Relevant bibliographies by topics / Theatre management

Contents

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

Academic literature on the topic 'Theatre management'

Author: Grafiati
Published: 4 June 2021
Last updated: 25 April 2022

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Journal articles on the topic "Theatre management"

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Haddad, Naif Adel, Leen Adeeb Fakhoury, and Talal S. Akasheh. "Notes on anthropogenic risks mitigation management and recovery of ancient theatres’ heritage." Journal of Cultural Heritage Management and Sustainable Development 8, no. 3 (August 20, 2018): 222–56. http://dx.doi.org/10.1108/jchmsd-11-2016-0062.

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Purpose Ancient theatres and odea are one of the most significant and creative socio-cultural edutainment centres of human history that are still in use. They stood and served as huge multi-functional structures for social, religious, propaganda and political meeting space. Meanwhile, ancient theatres’ sites have an intrinsic value for all people, and as a vital basis for cultural diversity, social and economic development, they should continue to be a source of information for future generations. Though, all places with ancient theatre heritage should be assessed as to their potential risk from any anthropogenic or natural process. The paper aims to discuss these issues. Design/methodology/approach The main paper’s objective is to discuss mainly the anthropogenic and technical risks, vulnerability and impact issues on the ancient classical theatres. While elaborating on relevant recent studies, where the authors were involved in ERATO and ATHENA European projects for ancient theatres and odea, this paper provides a brief overview of the main aspects of the anthropogenic qualitative risks and related issues for selected classical antiquity theatres. Some relevant cases are critically presented and investigated in order to examine and clarify the main risk mitigation issues as an essential prerequisite for theatre heritage preservation and its interface with heritage reuse. Findings Theatre risk mitigation is an ongoing and challenging task. By preventive conservation, theatre anthropogenic qualitative risks’ management can provide a framework for decision making. The needed related guidelines and recommendations that provide a systematic approach for sustainable management and planning in relation mainly to “ancient theatre compatible use” and “theatre technical risks” are analysed and presented. This is based on identification, classification and assessment of the theatre risk causes and contributing factors and their mitigation. Originality/value The paper also suggests a new methodological approach for the theatre anthropogenic qualitative risk assessment and mitigation management, and develop some recommendations that provide a systematic approach for theatre site managers and heritage experts to understand, assess, and mitigate risks mainly due to anthropogenic and technical threats.
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Golovlev, Alexander. "Political Control, Administrative Simplicity, or Economies of Scale? Four Cases of the Reunification of Nationalized Theatres in Russia, Germany, Austria, and France (1918–45)." New Theatre Quarterly 38, no. 2 (April 20, 2022): 107–24. http://dx.doi.org/10.1017/s0266464x22000021.

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In 1917–18, the new republican governments of Russia, Germany, and Austria nationalized their former court property. A monarchic-turned-national heritage of prestigious opera and dramatic theatres weighed heavily on national and regional budgets, prompting first attempts to create centralized forms of theatre governance. In a second wave of theatre reorganization in the mid-1930s, the Soviet government created ‘union theatres’ under a Committee for Arts Affairs; the German and Austrian theatres underwent the Nazi Gleichschaltung (1933–35 and 1938); and France, a ‘democratic outlier’, opted for nationalizing the Opéra and Opéra-Comique under the Réunion des théâtres lyriques nationaux. These conglomerates have so far been little studied as historically specific forms of theatre management, particularly from a comparative, trans-regime perspective. What balance can be struck between economic, political, and ‘artistic’ costs and benefits? How does ‘Baumol’s law’ of decreasing theatre profitability apply to these very different politico-economic systems, as well as to war economies? Dictatorships reveal an economic seduction power, while this essay argues for confirming a long-term ‘great European convergence’ of state-centred theatre management, internal structure, and accountability, both in peace and war. Here, the stated goals and short-term contingencies yielded to trends originating from the logic of theatre production itself, and the compromises that the state, theatre professionals, and the public accepted in exchange for the capital of prestige. Alexander Golovlev (PhD, European University Institute in Florence, 2017) is a senior research fellow at the HSE Institute for Advanced Soviet and Post-Soviet Studies at the University of Moscow. His recent publications include, for New Theatre Quarterly, ‘Theatre Policies of Soviet Stalinism and Italian Fascism Compared, 1920–1940s’ (2019), and ‘Balancing the Books and Staging Operas under Duress: Bolshoi Theatre Management, Wartime Economy, and State Sponsorship in 1941–1945’, Russian History XLVII, No. 4 (2020).
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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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Ayodeji, Olumuyiwa, Claire McCarthy, and Naro Imcha. "Time management in theatre." European Journal of Obstetrics & Gynecology and Reproductive Biology 206 (November 2016): e133. http://dx.doi.org/10.1016/j.ejogrb.2016.07.340.

