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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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Totterdill, Peter, and Rosemary Exton. "Interactive Theatre." Strategic Direction 30, no. 9 (August 5, 2014): 35–37. http://dx.doi.org/10.1108/sd-09-2014-0120.
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Purpose – This paper aims to discuss how Interactive Theatre can be implemented and it also gives examples of it in action with feedback from clients. Unlocking employee creativity is one of the key challenges of implementing organisational change to improve performance and enhance working life. Design/methodology/approach – Interactive Theatre is a dynamic event that helps to release employee inhibitions that prevent them from expressing their views while engaging them in critical reflection and creative thinking through facilitated dialogue and collaboration. Findings – Using theatre to dramatise the issues and situations created by poor work organisation, inadequate skills and ineffective management practice encourages employers and employees alike to take action. Drama reveals all the tensions and problems that can exist in the business, while at the same time being fun and captivating. As a result, people are more likely to have an open mind about the need for change and to become actively involved in its design and implementation. Originality/value – This paper discusses how Interactive Theatre can be implemented and gives examples of it in action with feedback from clients.
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Samah, Norlaila Abu, Norimah Said, Norhafizatul Akma Shohor, and Emad Adel Al-Shadat. "Knowledge and Attitude of Operating Theatre Nurses towards Pain Management." Environment-Behaviour Proceedings Journal 7, no. 19 (March 31, 2022): 413–19. http://dx.doi.org/10.21834/ebpj.v7i19.3197.
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Background: Pain Management is a medical approach that draws on science and alternative healing disciplines to study the prevention, diagnosis, and treatment of pain. Operating theatre nurses play the leading role in pain management and require thorough knowledge and skill in managing pain. Significant: Nurses, especially those working in a palliative setting, are considered to demonstrate a high level of knowledge regarding pain management principles with adequate understanding on matters such as a vital sign of patients in response to pain and type of analgesic drugs available. Aim: This study aims to determine the knowledge and attitude regarding pain management among operating theatre nurses in Hospital Melaka. Objective To determine the knowledge and attitude towards pain management among operating theater nurses in Hospital Melaka. Methods: A descriptive, cross-sectional survey was employed to determine operating theatre nurses' knowledge and attitude towards pain management in Hospital Melaka. The total sampling method was used to draw the respondents. An adapted version of The Nurses' Knowledge and Attitudes Survey Regarding Pain (NKASRP) tool was used to test the knowledge and attitude of operating theatre nurses in Hospital Melaka. Normality tests were used to determine the normality of data distribution, and descriptive statistics were used to analyze the data to present quantitative descriptions of variables in this study. Limitations: Although this study was carefully prepared, there were some unavoidable limitations. There is a lack of time for this study because during this study was performed, and it is a pandemic COVID-19, most of the nurses do not have enough time to answer the questionnaire because of their workload. Findings: This study showed that 77.9% of operating theatre nurses in Hospital Melaka had a high level of knowledge, and 88.4% had a high attitude regarding pain management. Nurses specializing in the perioperative course have a slightly higher level of knowledge (78.2%) and attitude (87.3%) than respondents who specialized in the perioperative course. In general, all operating theatre nurses in Hospital Melaka had adequate knowledge and attitude toward pain management. Pain management is effectively managed by operating theatre nurses in the hospital. Implications: However, all nurses need to adhere to best practices in pain management by increasing their theoretical and practical knowledge to improve pain management procedures in the future. Keywords: Knowledge, Attitude, Pain Management, Nurses. eISBN 978-1-913576-05-9 © 2022. The Authors. Published for AMER ABRA cE-Bs by e-International Publishing House, Ltd., U.K. This is an open access publication under the CC BYNC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/). Peer–review under responsibility of AMER (Association of Malaysian Environment-Behaviour Researchers), ABRA (Association of Behavioural Researchers on Asians) and cE-Bs (Centre for Environment-Behaviour Studies), Faculty of Architecture, Planning & Surveying, Universiti Teknologi MARA, Malaysia.
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Tavare, Abhijeet, and Jaideep J. Pandit. "Does anyone know how much NHS operating rooms cost? A survey of operating room managers' knowledge of costs and data." British Journal of Healthcare Management 27, no. 12 (December 2, 2021): 1–11. http://dx.doi.org/10.12968/bjhc.2020.0054.
