Relevant bibliographies by topics / Theatre for Social Change

Contents

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

Academic literature on the topic 'Theatre for Social Change'

Author: Grafiati
Published: 4 June 2021
Last updated: 6 February 2022

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Journal articles on the topic "Theatre for Social Change"

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Wilson, Kate C. "ASHTAR: Palestinian theatre for social change." Research in Drama Education: The Journal of Applied Theatre and Performance 20, no. 3 (July 3, 2015): 357–62. http://dx.doi.org/10.1080/13569783.2015.1059745.

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McKenna, Jennifer. "Creating community theatre for social change." Studies in Theatre and Performance 34, no. 1 (January 2, 2014): 84–89. http://dx.doi.org/10.1080/14682761.2013.875721.

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Thompson, James, and Richard Schechner. "Why “Social Theatre”?" TDR/The Drama Review 48, no. 3 (September 2004): 11–16. http://dx.doi.org/10.1162/1054204041667767.

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Deploying social theatre in TDR is performative—as likely to bring about as it is to describe. Social theatre is not a meeting of two distinct unrelated wholes. It is the dynamic meeting of theatre and social work, an interaction that can change both disciplines.
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Markovic-Bozovic, Ksenija. "Theatre audience development as a social function of contemporary theatres." Zbornik Matice srpske za drustvene nauke, no. 175 (2020): 437–51. http://dx.doi.org/10.2298/zmsdn2075437m.

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From the last decades of the previous century, the re-examination of the social functions of cultural institutions began - especially the institutions of elite art, to which the theatre belongs. In this regard, numerous researches are conducted focusing on the ?broader? social role of the theatre, as well as exploring the dynamics and quality of the relationship between theatre and its audience. Their outcomes are the recommendations of innovative strategic activities, by which the theatre can establish deeper relations with the existing and attract new audiences, i.e. more efficiently realize its cultural-emancipatory, social-inclusive, social-cohesive, educational, and other similar potentials. Extensive research of the functional type, which combines the analysis of the process of theatre production, distribution and reception, and sheds light on the ways in which theatre functions in the community, has not been conducted in Serbia so far. However, for many years, there have been conducted researches that provide sufficiently relevant answers, analysing this topic from individual aspects of the audience, marketing activities, cultural policy and theatre management. Their overall conclusion is that theatres in Serbia must (re)orient themselves to the external environment - (re)define their social mission and actively approach the process of diversification of the audience. However, the practical implementation of such recommendations is still lacking, theatre organizations find it difficult to adopt the idea that changes must be initiated by themselves, which brings us to the question of the attitudes on which these organizations establish their work. In this regard, the paper maps of and analyzes the opinions of managers and employees of Belgrade theatres on the topic of the role of theatre in the audience development and generation of the ?additional? social value, contextualizing the opinions in relation to the current circumstances, i. e. specific practices of these institutions. In conclusion, an original theoretical model of ?two-way adaptation of public city theatres? is developed, recognizing the importance of strategic action in culture both ?bottom-up? and ?top-down?, and proposing exact activities and approaches to theatre and cultural policy in the field of theater audience development.
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Ahsan, Nazmul. "Social Theatre in Bangladesh." TDR/The Drama Review 48, no. 3 (September 2004): 50–58. http://dx.doi.org/10.1162/1054204041667776.

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Litwak, Jessica. "Audience Engagement in Theatre for Social Change." Engaged Scholar Journal: Community-Engaged Research, Teaching, and Learning 5, no. 2 (June 1, 2019): 275–95. http://dx.doi.org/10.15402/esj.v5i2.68351.