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Wainscott, Ronald H. "American Theatre Versus the Congress of the United States: The Theatre Tax Controversy and Public Rebellion of 1919." Theatre Survey 31, no. 1 (May 1990): 5–22. http://dx.doi.org/10.1017/s0040557400000958.

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For eight days in January 1919 the theatre industry was at war with the U.S. Congress, a nationwide event surprisingly overlooked in previous theatre history. Theatre management and its host of workers joined with the public to wage a well-orchestrated campaign in the newspapers and mail, in the theatres and on the streets to stop what was perceived as a gross injustice to the American theatre and its paying audience.When the United States Congress was framing a six billion dollar tax revenue bill to recover exorbitant war costs from the first world war, it attempted to slip in a new tax which would raise theatre admissions by ten per cent in order to return between seventy-five and eighty-one million dollars to the government. The original bill levied a twenty per cent tax on all tickets of admission above thirty cents (thus most movie houses were exempt). In addition box seat holders at theatres and the opera were to be taxed twenty-five per cent.
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Brigden, Cathy, and Lisa Milner. "Radical Theatre Mobility: Unity Theatre, UK, and the New Theatre, Australia." New Theatre Quarterly 31, no. 4 (October 9, 2015): 328–42. http://dx.doi.org/10.1017/s0266464x15000688.

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For two radical theatres formed in the 1930s, taking performances to their audiences was an important dimension of commitment to working-class politics and civic engagement. Separated by distance but joined ideologically, the New Theatre in Australia and Unity Theatre in the United Kingdom engaged in what they described as ‘mobile work’, as well as being ‘stage curtain’ companies. Based on archival research and drawing on mobility literature, Cathy Brigden and Lisa Milner examine in this article the rationale for mobile work, the range of spaces that were used both indoor (workplaces, halls, private homes) and outdoor (parks, street corners beaches), and its decline. Emerging from this analysis are parallels between the two theatres’ motivation for mobile work, their practice in these diverse performance spaces, and the factors leading to the decline. Cathy Brigden is an associate professor in the School of Management and Deputy Director, Centre for Sustainable Organizations and Work at RMIT University, Australia. Her current research interests include the historical experiences of women in trade unions, gender in performing arts industries, and union strategies and regulation. Lisa Milner is a lecturer in the School of Arts and Social Sciences at Southern Cross University, Coffs Harbour, Australia. Current research interests include a comparative study of workers’ theatre, representations of workers and trade unions on screen, and labour biography.
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Jones, Robert W. "Competition and Community: Mary Tickell and the Management of Sheridan's Drury Lane." Theatre Survey 54, no. 2 (April 22, 2013): 187–206. http://dx.doi.org/10.1017/s0040557413000021.