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Background/Aims Operating theatres represent a large proportion of NHS healthcare resources, so there has been focus on reducing costs in this area. This, in part, relies on managers having knowledge of the relevant costs in operating rooms. This study aimed to gauge the level of familiarity regarding costs among the various tiers of managers of NHS operating theatres, and if this information informed their decision making. Methods A semi-structured interview was administered to 12 finance managers, theatre managers and board members across 16 separate hospitals, representing six NHS trusts. Responses were reviewed through qualitative analysis by the authors. Findings The respondents showed very limited knowledge of operating theatre costs, with nearly all being unable to use cost data to inform either daily or longer-term strategic decision making. In particular, the costs of under- or over-running operating lists were not known. Conclusions The study suggests that heuristics of operating theatre management are, in practice, not influenced by costs. Instead, the resulting cost balance appears to be a passive consequence of decision-making based on other factors. This has significant implications for cost reduction initiatives and suggests an urgent need for improvement.
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Kaiser, Max, and Lisa Milner. "“Part of What We Thought and Felt”: Antifascism, Antisemitism and Jewish Connections with the New Theatre." Labour History 120, no. 1 (May 1, 2021): 95–116. http://dx.doi.org/10.3828/jlh.2021.6.
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For much of the twentieth century, the six branches of the New Theatre in Australia presented left-wing theatre within a culture that was largely resistant to their ideas. Their orientation was explicitly pro-working class, their support base including the Communist Party and left-wing trade unions. Like radical theatres in other nations, including the Unity Theatre in Britain, the New Theatre had strong connections to Jewish culture and theatre enterprises, and featured Jewish writers, actors, values and themes. Left-wing, anti-fascist scripts written by Jews in Australia as well as Britain and the USA were often staged. This article discusses the New Theatre’s concerns with antisemitism and Jewish politics focussing on selected plays by Laurence Collinson, David Martin and Oriel Gray. These plays provide us with an ideal prism through which to analyse Jewish left-wing and anti-fascist ideas as they were refracted through a transnational left-wing theatre movement.
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Meadows, Chris, and Sunny Kaul. "Medicines Management in the Theatre Suite." Journal of Perioperative Practice 19, no. 10 (October 2009): 352–57. http://dx.doi.org/10.1177/175045890901901009.
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Müller, Péter P. "The Fetish of the Ephemeral, the Praxis of Repetition, and the Logic of the Archive." Studia Universitatis Babeş-Bolyai Dramatica 66, no. 2 (October 30, 2021): 11–20. http://dx.doi.org/10.24193/subbdrama.2021.2.01.
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"When the very special nature of performance’s evanescence gets emphasized, it is the logic of the archive that lurks beneath the argument, the logic which opposes the residue with the lost and vanished. For a good part of theater scholars, it is the lost and vanished that is valuable; for the archivist it is always the remainder, haunted forever by what’s lost. This paper shall not offer a theoretical overview of the scholarship on repetition or its philosophical interpretations; instead, it will use the concept exclusively in relation with theater plays, theater art, and more broadly the so-called performance arts, in order to reaffirm the bodily dimension of preservation and archiving the theatrical experience. Keywords: theatre, repetition, theatre communication, spectatorship, archive "
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Balme, Christopher, and Tracy C. Davis. "A Cultural History of Theatre: A Prospectus." Theatre Survey 56, no. 3 (September 2015): 402–21. http://dx.doi.org/10.1017/s0040557415000320.
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If theatre historians had been paying attention to the proceedings at a Gilbert and Sullivan conference in Lawrence, Kansas in 1970, they would have heard a gauntlet strike the ground when Michael R. Booth delivered “Research Opportunities in Nineteenth-Century Drama and Theatre.” He called for research on audiences (“cultural levels, class origins, income, tastes, and development”), performance in the hinterlands (“we know that in 1866 60% of the theatre seats in metropolitan London were outside the West End”), economics (“theatre profits and losses, actors' wages, authors' income, management and organization, the pricing of seats”), and performance techniques (“technical developments in set construction, staging, lighting, traps, and special effects” as well as acting style). This cri de coeur to break the hegemony of literary teleologies is recognizable, in 2015, as a mandate to reorient inquiry toward how repertoires were delivered rather than how authorial talent was paramount, what buttressed profitability rather than what constituted fame, and who sustained a gamut of theatres rather than what demarcated elite taste. It set the agenda for aligning theatre studies in wholly new directions, and without citing a single source or calling out any particular historian it inventoried how theatre history could come into line with social history.