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This report from the field describes some of the author’s methods of audience engagement as a means of social engagement, discussing the implications for practice. The report invites dialogue with the reader about the usefulness of audience engagement and ways it can be manifested before, during and after performance. Theatre is a vibrant and valuable tool for sparking dialogue and inspiring action around challenging social topics. Audiences who are engaged in the process of the performance beyond the standard role of passive spectator are more likely to be motivated to deliverable endeavors post performance. This report from the field offers four brief case studies as examples of audience engagement and includes pragmatic techniques for using theatre as a vehicle for personal and social change through audience engagement. It explores how artists can galvanize and empower audiences by creating experiential communities pre, during, and post-show. Drawing upon examples from high-quality international theatre projects written and directed by the author, the essay investigates and describes the work of The H.E.A.T. Collective including My Heart is in the East (U.S., U.K. and Europe), The FEAR Project (produced in the US, India and Czech Republic), Emma Goldman Day (U.S.).
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Norris, Joe. "Playbuilding and Social Change." LEARNing Landscapes 13, no. 1 (June 13, 2020): 23–27. http://dx.doi.org/10.36510/learnland.v13i1.1024.

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In this interview, Joe Norris reflects on his early experiences with performance and how he became involved with collective creations and playbuilding. His work has led him to develop and implement qualitative research methods using playbuilding. In his role as artistic director of Mirror Theatre, he has been the driving force behind numerous plays that inspire social change. He shares candid observations about the challenges of doing performative work and gives advice for educators wishing to pursue this kind of work.
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Leffler, Elliot. "Theatre of good intentions: challenges and hopes for theatre and social change." Research in Drama Education: The Journal of Applied Theatre and Performance 19, no. 2 (April 3, 2014): 213–14. http://dx.doi.org/10.1080/13569783.2014.895626.

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Vieyra, Deborah. "Healingdeurmekaar: theatre, social change and praxes of potential." South African Theatre Journal 28, no. 1 (January 2, 2015): 58–67. http://dx.doi.org/10.1080/10137548.2015.1011861.

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Oliveira, Catarina Sales de. "Empowerment Labs: Gender Equality, Employability and Theatre Catalyzing Social Change." Procedia - Social and Behavioral Sciences 161 (December 2014): 56–63. http://dx.doi.org/10.1016/j.sbspro.2014.12.010.

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Dissertations / Theses on the topic "Theatre for Social Change"

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Cooper, Britney. "THE SEARCH FOR THEATRE FOR SOCIAL CHANGE." Master's thesis, University of Central Florida, 2010. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/2248.

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Throughout history people have sought to prompt social change through theatrical experiences. The theatre has moved the masses in ways that have frightened governments and religious establishments into closing down theatres and banning theatrical material. History proves that theatre which causes change exists and works, but it also proves there is no one definition or formula for this type of theatre. Depending on the culture, time period, issue, resources and people involved Theatre for Social Change takes a variety of forms. However, theatre affecting change does tend to maintain two common threads: the creation of a new work and the pursuit of the uncertain elements which will ensure the work affects change in its audience. With no more than two common threads, where does a young actor, recognizing a social problem and desiring change prompted through a theatrical experience begin his or her journey? How does one create Theatre for Social Change? How does one know the theatrical work has successfully caused change within an audience? If there is no certain definition, no one way to pursue it, what direction should one follow? Following Peter Brook s example as set in his 1966 production of US, I will create my own original work in the form of a one-person show and use it as the canvas to apply Brook s ideas and techniques. I hope to find that in order for an audience to change they must first be willing to participate in a performance, even if it is a performance demanding a harsh confrontation with an ignored social problem. Through this thesis I aim to prove that through an actor s personal journey with a social issue, the actor leads the way for the audience to be willing to participate and take the journey themselves resulting in change. My written thesis will include the findings of my research and preparation, a detailed rehearsal and performance journal, the original script of my performance work Knowing Fires and a reflection on the completed process including audience feedback. All of these elements will hopefully lead to a conclusive and useful approach to creating Theatre for Social Change.
M.F.A.
Department of Theatre
Arts and Humanities
Theatre MFA
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Ferguson, Sarah Alexandra. "Canadian feminist women directors : using the canon for social change." Thesis, University of British Columbia, 2008. http://hdl.handle.net/2429/541.