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Despite considerable advances in scholarship—achievements on which this essay builds—our knowledge of how eighteenth-century theatres were run remains worryingly thin. The managerial enterprise of theatre production, especially its daily practicalities, is largely obscure, though the facts of performance history are well documented. Knowledge of practice is not our only lacuna. Accounts of the interfaces among performances, institutional theatre practices, and the wider culture of the eighteenth century are too few, though wonderful work has been produced by Jane Moody, Felicity Nussbaum, and Gillian Russell, among others. This meager situation has arisen in part, as Robert D. Hume has argued, because scholars have yet to fully engage with those sources that have survived, although problems of missing evidence are serious and sometimes insurmountable. A related problem is that theatre historians are often averse to conceptualizing what they discover, as if analysis and certain modes of theoretical interpretation were the responsibility or more distinctly the failing of literary critics. But the discovery or reappraisal of an archive will only advance scholarship so far. New information about rehearsals, performances, finances, or contracts is vital, but it does not explain the motives or institutional momentum that animated theatre production. We need to know why some actors were favored by management while others seem to have been less well supported. It would also be useful to understand more precisely why some plays were performed repeatedly whereas others appeared only sporadically. The information contained in theLondon Stageshould be crucial for theatre history, yet the repertoire of the patent theatres remains understudied. The impetus it gave to managers is too often ignored, while its political significance is barely understood, prompting justified complaint from Daniel O'Quinn. Great care will be necessary when addressing these issues. Overly general or prescriptive claims are probably best avoided; there are simply too many local factors. We should also recollect that theatrical production is necessarily a collective endeavor, a process in which many voices might be heard. Yet patterns and purposes can be found, even when what is most apparent is what Michel de Certeau terms the “‘polytheism’ of scattered practices.”
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Šentevska, Irena. "In Search of Catharsis. Theatre in Serbia in the 1990s." Südosteuropa 65, no. 4 (January 26, 2018): 607–31. http://dx.doi.org/10.1515/soeu-2017-0041.

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Abstract This paper discusses various points about the response of the Serbian theatre to the social crisis of the 1990s. The focus here is on publicly-funded theatres and their role in pacifying or mobilizing theatre audiences either to participate in or revolt against the political projects which accompanied the dissolution of Yugoslavia. The Serbian theatre system in the 1990s entered a clear process of transformation of its models of management, production, financing, public relations and, naturally, the language and forms of expression inherited from the socialist 1980s. The chief interest of this study is the transformation of the theatre system since the end of World War II, theatrical interpretations of the historical and literary past in Serbia, the role of theatre in the identity ‘makeovers’ that followed the demise of Yugoslavia, and stage interpretations of contemporary crises. Consideration is also given to the present state of the theatre in Serbia.
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Brakus, Aleksandra. "Event management in theatre arts." Kultura, no. 163 (2019): 193–207. http://dx.doi.org/10.5937/kultura1963193b.

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Runcan, Miruna. "Sociology and Theatre, A Too Short Beginning. Pavel Câmpeanu’s Studies." Studia Universitatis Babes-Bolyai Sociologia 64, no. 1 (June 1, 2019): 35–64. http://dx.doi.org/10.2478/subbs-2019-0002.

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Abstract In Romania, sociological investigations on theatre are mere illusions that drift further and further away into the sky. In the last 30 years, a few theatres commissioned surveys to measure, as best as they could, the structure and the preferences of their own audience, over shorter (in the case of the 2003 first survey draft at Odeon Theatre, the research lasted no more than one weekend) or longer spans of time (in 2015, at Nottara Theatre, IMAS conducted a survey during a month; the survey applied at the Bucharest National Theatre in 2013 remained a legend, or a rumour rather, as the management treated it with mysterious silence). This paper tries to follow the intentions and the destiny of the researches and surveys dedicated to the theatre sociology by Pavel Câmpeanu and his small team between 1968-1974.
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Dissertations / Theses on the topic "Theatre management"

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Davis, Amanda Sutton. "Delta Theatre Productions: A Start-up Theatre Company." ScholarWorks@UNO, 2012. http://scholarworks.uno.edu/aa_rpts/133.