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Clark, Timothy, and Iain Mangham. "From Dramaturgy to Theatre as Technology: The Case of Corporate Theatre*." Journal of Management Studies 41, no. 1 (January 2004): 37–59. http://dx.doi.org/10.1111/j.1467-6486.2004.00420.x.
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Wichsova, Jana, and Jana Škvrňáková. "Key Skill Management in Operating Room – Results of ERASMUS+ project." Revista Romaneasca pentru Educatie Multidimensionala 13, no. 2 (July 2, 2021): 78–89. http://dx.doi.org/10.18662/rrem/13.2/411.
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The Key Skills Management in Operating Room (KSMOR) was a project that assessed key skills, knowledge, procedures and the degree of adaptation of perioperative nurses in operating theatres in the countries of the European Union (EU). Five EU countries participated in data collection. The respondents were perioperative nurses divided into two groups (with experience in operating rooms up to 2 years and over 2 years). The third group consisted of operating theatre managers who participated in the data collection and subsequently evaluated the user-friendliness of the questionnaires used for the data collection. The user-friendliness of the questionnaires was also assessed by all the perioperative nurses participating in the data collection. The majority of respondents from the Czech Republic rated the level of knowledge/skills at a good level, i.e. 2 points ("You are independent, you manage the procedure normally in your daily routine"), even for the group of the respondents with the length of experience in operating rooms up to 2 years. Both the managers and the perioperative nurses assessed the user-friendliness of the questionnaire on skills and knowledge of perioperative nurses positively. The output of the KSMOR project is an electronic version of the questionnaire on skills and knowledge of perioperative nurses, which enables evaluation and training of perioperative nurses not only in basic skills but also in very specific ones according to the particular field. It is also a suitable tool for the operating theatre manager for the management and evaluation of perioperative nurses, planning and support of educational activities and its subsequent integration into the operation of operating theatres.
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Karachalios, Theofilos, Katre Maasalu, and Li Felländer-Tsai. "Personal protection equipment for orthopaedic and trauma surgery during the COVID-19 pandemic: The results of an EFORT survey initiative." EFORT Open Reviews 7, no. 2 (February 1, 2022): 122–28. http://dx.doi.org/10.1530/eor-21-0120.
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Orthopaedic and trauma surgeons performing surgery in the COVID-19 pandemic environment faced problems with availability, use, rationing, modification, compliance and recycling of personal protection equipment (PPE). Orthopaedic and trauma surgeons were not well informed concerning the use of PPE for aerosol-generating orthopaedic and trauma procedures. Scientific bodies, health authorities and management have provided insufficient guidelines for the use of PPE in aerosol-generating orthopaedic and trauma procedures. The availability of specific PPE for orthopaedic and trauma operating theatres is low. Hospital management and surgeons failed to address the quality of operating theatre ventilation or to conform to recommendations and guidelines. Operating theatre PPE negatively affected surgical performance by means of impaired vision, impaired communication, discomfort and fatigue. Existing PPE is not adequately designed for orthopaedic and trauma surgery, and therefore, novel or modified and improved devices are needed.
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Goel, Amit. "PLANNING AND MANAGEMENT OF OPERATION THEATRE COMPLEX." Journal of Evolution of Medical and Dental Sciences 6, no. 30 (April 13, 2017): 2471–72. http://dx.doi.org/10.14260/jemds/2017/533.
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Bareham, Jon, and Peter Jones. "Hospitality Management Education: Theory, Technocracy And Theatre." Hospitality Education and Research Journal 12, no. 2 (February 1988): 249–58. http://dx.doi.org/10.1177/109634808801200225.
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This paper suggests that many existing hospitality management courses are strongly based on business administration principles and a manufacturing operations approach. It reviews the range of research and literature now available relating to service industries and identifies key features, such as organizational climate, script theory and the “servuction” concept. These key factors should play a much greater role in hospitality education, using learning methods based on the idea of “theatre” - simulation, role play, drama, debates and practical exercises. In addition, the common boundaries between subject areas should be broken down and “repackaged” to create a more holistic view of hospitality service provision. The paper concludes with a course outline and examples of the theatrical approach to hospitality management teaching.