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This thesis explores how five Canadian women directors who define themselves as feminists have engaged with work from the traditional Western theatre canon. However, that world actually is created by the social expectations, cultural mores, and theatrical conventions of its time. Audiences have been indoctrinated to accept unquestioningly the value of these texts while the plays’ valorized status masks social constructs that are continually reinforced and surreptitiously naturalized through their repetition. At the crux of this thesis is the notion that while repetition is used as a tool for social instruction, it can also be used as a tool for social change. Therefore, I explore how the Canadian feminist women directors whom I have interviewed use the uniqueness of performance in different ways to challenge social structures within canonical texts. In the individual chapters, each director first shares her education, training, experience, and influences; then she articulates her own feminist perspective and discusses its impact on her career and work process; and finally she reflects on how she directed a text from the Western theatre canon and used the liminal space of performance to challenge the text’s embedded gender constructs. At the end of each chapter, I present the critical response I found for each production, including reviews, individual statements, and academic investigations, and assess the extent to which the director’s intent was understood by her audience and reviewers. In the final chapters, I examine each individual director’s interview responses in the context of the others’ and situate them within the spectrum of feminisms. In general, the directors used liminal space to expose gender as a construction and destabilize social expectations based on gender. However, what also emerged from these interviews is that while there is no broad consensus of what constitutes ‘feminist’ work, each director must temper her feminist perspectives if she wants access to the upper echelons of directing in Canada and the benefits that it entails.
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Jackson, Jonathan. "interACTionZ: Engaging LGBTQ+ Youth Using Theatre For Social Change." Master's thesis, University of Central Florida, 2013. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5950.

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Theatre for social change is a term used to describe a wide range of theatre-based techniques and methods. Through implementation of performance techniques, participants are encouraged to creatively explore and communicate various ideas with the specific intention of eliciting a societal or political shift within a given community. Through this thesis, I will explore the impact of applying theatre for social change in a youth-centered environment. I will discuss my journey as creator, facilitator, and project director of interACTionZ, a queer youth theatre program in Orlando, FL formed through a partnership between Theatre UCF at the University of Central Florida and the Zebra Coalition&"174;. I will give specific focus throughout this project to Lesbian, Gay, Bisexual, Transgender, Queer (LGBTQ+) youth and straight advocates for the LGBTQ+ community.
M.F.A.
Masters
Theatre
Arts and Humanities
Theatre; Theatre for Young Audiences
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Readman, Geoffrey. "What does the Applied Theatre Director do? : directorial intervention in theatre-making for social change." Thesis, University of Northampton, 2013. http://nectar.northampton.ac.uk/7848/.

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This thesis critically interrogates the practice of artistic directors within applied theatre companies in the United Kingdom. ‘Applied theatre’ describes the process of theatre-making in which commitment to ethical, pedagogical, philosophical and social priorities are integral dimensions of theatre-making designed for specified participants, communities and locations. The research views the term director as encompassing any individuals with designated responsibility for the artistic coherence of theatre in both community and rehearsal room contexts. It argues that directorial processes in applied theatre have rarely been the focus of systematic research and that a theoretical framework to conceptualise practise will contribute new knowledge. The research design gathers evidence of directorial contributions, examining ‘why’ and ‘how’ interventions are constructed. The various theories, techniques and methods used by directors to shape and effect positive interventions are observed and interrogated, through a systematic research approach, in five director case studies. The case studies reflect discrete areas of theatre practice. Published research is sparse and literary evidence is occasionally drawn from historical, cultural and mainstream theatre contexts, from developments in Alternative and Political theatre and from Drama in Education praxis. The thesis concludes with a theoretical framework that articulates applied theatre directing as a process that shares some common ground with mainstream theatre directing, but which retains discrete alternative practices and philosophies that define an alternative directorial model.
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Mottin, Monica. "Rehearsing for life : theatre for social change in Kathmandu, Nepal." Thesis, SOAS, University of London, 2009. http://eprints.soas.ac.uk/28933/.