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This report is the result of a year-long internship with a new theatre company in New Orleans, Delta Theatre Productions, currently operating under the name Delta Productions. I functioned as the Managing Director for this start-up, building organizational infrastructure from the ground up, guiding the process of its first production from idea to final product, and creating the branding of the organization in order to set it apart from its competition and establish it as a viable and healthy theatrical company for the New Orleans community. This report tells the story of how the organization began, reports on my duties as an intern, analyzes the successes and failures of the first year of operation, relates guidance from the best practices of other theatrical organizations around the nation, and finally offers practical recommendations for Delta Productions as it pursues growth and sustainability.
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Steward, Caty. "Theatre Baton Rouge." ScholarWorks@UNO, 2015. http://scholarworks.uno.edu/aa_rpts/197.

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This report details an internship with Theatre Baton Rouge, where I served as Marketing and Development Coordinator. In this paper I will provide an overview of the organization’s history, programming, and outreach along with a description of my 480 hour internship. This report outlines the workings of the theatre’s operations through investigation of strengths, weaknesses, opportunities and threats, and industry best practices. This analysis will lay the groundwork for recommendations to Theatre Baton Rouge that will address leveraging the strengths, as well as use opportunities to combat the issues currently hindering the company from continued growth.
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Lawver, Kimberly. "SWOT Analysis of Theatre 8:15, A Children's Community Theatre." University of Akron / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=akron1336245437.

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Sollish, David S. "Musical Theatre in the Mountains: An Examination of West Virginia Public Theatre's History, Mission, Practices, and Community Impact." Bowling Green State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1276802020.

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Siero, Eugenia. "Studio Theatre: An Internship Report." ScholarWorks@UNO, 2015. http://scholarworks.uno.edu/aa_rpts/196.

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The following internship report is a documentation of my work with Studio Theatre in Washington DC during the summer and fall of 2015. This report is based on my experience as an intern with the Marketing Department, where I had the opportunity to develop several large projects for the theater’s 2015--‐2016 season. Studio Theatre is a strong organization that produces excellent modern plays and strives to present the best work to its audience with every single show. This paper will discuss the different duties of the internship, as well as the organization’s history and structure, organizational strengths and weaknesses, and its future direction.
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Spires, Laura Ann. "Striving for Success in Times of Change: Leadership in Nonprofit Theatres." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1429176930.

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Barron, Allison Kate. "Tulane Summer Lyric Theatre: Internship Report." ScholarWorks@UNO, 2012. http://scholarworks.uno.edu/aa_rpts/143.

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The following report documents my internship with Tulane Summer Lyric Theatre (SLT) during the summer of 2012. Tulane Summer Lyric Theatre was established in 1968. It is beloved by many faithful patrons in the New Orleans community. During my internship, I worked with the administrative staff and box office manager to focus on box office operations and volunteer oordination. My primary goals were to sell tickets for the upcoming season and to obtain volunteers for purposes of ushering the shows, and keeping patrons happy. This internship report provides an overview of Tulane Summer Lyric Theatre based on observational research and thorough analysis. The report examines organizational strengths, weaknesses, opportunities, threats, internal/external issues, and provides best practices of a similar organization and recommendations for organizational improvement.
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Lazar, Peter Brooks. "Southern Rep Theatre - An Internship Report." ScholarWorks@UNO, 2015. http://scholarworks.uno.edu/aa_rpts/177.

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This report describes the duties and responsibilities involved in a 480-hour marketing and development internship from June to December of 2014 with Southern Rep Theatre. This first-hand research, supplemented by an earlier, shorter period as a box office associate from February to April of 2014, is used to examine the marketing, development, and managerial practices of the company. This examination includes a SWOT analysis, second-hand research into best practices, and recommendations for the company’s future. Southern Rep is a three decade old 501(c)3 not-for-profit professional theatre company based in New Orleans, which places a special emphasis on producing new works by contemporary playwrights.
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Patton, Katheryn. "Stage Management: A Survival Guide." Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/honors/519.