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Gürsu, Işılay, and Lutgarde Vandeput. "Aspendos: cultural heritage management and the theatre." Heritage Turkey 5 (December 9, 2015): 34–35. http://dx.doi.org/10.18866/biaa2015.122.
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Lake, Anthony. "The Hilberry Theatre’s MFA in Theatre Management." International Journal of the Humanities: Annual Review 8, no. 1 (2010): 361–74. http://dx.doi.org/10.18848/1447-9508/cgp/v08i01/41454.
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Beirne, Martin, and Stephanie Knight. "From Community Theatre to Critical Management Studies." Management Learning 38, no. 5 (November 2007): 591–611. http://dx.doi.org/10.1177/1350507607083209.
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Jøsendal, Kari, and Kari Skarholt. "Communicating Through Theatre: How Organizational Theatre Engages Researchers and Industrial Companies." Systemic Practice and Action Research 20, no. 1 (November 7, 2006): 65–76. http://dx.doi.org/10.1007/s11213-006-9050-4.
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Featherstone, Ann. "‘A Good Woman of Business’: The Female Manager in the Portable Theatre." Nineteenth Century Theatre and Film 45, no. 1 (May 2018): 9–26. http://dx.doi.org/10.1177/1748372718791052.
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The portable theatre embraced and valorised women throughout its 150-year history (from around 1800 to 1950), taking dramatic performances to towns and cities throughout the United Kingdom and Ireland. Mothers, wives and daughters were also actors and managers in these travelling companies, in close family units, and their career paths reflected both their skills and opportunities. Their working lives were physically hard, often organising theatrical licenses and recruiting professionals, as well as performing themselves. Many women combined the leading lady roles with management and caring for their children. Others were forced to relinquish an acting career to concentrate upon business. Mrs Marie Livesey, with six children to care for, fulfilled her late husband’s ambition to build a permanent theatre and did so, in part, with revenue from her portable theatre. Women managers of portable theatres were respected in their business and their achievements challenge the perception that all theatrical women laboured under ‘restricted conditions’.
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Nissley, Nick, Steven S. Taylor, and Linda Houden. "The Politics of Performance in Organizational Theatre-Based Training and Interventions." Organization Studies 25, no. 5 (June 2004): 817–39. http://dx.doi.org/10.1177/0170840604042416.
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In this article, we first ‘set the stage’, taking our focus as theatre inorganizations, in contrast to the more traditional approach within the field of organizational studies of the use of ‘theatre’ as a metaphorical means of making sense of organizational life (organizations astheatre). More specifically, we examine the phenomenon of theatrebased training and interventions. However, we move beyond the practitioner-oriented ‘how-to’ understanding of theatre-based training, instead undertaking a more critical examination of the phenomenon. We analytically look ‘behind the curtain’, exposing the ‘politics of performance’ in theatre-based training and interventions by considering who controls the script and who controls the role in a performance. Lastly, we close with an ‘offer’ to the organization studies scholar — similar to the kind of ‘offer’ found in improvisational theatre. We offer a Boalian perspective of organizational theatre. We intentionally mean to be provocative by using Boal’s language (for example, ‘theatre of the oppressor’ to describe more corporate-controlled performances and ‘liberation of the spectator’ to describe more worker-controlled performances); yet, we firmly believe that the Boalian perspective may offer an ‘other’ way of looking at organizational theatre — particularly, the politics of performance in organizational theatre.
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Ristic, Maja. "Features of labour relations in institutional theatres in Serbia." Zbornik Matice srpske za drustvene nauke, no. 178 (2021): 245–59. http://dx.doi.org/10.2298/zmsdn2178245r.
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The main goal of the paper is to investigate the forms of labor relations in institutional, subsidized theatres in Serbia. Given the social and economic crises, and today significant changes in the lifestyles of citizens of the world caused by the Corona virus pandemic, theatre institutions had to adapt to new market demands. Reduced production, inability to play large ensemble performances, problems in paying copyright contracts are some of the features of the work of theatre organizations. Having these turbulent circumstances, the subject of the paper should determine the influence of social circumstances on the formation of working relations in institutional theatres in Serbia. The paper will look at labor relations in the context of transitional cultural policy and the impact of the environment on defining the most optimal form of employment that should meet the needs of the state, city, municipality, as founders and financiers of the theatre organization, the needs of artists who strive for permanent employment that will provide them with existential security while providing them with an opportunity for artistic growth. By re-examining and analyzing the existing models of labor relations, the basic hypothesis we want to prove in the paper is that permanent employment and achieving permanent employment is the best solution for hiring artists in institutional theatre. In order to fulfill the set goals and prove the hypothesis, the paper will use theoretical research in the field of human resources management (Rahimic, Torrington, Hall, Taylor), labor law, cultural policy (Djukic), cultural studies (Klajic, Ristic, Djordjevic) as well as the case studies of form of employment in national theatres in the region. The paper also presents an empirical research that dealt with the impact the different forms of employment have on artists. The research shows that the establishment of a permanent employment relationship is of greater benefit to artist.