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The objective in this research is to examine the production and performance of theatrical activities aiming at bringing about social change in both development and political intervention. My investigation began with Aarohan Theatre Group, a Kathmandu-based professional company and subsequently extended to Maoist cultural troupes. I have taken a critical perspective considering theatre as a mode of socio-cultural practice embedded in the wider socio-political reality. Thus, I present an account of what it means to do theatre and live by theatre in contemporary Nepal, from 2005 to 2006, through the artists' perspective. Co-performance, that is participation in some performances, complemented participant observation as a methodology. Theatre provides an outstanding context for both social reflection and symbolic action. In a manner similar to ritual, theatrical performances can become deliberate means for both constructing and de-constructing power and symbolically legitimizing or de-legitimizing authority. In Nepal, modern artistic and political theatre developed side by side. First, an historical overview of its development will set the scene for understanding the role played by theatrical performances in the years 2005-2006. In fact, during my fieldwork, history repeated itself. The restrictions on civil rights imposed by the king through the 2005 Emergency affected both street and proscenium theatre activities. Subsequently, ethnographic descriptions will illustrate the theatrical apparatus that the king employed to legitimize his power and how autocracy was similarly resisted and fought against in the streets through theatrical forms of protest and street theatre, loktantrik natak. I will then narrow my focus to a specific form of participatory street performance, kachahari natak, to describe how it was adopted and adapted in Nepal and how the theatre group developed as an organization. In conclusion, 1 will draw comparisons between different forms of 'theatre for social change', kachahari natak, loktantrik natak and Maoist cultural programmes.
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Robinson, Dashanyua Sharonda. "CREATING NEW REPRESENTATIONS OF DISABILITIES IN THEATRE." Miami University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=miami1438622848.

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Bliznik, Sean. "WHO AM I?": A SEARCH FOR AMERICA'S IDENTITY THROUGH THEATRE FOR SOCIAL CHANGE." Master's thesis, University of Central Florida, 2007. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/2288.

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Theatre has always existed as a didactic tool to educate society about society's own successes, failures, and foibles. The theatre and theatre artists have attempted to take society's interpretation of truth and place it on the stage for all to see and experience. Sometimes, theatre creates and performs its own truth in place of society's accepted truth by re-examining pre-existing societal constructs and creating an interpretation of truth that better represents the current state of affairs as the theatre sees it. Therefore, theatre becomes the mode by which society learns, explores, refutes, and at times, even dismisses accepted societal truths. As a didactic tool, it is in this vein of truth-seeking that theatre has entered the fickle work of social change. First and foremost, what is social change? Who can create change? How is this change measured? How does one measure the effected change on a particular audience? These questions (and more) as well as their subsequent answers are the job of the social change theatre artist and are explored in this study. This thesis is presented in several distinct chapters. Chapters one and two examine the foundations of theatre for social change and its place in the contemporary theatre world. Chapter three explores writing theatre for social change and yields the development of two original theatrical pieces of theater for social change as a direct result of the aforementioned research complete with a stage presentation of those pieces and an audience assessment (before the performance). The concluding chapters explore the results of the audience survey which explains my understanding of theatre for social change's effect on society and the need for society to continually be exposed to theatre which is socially conscious and contributive in order to firmly define America's socially conscious theatrical identity.
M.A.
Department of Theatre
Arts and Humanities
Theatre MA
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Coaker, Jaime Morgan. "From Commodity to Conversation: Applied Theatre, Public Higher Education, and the Miami University Theatre Department." Miami University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=miami1448290982.

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Sonderstrup, Soren. "Film for Change, Communication Rights and Social Change in Tanzania." Thesis, Malmö högskola, Fakulteten för kultur och samhälle (KS), 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-21495.

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The thesis presents a view of film for change set against the manifold approaches, practices or ideologies influencing it, and analysis it as a tool for the self-representation, self-determination and mediation of marginalised people in the face of globalization and the democratization of communication. It seeks to find an answer to the question of how film for change works as a method to empower the disadvantaged inhabitants of three villages in Tanzania, where fieldwork was carried out. The thesis tracks down core parameters that connect the visual communication experience to the social reality and bear the potential to change it. The use of visual communication technology, interactive and horizontal communication practices, fictionalizations and empowerment strategies enable processes among spectators and participants that permit them to reframe or reconsider representations that they witness. Film for change potentially reaches beyond the community and through convergence with Web 2.0 into the much larger public sphere, nationally as well as globally. The thesis suggests that film for change should be adapted to the present day media environment as citizens’ media, whereby media users also become media producers and start broadcasting self-communicated alternatives to the images and interpretations produced by established media corporations that dominate the global flows of information. In this way film for change connects to the right to communicate and becomes a tool for citizens to influence power relations and advocate social change.
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Harrison, Kiersten Rose. "A Theatre for Change: Applying Community Based Drama Practices into Ontario Middle Schools." Thesis, Université d'Ottawa / University of Ottawa, 2012. http://hdl.handle.net/10393/20511.

