one of the most pressing problems of professional theater for children, take in account its growing popularity, both in the world and in Ukrainian musical culture. The lack of scientific research that fully and comprehensively cover the scientific and practical significance of musical children’s plays by Marko Kropyvnytskyi for the development of musical children’s theater in Ukraine indicates the need for more in-depth researching of the chosen topic. In our research, we rely on the works and articles of authoritative experts – in particular, I. Franko (1910), M. Voronyi (1913), D. Antonovich (1925), P. Rulin (1929), I. Mar’ianenko (1953), P. Kyrychok (1985), N. Yosipenko (1958), P. Perepelitsa (1956), A. Novikov (2007; 2011), L. Moroz (1990). The vast majority of researchers noted the great merits of the artist to the national drama in particular and Ukrainian culture in general. Among the scientific works devoted to Kropyvnytskyi as a children’s playwright, one can distinguish the research by A. Novikov (2007), which focuses on the history of creation of the first children’s troupe in the country, which had no analogues in the history of the world theater, since the actors in it were peasant children. In mentioned critical and scientific works, the innovative features of the playwright’s creative heritage are outlined, attention is focused on the specifics of the genre and problem-thematic range, literary-aesthetic, socio-political, and pedagogical views. The literary and theatrical activity of M. Kropyvnytskyi has been thoroughly studied. However, there is still no work that comprehensively reveal his musical and dramatic creativity for children. The purpose of the article is to show the significant role of M. Kropyvnytskyi in the development of children’s musical theater in Ukraine based on the research of children’s musical and dramatic creativity by the artist. The research methodology is integrative. The work uses knowledge of various fields of art history and related sciences: history and theory of theater, music theory, music and theater psychology, vocal and theater pedagogy. Presentation of the main material. A great pride of the playwright is the foundation by him on the territory of his village Zatyshok of the children’s theater, “actors” in which were his own and peasant children. This event was and remains unprecedented, since nothing like this has been observed in the history of Ukrainian and European culture. The troupe consisted of peasant children aged 10–13. For performances, Kropyvnytskyi assigned the largest room (hall) in the old house, where, as in a real theater, the stage was equipped. The first performance, “Goat-Dereza” (“Koza-dereza”), took place on Christmas day, 1906. The playwright drew the scenery himself, and prepared the costumes together with the children. The play was a great success. A few days later, the children’s troupe was invited to a “tour” in the neighboring village, and the entire theater with the scenery on five carts went on a journey of six versts (Novikov, 2007: 33). In the children’s repertoire at that time, there was, in fact, only one work – the opera by M. Lysenko “Goat-Dereza” (“Koza-dereza”) (libretto by Dniprova Chaika). Ukrainian children’s repertoire did not exist at that time, and in 1907, Kropyvnytskyi created two plays for young performers based on folk tales – “Ivasyk-Telesyk” and “At the behest of the pike” (“Po shchuchomu velinniu”). The performances included vocal numbers composed by M. Kropyvnytskyi on the themes of Ukrainian folk melodies. In a letter to his good friend entrepreneur A. Suslov in January 1908, the writer, in particular, notes: “I have assembled a troupe of peasant children and I am staging in the villages: Goat-dereza, IvasykTelesyk, and At the behest of the pike (the latter both are my)” (Kropyvnytskyi, 1960: 530). Based on the plot of folk tales of the same name, he wrote original musical and dramatic works for children of great educational value. The plays are quite simple in meaning and clearly depict the images of all the negative and positive characters. The first represent such social vices as lies and insincerity, and the second are carriers of eternal positive qualities – sincerity, candor, hard work. The plays are written in an exquisite Ukrainian language, close to the oral poetic creativity. All this, as M. Yosypenko rightly notes, is evidence of “a serious approach of M. Kropyvnytskyi to the business of writing plays for children, a deep knowledge of the psychology of the young audience and its cultural and educational needs and demands” (Yosypenko, 1958: 265). The performances require participation of music, which organic include into the language range of the play itself. Music explains and complements the true meaning of the situation to the young audience. Ukrainian musical folklore material formed the basis of the musical solution of M. Kropyvnytskyi’s children’s performances. Most often, folk songs served as a means to create the image and were introduce before the dramatic action mainly by the method of self-presentation: performing a particular song, the characters showed certain traits of their nature. The songs help to reveal the inner world of the characters, to express their state of mind and moods; often they contributed to the creation of the necessary stage atmosphere: festivities, fun and jokes. A significant part of the characters could not be imagined without songs. Using some folk melodies, Kropyvnytskyi mainly wrote original music, close in melody to the folk-song sources. Solo numbers, ensembles, and choirs are organically woven into the dramaturgy of these plays. A clear reflection of the integrity and unity of the musical and dramatic process is the principle of end-to-end development of the main musical idea of performances. In preparation for productions of his children’s plays, Kropyvnytskyi wrote an orchestration for them also. Intending to put these plays on the professional stage, Kropyvnytskyi wrote down advice to future directors regarding the production of their children’s plays. He began to think of broader horizons for them. In the spring of 1910, small artists had to show their art to the audience of the neighboring county town Kupyansk. However, the premature death of the Ukrainian playwright did not allow this plan to be realized. The children’s troupe soon ceased to exist. Kropyvnytskyi children’s troupe and the repertoire he created for it became a prologue to the development of the Ukrainian theater’s creativity for young viewers. In nowadays from the repertoire do not go off the pearls of drama for children “Ivasik-Telesik’ and “At the behest of the pike”. Conclusions. Marko Kropyvnytskyi’s creative heritage and practical activities wrote the gold pages to the history of Ukrainian musical children’s drama and Ukrainian children’s theater. Children’s musical and dramatic works of the writer based on song folklore are the effective mean to educate positive attitude of young Ukrainians to folk tradition as well as to form positive nature traits: generosity, hospitality, goodwill, charity.