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Clark, Timothy, and Iain Mangham. "Stripping to the Undercoat: A Review and Reflections on a Piece of Organization Theatre." Organization Studies 25, no. 5 (June 2004): 841–51. http://dx.doi.org/10.1177/0170840604042417.
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In this article, we review one ‘tailor-made play’, one piece of organization theatre called Varnishing the Truth. We then reflect on the questions we asked of ourselves while watching this performance and reviewing the video of it: how does this activity relate to its claimed theoretical foundations (Boal’s forum theatre)? Is forum theatre an appropriate model for organization theatre? Can ‘things be made to move’ by an activity such as the one to which we were an audience? In the process of answering these questions, we emphasize the reductive adoption of radical techniques (that is, Boal’s forum theatre); the depoliticization of corporate theatre; and, the limitations of the theory of negotiated order as a model for learning, given the discursive construction of organizational roles.
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Starkey, Kenneth, Sue Tempest, and Silvia Cinque. "Management education and the theatre of the absurd." Management Learning 50, no. 5 (October 22, 2019): 591–606. http://dx.doi.org/10.1177/1350507619875894.
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In this article, we recommend the drama of theatre of the absurd as a novel space for critically reflecting upon management and management education as shaped by the forces of emotion, irrationality and conformism rather than reason. We discuss the theatre of the absurd as uniquely relevant to understanding our troubled times. We present a brief overview of the history of business schools and management education. We apply the idea of absurdity to the world of business schools and management education, focusing on the work of one of the theatre of the absurd’s leading proponents, Eugène Ionesco. We emphasise the importance of fiction and fantasy as key aspects of organisation and education. We contribute to debates about management education by reflecting on possible futures for management education and the business school, embracing the humanities as a core disciplinary focus. We suggest that this will help rebalance management education, retaining the best of the existing curriculum, while re-situating the study of management in its broader historical and philosophical nexus.
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Wilson, Liam, and Omer Farooq. "Fire in operating theatres: DaSH-ing to the rescue." Journal of Perioperative Practice 28, no. 7-8 (May 4, 2018): 188–93. http://dx.doi.org/10.1177/1750458918775556.
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Operating theatres are dynamic environments that require multi professional team interactions. Effective team working is essential for efficient delivery of safe patient care. A fire in the operating theatre is a rare but potentially life threatening event for both patients and staff. A rapid and cohesive response from theatre and allied staff including porters, fire safety officer etc is paramount. We delivered a training session that utilised in situ simulation (simulation in workplace). After conducting needs analysis, learning objectives were agreed. After thorough planning, the date and location of the training session were identified. Contingency plans were put in place to ensure that patient care was not compromised at any point. To ensure success, checklists for faculty were devised and adhered to. A medium fidelity manikin with live monitoring was used. The first part of the scenario involved management of a surgical emergency by theatre staff. The second part involved management of a fire in the operating theatre while an emergency procedure was being undertaken. To achieve maximum learning potential, debriefing was provided immediately after each part of the scenario. A fire safety officer was present as a content expert. Latent errors (hidden errors in the workplace, staff knowledge etc) were identified. Malfunctioning of theatre floor windows and staff unawareness about the location of an evacuation site were some of the identified latent errors. Thorough feedback to address these issues was provided to the participants on the day. A detailed report of the training session was given to the relevant departments. This resulted in the equipment faults being rectified. The training session was a very positive experience and helped not only in improving participants’ knowledge, behaviour and confidence but also it made system and environment better equipped.
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Hughes, Gwenda. "Clocking on at the Play Factory: Some Thoughts on Running a Regional Theatre." New Theatre Quarterly 27, no. 1 (February 2011): 14–27. http://dx.doi.org/10.1017/s0266464x11000029.