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Many elements must come together to create an effective theatre production. The stage manager is responsible for making these elements mesh. What tools does a student stage manager need not only to survive, but to thrive in this critical role?
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Trippi, Brandi L. "Saenger Theatre: for-profit arts organization." ScholarWorks@UNO, 2005. http://scholarworks.uno.edu/aa_rpts/8.

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The following report describes the activities and outcomes of a fourteen-week internship in the fall of 2004 in the Marketing, Booking & Special Events and Group & Corporate Sales Departments of the Saenger Theatre. The first section contains an organizational profile. The second is a detailed description of the internship. The third section is an analysis of the internal and external problems within the organization. The fourth is an explanation of the Best Practices found within the organization and any recommendations for the resolution of challenges. The conclusion of the report contains a discussion of the short and long term effects of the intern's contributions to the organization.
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Books on the topic "Theatre management"

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Rhine, Anthony. Theatre Management. London: Macmillan Education UK, 2018. http://dx.doi.org/10.1057/978-1-352-00175-4.

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Philippa, Killner, ed. Stage management. Ramsbury, Marlborough, Wiltshire: Crowood, 2001.

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Menear, Pauline. Stage management and theatre administration. Oxford: Phaidon, 1993.

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Menear, Pauline. Stage management and theatre administration. New York, N.Y: Schrimer Books, 1989.

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S, Shivaprakash H., and Sahitya Akademi, eds. Theatre business and management of men: Indian theatre in 2000. New Delhi: Sahitya Akademi, 2011.

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The theatre industry. [London]: Comedia, 1985.

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Nwamuo, Chris. Theatre marketing process. Calabar [Nigeria]: Optimist Press Nig. Coy, 2007.

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Nwamuo, Chris. Theatre marketing process. Calabar [Nigeria]: Optimist Press Nig. Coy, 2007.

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Illustrated theatre production guide. 2nd ed. Burlington, MA: Focal Press/Elsevier, 2010.

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Holloway, John. Illustrated theatre production guide. 2nd ed. Burlington, MA: Focal Press, 2010.

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Book chapters on the topic "Theatre management"

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Rhine, Anthony. "Theatre organization." In Theatre Management, 72–85. London: Macmillan Education UK, 2017. http://dx.doi.org/10.1057/978-1-352-00175-4_5.

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Rhine, Anthony. "Financial management." In Theatre Management, 98–118. London: Macmillan Education UK, 2017. http://dx.doi.org/10.1057/978-1-352-00175-4_7.

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Rhine, Anthony. "Theatre management today." In Theatre Management, 43–58. London: Macmillan Education UK, 2017. http://dx.doi.org/10.1057/978-1-352-00175-4_3.

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Roth, Emily, Jonathan Allender-Zivic, and Katy McGlaughlin. "The Theatre." In Stage Management Basics, 11–20. 2nd ed. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003133049-3.

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Rhine, Anthony. "Jobs in theatre." In Theatre Management, 86–97. London: Macmillan Education UK, 2017. http://dx.doi.org/10.1057/978-1-352-00175-4_6.

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Rhine, Anthony. "Marketing a theatre." In Theatre Management, 130–48. London: Macmillan Education UK, 2017. http://dx.doi.org/10.1057/978-1-352-00175-4_9.

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Rhine, Anthony. "What is theatre management?" In Theatre Management, 1–24. London: Macmillan Education UK, 2017. http://dx.doi.org/10.1057/978-1-352-00175-4_1.

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Rhine, Anthony. "Creating promotional materials." In Theatre Management, 149–66. London: Macmillan Education UK, 2017. http://dx.doi.org/10.1057/978-1-352-00175-4_10.

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Rhine, Anthony. "Fundraising." In Theatre Management, 167–83. London: Macmillan Education UK, 2017. http://dx.doi.org/10.1057/978-1-352-00175-4_11.