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Teachers have an undeniable influence on youth, on whose shoulders tomorrow rests. It is vital for teachers to be conscious of their role in both the local and global community in order to facilitate occasions for students to develop a sense of global consciousness. By imparting to students the desire to learn and to explore their interactions with things, people and experiences, and actively pursue knowledge, they develop critical literacy skills required to both acquire understanding and be(come) understood. Through this research study, the implications of applying David Diamond’s community drama work called Theatre for Living, as an effective and critical literacy practice to enhance social conciousness within a middle school, is assesssed. The program was implemented in a split grade 7/8 and grade 8 classroom in southwestern Ontario. The study exemplifies for educators a practical yet significant step for initializing and developing a broad sense of awareness in students; that is the sense of global consciousness.
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Books on the topic "Theatre for Social Change"

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Idoye, Patrick E. Theatre and social change in Zambia: The Chikwakwa Theatre. Lewiston: Edwin Mellen Press, 1996.

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Pregones Theatre: A theatre for social change in the South Bronx. New York: Routledge, 2003.

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Landy, Robert J. Theatre for change: Education, social action and therapy. New York: Palgrave Macmillan, 2012.

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Theatre for social change: Ajoka's journey, 1984-2011. Lahore: Jumhoori Publications, 2011.

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David, Montgomery, ed. Theatre for change: Education, social action and therapy. New York: Palgrave Macmillan, 2012.

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Theatre in search of social change: The relative significance of different theatrical approaches. The Hague, Netherlands: Centre for the Study of Education in Developing Countries, 1989.

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AIDS, social change, and theater: Performance as protest. New York: Garland Pub., 1995.

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Victor Turner Revisited: Ritual as Social Change. Atlanta, GA: Scholars Press, 1991.

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Gender, social change, and the media: Perspectives from Nepal. Jaipur: Rawat Publications, 2012.

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Women playing men: Yue opera and social change in twentieth-century Shanghai. Seattle: University of Washington Press, 2008.

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Book chapters on the topic "Theatre for Social Change"

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Leonard, Robert H. "Social Imaginaries and Theatre." In Theatre, Performance and Change, 205–11. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-65828-5_22.

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Girling, John. "Epilogue: Theatre of the Absurd." In Emotion and Reason in Social Change, 203–19. London: Palgrave Macmillan UK, 2006. http://dx.doi.org/10.1057/9780230502581_11.

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Lerner, Ruby. "Radical Creativity as a Lever for Social Change: Why it Matters, What it Takes." In Theatre, Performance and Change, 213–22. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-65828-5_23.

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Freebody, Kelly, and Susan Goodwin. "Critical Perspectives on Applied Theatre for Social Change: Defamilarising Key Words in the Field." In Applied Theatre: Understanding Change, 63–75. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-78178-5_5.

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Wong, Pearly, and John Clammer. "Performance and Development: Theatre for Social Change." In The Aesthetics of Development, 291–308. New York: Palgrave Macmillan US, 2017. http://dx.doi.org/10.1057/978-1-349-95248-9_14.

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Westlake, E. J. "The Waning of Affect, the End of the Liberal Project, and the Rehearsal of Social Change: A Page from the Millennial Playbook." In Theatre, Performance and Change, 311–21. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-65828-5_34.

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Jerke, Lauren, Monica Prendergast, and Warwick Dobson. "Smoking Cessation in Mental Health Communities: A Living Newspaper Applied Theatre Project." In Creating Social Change Through Creativity, 171–86. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-52129-9_10.

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Snyder-Young, Dani. "Introduction: Why Do We Want to Use Theatre to Make Social Change?" In Theatre of Good Intentions, 1–17. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137293039_1.