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At a time when funding cuts may mean that many theatres need to struggle for their very existence, it becomes more important than ever that the teams working together in a particular company, or on a particular production, should feel comfortable with each other, and with the director – on whose shoulders may fall many problems and decisions beyond the straightforwardly artistic. Gwenda Hughes has been Artistic Director of Watford Palace Theatre in Education Company, an Associate Director at Birmingham Rep (where she directed some twenty-five productions), and from 1998 until 2006 was Artistic Director of the New Vic Theatre in Staffordshire. She has also worked as a freelance director for M6, Women's Theatre Group, the Young Vic, Oldham Coliseum, Salisbury Playhouse, Theatre Centre, and Lip Service. Drawing on this extensive and varied experience, she here offers some practical guidance on the pitfalls which face the director and/or the artistic director, and how they can be avoided – or if not avoided, overcome – whether in the rehearsal room, on the ‘top floor’ of management, or in dealing with the public, from fussy members of the audience and local councillors making funding decisions, to visiting royals in need of tactful guidance to the lavatory.
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Mishurovskaya, M., and E. Mikhaylova. "THE WHITE GUARD [BELAYA GVARDIYA] IS BANNED IN KIEV... THE FATE OF M. BULGAKOV’S PLAYS IN KIEV THEATRES IN 1926." Voprosy literatury, no. 2 (September 30, 2018): 294–332. http://dx.doi.org/10.31425/0042-8795-2018-2-294-332.
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Devoted to the production of M. Bulgakov’s plays in the 1926 Kiev, the article examines a comprehensive selection of archived manuscripts and printed material related to the staging of Bulgakov’s plays The Days of the Turbins [Dni Turbinykh] and Zoyka’s Apartment [Zoykina kvartira] in Ukrainian theatres: in I. Franko Ukrainian Drama Theatre and the Russian Drama Theatre (RDT). This review is the most comprehensive one to this day that analyses the main circumstances and motifs of the short-lived stage life of Bulgakov’s plays in the 1926 Kiev, a consequence of both the artistic policies of theatrical management, as well as the financial situation. Another reason was the ideological censorship imposed not only by the designated officials, but also by the contemporary nationalistic mood: first, it led to the ban of The Days of the Turbins at the I. Franko Theatre (director G. Yura) and then at RDT (director Y. Sobolev); next, the very popular and therefore lucrative play Zoyka’s Apartment had to be cancelled by RDT, which thus lost their box-office hit.
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Eddershaw, Margaret. "Echt Brecht? ‘Mother Courage‘at the Citizens,1990." New Theatre Quarterly 7, no. 28 (November 1991): 303–14. http://dx.doi.org/10.1017/s0266464x0000600x.
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The Citizens Theatre in Glasgow has a long and honourable tradition of serving its neighbourhood and its city, and a directorial team which remarkably combines professional distinction with loyalty to their theatre. In view of its reputation for productions of great visual brilliance, it is surprising to be reminded that, of all British repertory theatres, ‘national’ or regional, it has also the strongest continuous tradition of playing Brecht. Margaret Eddershaw, Senior Lecturer in Theatre Studies in the University of Lancaster, outlines the history of this tradition, which stretches back even beyond the present triumviral management, and proceeds to look at the most recent encounter of ‘the Cits’ with Brecht, Philip Prowse's 1990 production of Mother Courage. This was significant not only for the director's attitude to Brechtian theory, theatrical and political, in the aftermath of the previous year's events in Eastern Europe, but for its inclusion of an international ‘star’, Glenda Jackson, within the Cits' usually close-knit ensemble – its consequences also, arguably, of ‘political’ as well as theatrical interest.
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Huff, Stephen. "The Impresarios of Beale Street: African American and Italian American Theatre Managers in Memphis, 1900–1915." Theatre Survey 55, no. 1 (December 16, 2013): 22–47. http://dx.doi.org/10.1017/s0040557413000525.
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Music scholars Lynn Abbott and Doug Seroff have researched what they call “a deep African American vaudeville theater tradition” in Memphis during the first decade of the twentieth century that helped lead the way to the commercialization of the blues. Their body of work provides a very useful and fascinating historical overview of the black vaudeville scene of the time on the national level. This article seeks to broaden that overview, using a much more focused, microhistorical perspective on the history of theatre management on one particular street in one particular, midsized southern city. It argues that in Memphis, the story of African American and Italian American theatre managers shows that realities were often much more complex than histories that portray a rigid and heavily drawn color line have suggested.