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Rhine, Anthony. "Leadership." In Theatre Management, 184–201. London: Macmillan Education UK, 2017. http://dx.doi.org/10.1057/978-1-352-00175-4_12.

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Conference papers on the topic "Theatre management"

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Tihomirova, Kristina, and Linda Mezule. "Management of wastewater trough theatre." In Fifth International Conference on Higher Education Advances. Valencia: Universitat Politècnica València, 2019. http://dx.doi.org/10.4995/head19.2019.9162.

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Compulsory study course on wastewater treatment and sewage systems contains lectures, classroom calculations, technical project and laboratory practicum. The course is addressing not only the developing skills in wastewater treatment technologies but also provides preparation of professionals that can communicate with institutions involved in water and wastewater sector. Over the years it has been observed that even after receiving the most sophisticated knowledge and highest markings, students often lack skills in practical communication with industry and implementation of theoretical knowledge in praxis. Here we describe student-centred teaching method that is based on the activities that are similar to theatre and allow: (i) the teacher to find and understand the weaker places in student knowledge gained during the semester; (ii) the students to form professional skills during the active communication with colleagues and mentors from industry. The students work in several groups “INDUSTRY”, “MUNICIPALITY” and EXPERTS”, try to find better solution for industrial sewage treatment and cooperation model with the municipality and present their results. After 2 years of the modernisation and adjustment, the training course has created an interest not only from student side but also from the industry representatives that are interested in communication with the new specialists and develop strong contacts with the university.
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ZHANG, SHENGHUAN. "THE DILEMMA AND REFLECTION OF CHINESE THEATRE ARTS EDUCATION IN UNIVERSITIES." In 2021 INTERNATIONAL CONFERENCE ON ADVANCED EDUCATION AND INFORMATION MANAGEMENT (AEIM 2021). Destech Publications, Inc., 2021. http://dx.doi.org/10.12783/dtssehs/aeim2021/35964.

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Abstract. At present, the education of Traditional Chinese theatre arts in universities is lacking in both “software” and “hardware”, which is in the dilemma of being marginalized by teaching. There are many common problems in the bottleneck and causes of many kinds of theatre arts in the development of universities education, such as the shortage of teachers, the lack of interest of students, the weakness of scientific research, the poor environment of Traditional Chinese Theatre arts and so on. In view of the above problems, it is suggested to adopt multi-channel strategies to cultivate students' interest, improve the supporting Traditional Chinese Theatre arts curriculum, and optimize the traditional Chinese Theatre arts environment, so as to change the current dilemma of Traditional Chinese Theatre arts in universities.
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Perdomo, Viviana, Vincent Augusto, and Xiaolan Xie. "Operating Theatre Scheduling Using Lagrangian Relaxation." In 2006 International Conference on Service Systems and Service Management. IEEE, 2006. http://dx.doi.org/10.1109/icsssm.2006.320685.

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Cicirelli, Franco, and Libero Nigro. "Home Energy Management Using Theatre With Hybrid Actors." In 2019 IEEE/ACM 23rd International Symposium on Distributed Simulation and Real Time Applications (DS-RT). IEEE, 2019. http://dx.doi.org/10.1109/ds-rt47707.2019.8958695.

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Chraibi, Abdelahad, Said Kharraja, Ibrahim H. Osman, and Omar Elbeqqali. "Optimization of dynamic operating theatre facility layout." In 2015 International Conference on Industrial Engineering and Systems Management (IESM). IEEE, 2015. http://dx.doi.org/10.1109/iesm.2015.7380169.

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Hanset, A., N. Meskens, and D. Duvivier. "Using constraint programming to schedule an operating theatre." In 2010 IEEE Workshop on Health Care Management (WHCM). IEEE, 2010. http://dx.doi.org/10.1109/whcm.2010.5441245.

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Roland, Benoit, Christine di Martinelly, and Fouad Riane. "Operating Theatre Optimization : A Resource-Constrained Based Solving Approach." In 2006 International Conference on Service Systems and Service Management. IEEE, 2006. http://dx.doi.org/10.1109/icsssm.2006.320503.