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Arnow, Pat. "Southern Theater for Social Change." In Radicalism in the South since Reconstruction, 191–209. New York: Palgrave Macmillan US, 2006. http://dx.doi.org/10.1057/9780230601789_10.

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Wrentschur, Michael. "Forum Theatre as a Participatory Tool for Social Research and Development: A Reflection on ‘Nobody is perfect’ — A Project with Homeless People." In Qualitative Research and Social Change, 94–111. London: Palgrave Macmillan UK, 2008. http://dx.doi.org/10.1057/9780230583962_6.

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Conference papers on the topic "Theatre for Social Change"

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Brandt, Galina. "Interpenetration Phenomenon of Public & Private Aspects in Contemporary Theatrical Practices." In The Public/Private in Modern Civilization, the 22nd Russian Scientific-Practical Conference (with international participation) (Yekaterinburg, April 16-17, 2020). Liberal Arts University – University for Humanities, Yekaterinburg, 2020. http://dx.doi.org/10.35853/ufh-public/private-2020-12.

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The article hypothesises that the opposition of ‘publicity/privacy’ concepts (alongside with other fundamental dichotomies, e.g. spiritual/material, social/individual, political/personal) in the media era, and first of all in the era of the Internet together with related communicative resources, is no longer productive. The study was performed via discursive analysis since it concerns methods of making use of the original concepts of ‘publicity’ and ‘privacy’. The author also addresses media survey methods since it is a contemporary media context that guides changes in the balance between the concerned phenomena. The deconstruction method is also important since the theatre institution itself, on the example of which the phenomenon of the interpenetration of the public and the private is examined, is deconstructed and shadowed by absolutely new theatrical practices. The culturological approach is the paradigmal prism through which the declared topic is researched, since the study goal is to demonstrate how ‘current’ (Z. Bauman) changes of the modern cultural landscape change habitual ideas on some or other dichotomies, particularly the dichotomy of ‘publicity/private’. The aforementioned research tools were used in the study to address theatrical practices explicitly demonstrating the removal of the dichotomy of public and private. A closer look was taken at the play ‘Questioning’ staged by the contemporary Petersburg theatre Pop-up, and where invasion of publicity into the area of privacy and intimity, and exposition of aspects taken out from ultimate existential depths constitutes the very essence of the play. The article concludes that such theatrical practices can take place when the cultural horizon is extended to enable the attribution of a new semantic scope, in particular ‘forced publicness’ (E. Shulman).
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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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Trauth, Eileen, Allison Bryant, Curtis Cain, Leigh-Ellen Potter, Jeria L. Quesenberry, Suzanne Trauth, and Craig van Slyke. "Addressing Social Inclusion in the IS Field through Theatre." In SIGMIS-CPR '19: 2019 Computers and People Research Conference. New York, NY, USA: ACM, 2019. http://dx.doi.org/10.1145/3322385.3322412.

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Khaustova, Dariya. "THEATRE AND MASS MEDIA: NOW AND THEN." In 5th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS SGEM2018. STEF92 Technology, 2018. http://dx.doi.org/10.5593/sgemsocial2018/6.2/s27.075.

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Khaustova, Dariya. "THE VAKHTANGOV THEATRE: THE STRATEGY OF SUCCESS." In 4th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS Proceedings. STEF92 Technology, 2017. http://dx.doi.org/10.5593/sgemsocial2017/62/s25.027.

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Vasiljeva, Elina. ""JEWISH TEXT� OF LATVIAN LITERATURE: DRAMA AND THEATRE." In 4th International Multidisciplinary Scientific Conference on Social Sciences and Arts SGEM2017. Stef92 Technology, 2017. http://dx.doi.org/10.5593/sgemsocial2017/hb61/s11.22.

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Vishnyakova, Elizaveta, Olga Vishnyakova, Alla Minyar-Beloroucheva, and Polina Sergienko. "L2 teaching to PR undergraduates through theatre techniques elements." In 6th International e-Conference on Studies in Humanities and Social Sciences. Center for Open Access in Science, Belgrade, 2020. http://dx.doi.org/10.32591/coas.e-conf.06.01001v.