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Kirkman, Frank. "The Theatre of Life." Management Decision 25, no. 1 (January 1987): 9–17. http://dx.doi.org/10.1108/eb001429.
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Guinet, Alain, and Sondes Chaabane. "Operating theatre planning." International Journal of Production Economics 85, no. 1 (July 2003): 69–81. http://dx.doi.org/10.1016/s0925-5273(03)00087-2.
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Vera, Dusya, and Mary Crossan. "Theatrical Improvisation: Lessons for Organizations." Organization Studies 25, no. 5 (June 2004): 727–49. http://dx.doi.org/10.1177/0170840604042412.
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This article uses the improvisational theatre metaphor to examine the performance implications of improvisational processes in firms. We recognize similarities and differences between the concepts of performance and success in both theatre and organizations, and extract three main lessons from improvisational theatre that can be applied to organizational improvisation. In the first lesson, we start by recognizing the equivocal and unpredictable nature of improvisation. The second lesson emphasizes that good improvisational theatre arises because its main focus, in contrast to the focus of firms, is more on the process of improvising and less on the outcomes of improvisation. Lastly, in the third lesson, we look at the theatre techniques of ‘agreement’, ‘awareness’, ‘use of ready-mades’, and ‘collaboration’, and translate them into concepts that are relevant for organizations in developing an improvisational capability.
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Lum, Brandon, Hong Muay Png, Hock Lan Yap, Cindy Tan, Bixian Sun, and Yen Hoon Law. "Streamlining workflows and redesigning job roles in the theatre sterile surgical unit." BMJ Open Quality 8, no. 3 (September 2019): e000583. http://dx.doi.org/10.1136/bmjoq-2018-000583.
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The theatre sterile surgical unit (TSSU) is an essential core to support the operating theatres in National University Hospital. Surgical instruments and supplies are processed, packaged and sterilised safe for surgical procedures. A rapid improvement event adopting lean methodology was conducted with the TSSU team to streamline the workflows in this area.The project aimed to identify TSSU work processes that can be streamlined or automated, improving timeliness while identifying potential for role redesign and maximising human resource.The team successfully implemented initiatives to eliminate unnecessary workflows and achieve workload levelling. This reduced instrument processing time by 5%, while replenishment times of surgical supplies to the operating theatres decreased by 29%. The team successfully redesigned the TSSU job roles, converting several nursing staff to non-nursing roles. Long-term initiatives such as the use of disposables and an improved theatre instrument management system were planned for as well.Initiatives derived from this project can be spread to other sterile supply units within the hospital, further optimising the use of resources at a hospital level. The concept of role redesign was found to be applicable to healthcare, highlighting its potential in other areas of the hospital.
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Landro, Vincent. "Henslowe's Relocation to the North: Playhouse Management in Renaissance London." Theatre Survey 38, no. 2 (November 1997): 31–47. http://dx.doi.org/10.1017/s0040557400002064.
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If the London theatre of the Renaissance was one of the earliest examples of theatre as a commercial entertainment, then its playhouses were its largest physical investment and central visual focus. The Theatre, Curtain, Rose, Fortune, Globe, Swan, Hope and Cockpit were not only architectural inventions designed to replace previous itinerant playing practices with performances in fixed spaces where the acting companies could control admissions. They were also major financial investments by playhouse owners. The increase in the building of playhouses between 1576 and 1616 reflect a growing industry creating custom-built places of production that became regular fixtures in the urban geography of Renaissance London. The unprecedented rate of playgoing also increased interest in the possibility of profits by investors, shareholders, and those who operated the playhouses. In short, the London theatre was organized to make money, and London's playhouses were profit centers for the production and consumption of an aesthetic product. Within such a commercial climate, the decisions of playhouse owners concerning building, rebuilding, or abandonment of each facility were critical choices based on profits rather than aesthetics. The location of a playhouse was as important as what went on inside it. Decisions regarding playhouse location, then, can be examined as successful or unsuccessful pragmatic responses to competitive pressures, changing audience response, and expectation of profits in a speculative new industry within a fast-growing city.
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Odazhiev, Petar. "An Innovative Form of Access to the Cultural Heritage of Musical Theatre: A Perspective from Bulgaria." Cultural and Historical Heritage: Preservation, Representation, Digitalization 7, no. 1 (2021): 178–92. http://dx.doi.org/10.26615/issn.2367-8038.2021_1_013.