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Constantinescu, Tamara. "The Musical – Total Art with Total Actors." Theatrical Colloquia 7, no. 2 (December 1, 2017): 239–46. http://dx.doi.org/10.1515/tco-2017-0022.
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Abstract A performance is a common adventure, the result of the “confrontation” of several creators who meet, each of them bringing the perspective of their own domain, in order to decipher a play that is meant to be represented on stage. The musical satisfies the contemporary audience’s need for novelty and dynamism, as its main characteristic is the bringing together of arts: theatre – through acting, literature – through the libretto, music – through scores and vocal interpretation, dance, and painting – through scenography. The 13th edition of Gala Vedetelor – VedeTEatru, 2016, the Festival organized by George Ciprian Theatre in Buzău, had MUSIC as its main celebrity. The audiences could attend some of the best performances of dance theatre, concert-theatre, or musicals, such as: ArtOrchestra, directed by Horia Suru, Zic Zac, performed by its young creators Andrea Gavriliu and Ştefan Lupu, or West Side Story, created by the choreographer-director Răzvan Mazilu.
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Iacobuţe, Ramona-Petronela. "Theater Festivals - a Collective Archive." Theatrical Colloquia 9, no. 2 (December 1, 2019): 216–23. http://dx.doi.org/10.2478/tco-2019-0028.
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Abstract Theatre can also be viewed as a collective archive that we go to when we need to better understand the world around us, artistic movements and trends, the state of mankind. Each participant in a theatrical act, whether spectator or creator, loads it with emotions and, therefore, with memories. Theatre, in all its forms, strengthens communities, and theatre festivals are a very good opportunity to popularize theatrical productions, from the level of some small communities, to the macro level. Diversity is an essential ingredient for stimulating imagination and a better understanding of an area of interest. This is why a theatre festival with international coverage, such as the International Theatre Festival for Young Audiences in Iasi (FITPTI), should make for its audience as many referrals as possible to the context and artistic life of a community as a whole. In order to achieve such an objective, in addition to the scenic representations, theatrical exhibitions, book launches, interactive installations, theatrical critique seminars, residences for young playwrights, reading shows are more than necessary. If we refer to the collective memory enriched by theatre, we could say that theatre shows have a short life. But, most of the times, those that really have a major impact and their creators are also found in books. And, it is known, books have a much longer life. FITPTI organizers understood this from the beginning and gave the theatre book an important place in the event.
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Hanson, Nicholas. "Back to the Books: Evaluating the Economic Factors behind Literature-based Theatre for Young Audiences Productions." Lion and the Unicorn 36, no. 2 (2012): 193–208. http://dx.doi.org/10.1353/uni.2012.0010.
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Lorenz, Carol. "The Rhetoric of Theatre for Young Audiences And Its Construction of the Idea of the Child." Youth Theatre Journal 16, no. 1 (May 2002): 96–111. http://dx.doi.org/10.1080/08929092.2002.10012544.
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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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DIDAR MUHAMMAD. "EDUCATION THROUGH THEATRE: HOW THE CHILDREN DESERVE." CenRaPS Journal of Social Sciences 1, no. 1 (August 18, 2019): 1–13. http://dx.doi.org/10.46291/cenraps.v1i1.1.
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Theatre is known for entertainment but that is not the end. Theatre gives messages; it teaches the young and old through its interactive and communicative action method, easily called learning by doing. Children should not be out of this avail of pedagogy because Child Education is the potential area for entertainment education. Co-curricular Activities are the fundamental elements of teaching. These activities would be more effective if we retouch and modify by Theatrical Method. As the children love to learn by doing, thus they love the text. This paper shows how the teaching method children deserve, how this strategy of education through theatre helps them to love the textbook.
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Miles, Emma. "Bus journeys, sandwiches and play: young children and the theatre event." Research in Drama Education: The Journal of Applied Theatre and Performance 23, no. 1 (November 6, 2017): 20–39. http://dx.doi.org/10.1080/13569783.2017.1396889.
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