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Khalil, Essam E., and Yousra Toulan. "Numerical Investigations of Smoke Management System in a Movie Theatre." In AIAA SCITECH 2022 Forum. Reston, Virginia: American Institute of Aeronautics and Astronautics, 2022. http://dx.doi.org/10.2514/6.2022-1634.

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Vijayan, Malavika, and Saamarthya Dobhal. "AasaNatak - Assisting Amateur theatre groups through live performance tracking and group management." In IndiaHCI 2020: 11th Indian Conference on Human-Computer Interaction. New York, NY, USA: ACM, 2020. http://dx.doi.org/10.1145/3429290.3429308.

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Chaabane, Sondes, Nadine Meskens, Alain Guinet, and Marius Laurent. "Comparison of Two Methods of Operating Theatre Planning: Application in Belgian Hospital." In 2006 International Conference on Service Systems and Service Management. IEEE, 2006. http://dx.doi.org/10.1109/icsssm.2006.320645.

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Reports on the topic "Theatre management"

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Koening, Gregory P. Supporting the Combatant Commander: Theater Bridge Management. Fort Belvoir, VA: Defense Technical Information Center, April 2003. http://dx.doi.org/10.21236/ada415857.

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Kerrigan, Susan, Phillip McIntyre, and Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Bendigo. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.206968.

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Abstract:
Bendigo, where the traditional owners are the Dja Dja Wurrung people, has capitalised on its European historical roots. Its striking architecture owes much to its Gold Rush past which has also given it a diverse cultural heritage. The creative industries, while not well recognised as such, contribute well to the local economy. The many festivals, museums and library exhibitions attract visitors from the metropolitan centre of Victoria especially. The Bendigo Creative Industries Hub was a local council initiative while the Ulumbarra Theatre is located within the City’s 1860’s Sandhurst Gaol. Many festivals keep the city culturally active and are supported by organisations such as Bendigo Bank. The Bendigo Writers Festival, the Bendigo Queer Film Festival, The Bendigo Invention & Innovation Festival, Groovin the Moo and the Bendigo Blues and Roots Music Festival are well established within the community. A regional accelerator and Tech School at La Trobe University are touted as models for other regional Victorian cities. The city has a range of high quality design agencies, while the software and digital content sector is growing with embeddeds working in agriculture and information management systems. Employment in Film, TV and Radio and Visual Arts has remained steady in Bendigo for a decade while the Music and Performing Arts sector grew quite well over the same period.
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Morales, Bruce L. Role Conflict: The Impediment to Joint Theater Logistics Management. Fort Belvoir, VA: Defense Technical Information Center, May 2012. http://dx.doi.org/10.21236/ada564039.

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Zaharee, Marcie E. Training Program Review: Theater Battle Management Core Systems (TBMCS) Training Program Evaluation. Fort Belvoir, VA: Defense Technical Information Center, May 2002. http://dx.doi.org/10.21236/ada402336.

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UNITED STATES JOINT FORCES COMMAND NORFOLK VA. Single Integrated Air Picture (SIAP) Data Management and Analysis for Analysis of In-Theater Data. Fort Belvoir, VA: Defense Technical Information Center, April 2003. http://dx.doi.org/10.21236/ada413164.

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Brughelli, John D. Joint Theater Logistics Management: Is the Joint Force Support Component Commander Concept a Viable Option? Fort Belvoir, VA: Defense Technical Information Center, October 2006. http://dx.doi.org/10.21236/ada463388.

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Butler, David C., Dan A. Bodeker, and III. Integration of Models & Simulations into the Evaluation of Theater Missile Defense Battle Management, Command, Control and Communications (BM/C3). Fort Belvoir, VA: Defense Technical Information Center, January 1998. http://dx.doi.org/10.21236/ada370531.

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