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Modern methods of L2 teaching aimed at improving its efficiency to overcome language barriers require the construction of the learning climate for undergraduates to develop professional skillsand competencies essential for their academic communication with ease and pleasure. The purpose of this article is to demonstrate one of the ways of achieving educational goals by creating positive emotions that PR undergraduates experience during L2 classwork through the introduction of the elements of theatrical techniques, which can help educators perform the tasks required to instill creativity. Effective L2 acquisition by PR undergraduates is allegedly best achieved through neutral emotions. Expressive and emotional actions in class create theatre-like atmosphere that disseminates positive emotions fostering education. The research has demonstrated the necessity to introduce theatre techniques elements into L2 teaching to PR undergraduates.
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Vishnyakova, Elizaveta, Olga Vishnyakova, Alla Minyar-Beloroucheva, and Polina Sergienko. "L2 teaching to PR undergraduates through theatre techniques elements." In 6th International e-Conference on Studies in Humanities and Social Sciences. Center for Open Access in Science, Belgrade, 2020. http://dx.doi.org/10.32591/coas.e-conf.06.01001v.

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Abstract:
Modern methods of L2 teaching aimed at improving its efficiency to overcome language barriers require the construction of the learning climate for undergraduates to develop professional skillsand competencies essential for their academic communication with ease and pleasure. The purpose of this article is to demonstrate one of the ways of achieving educational goals by creating positive emotions that PR undergraduates experience during L2 classwork through the introduction of the elements of theatrical techniques, which can help educators perform the tasks required to instill creativity. Effective L2 acquisition by PR undergraduates is allegedly best achieved through neutral emotions. Expressive and emotional actions in class create theatre-like atmosphere that disseminates positive emotions fostering education. The research has demonstrated the necessity to introduce theatre techniques elements into L2 teaching to PR undergraduates.
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Schäfer, Leonie, and Stefan Küppers. "Dynamic world design and social navigation in a theatre of work." In CHI '01 extended abstracts. New York, New York, USA: ACM Press, 2001. http://dx.doi.org/10.1145/634067.634265.

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Schäfer, Leonie, and Stefan Küppers. "Dynamic world design and social navigation in a theatre of work." In CHI '01 extended abstracts. New York, New York, USA: ACM Press, 2001. http://dx.doi.org/10.1145/634260.634265.

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Reports on the topic "Theatre for Social Change"

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McCulloh, Ian A., and Kathleen M. Carley. Social Network Change Detection. Fort Belvoir, VA: Defense Technical Information Center, March 2008. http://dx.doi.org/10.21236/ada487504.

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McCulloh, Ian, Matthew Webb, John Graham, Kathleen Carley, and Daniel B. Horn. Change Detection in Social Networks. Fort Belvoir, VA: Defense Technical Information Center, June 2008. http://dx.doi.org/10.21236/ada484175.

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Dalton, Helen. The foundations and social change. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.2866.

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Cooney, Sarah. Social Upheaval and Social Change in England, 1381-1750. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.2055.

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Nelson, Leonard. Social Action as Social Change Through a Process of Insulation. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.2044.

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Schmidt, Teresa. Statistical Analysis of Social Network Change. Portland State University Library, December 2019. http://dx.doi.org/10.15760/etd.7288.

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Yeates, Nicola, and Pía Riggirozzi. Global social regionalism: Regional Organisations as drivers of social policy change. Unknown, 2015. http://dx.doi.org/10.35648/20.500.12413/11781/ii147.

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Coe, Christopher L., and William B. Ershler. Immunological Consequences of Social Stratification and Change. Fort Belvoir, VA: Defense Technical Information Center, April 1988. http://dx.doi.org/10.21236/ada196795.

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Coe, Christopher L., and William B. Ershler. Immunological Consequences of Social Stratification and Change. Fort Belvoir, VA: Defense Technical Information Center, June 1993. http://dx.doi.org/10.21236/ada265511.

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Bloom, David, David Canning, Rick Mansfield, and Michael Moore. Demographic Change, Social Security Systems, and Savings. Cambridge, MA: National Bureau of Economic Research, October 2006. http://dx.doi.org/10.3386/w12621.

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