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Providing as an example the Virtual Museum of Bulgarian Musical Theatre, institutionalized as an independent and constantly evolving Internet platform at the Museum of the Bulgarian Musical Theater (MBMT), this study represents a new contribution to the application of digital technologies to management and cultural promotion. The research answers questions regarding the current development and applications of digital technologies for designing multimedia content aiming to represent cultural heritage. The results offer an original virtual museum constructing method for interactive access to archival samples of performances in the following genres: opera, ballet, operetta, and musical. Additionally, the museum offers access to a presentation of the achievements of music and stage art through permanent thematic collections of repertoire programs, up-to-date information about the creative process of artists, conductors, directors, scenographers, choreographers. Keywords: Digitization, Preservation, Cultural Heritage, Digital Collections, Musical Theatre, Opera, Ballet
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Schreyägg, Georg, and Heather Häpfl. "Theatre and Organization: Editorial Introduction." Organization Studies 25, no. 5 (June 2004): 691–704. http://dx.doi.org/10.1177/0170840604042410.
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Bečica, Jiri, Roman Vavrek, Małgorzata Galecka, and Katarzyna Smolny. "Application of Multi-Criteria Analysis on Theatres’ Efficiency – Czech and Polish Comparative Case Studies." Hrvatska i komparativna javna uprava 21, no. 3 (October 27, 2021): 423–55. http://dx.doi.org/10.31297/hkju.21.3.5.
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Institutions (theatres) evaluated in this paper are mediators of an unrepeatable interpretive art and they need funds from public resources of different government levels to ensure their activities. The aim of the present paper is to evaluate the efficiency of theatre management of 93 evaluated public theatres in the Czech Republic and Poland through 11 indicators. The evaluated weights of chosen indicators were determined by the Technique for Order of Preference by Similarity to Ideal Solution (TOPSIS), in combination with the chosen objective method for determining the importance of indicators. From the results it is evident that big multi-genre theatres producing more genres of interpretive art (drama, opera, ballet, musical) with a bigger number of employees had the worst results in both states.
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Snow, Marina. "Theatre Arts Collection Assessment." Collection Management 12, no. 3-4 (May 17, 1990): 69–89. http://dx.doi.org/10.1300/j105v12n03_05.
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Maguire, Tom. "Under New Management: The Changing Direction of 7:84 (Scotland)." Theatre Research International 17, no. 2 (1992): 132–37. http://dx.doi.org/10.1017/s0307883300016230.
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7:84 (Scotland) Theatre Company was launched in 1973 through an epoch-making tour of The Cheviot, The Stag and The Black, Black Oil, pioneering small-scale touring theatre in Scotland. The arrival of the company coincided with a more general resurgence in indigenous theatre and its success heralded the rise of touring companies as an integral part of the theatrical scene. During the 1970s, its reputation was established as a campaigning left-wing company which combined music and documentary in shows touring to popular audiences throughout Scotland. Although 7:84 had been a revenue-funded client of the Scottish Arts Council (SAC) since 1976, in January 1988 SAC announced that it was to withdraw the company from the list of revenue-funded clients from April 1989. On 22 July 1988 John McGrath, writer, director and co-founder of the company resigned as Artistic Director, levelling allegations of political interference at SAC because of this proposal. The company was taken over by David Hayman, Gerard Kelly, and Jo Beddoe. By the beginning of 1992, Jo Beddoe had left the company and the intention of Kelly and Hayman to resign had been made public.
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Smirnov, Sergei. "LOGISTICS AND SUPPLY CHAIN MANAGEMENT IN THEATRE TECHNICAL CORPORATION." Russian Journal of Logistics and Transport Management 1, no. 2 (2014): 31–35. http://dx.doi.org/10.20295/2313-7002-2014-2-31-35.
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Hall, N. "The Rise of Inventory Management in Operating Theatre Departments." Journal of Perioperative Practice 26, no. 10 (October 2016): 221–24. http://dx.doi.org/10.1177/175045891602601002.
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Shehu, Bello B., and Emmanuel A. Ameh. "Time Management in the Operating Theatre in Developing Countries." Tropical Doctor 34, no. 4 (October 2004): 256–57. http://dx.doi.org/10.1177/004947550403400434.
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Shivanna, S., B. O’Donohoe, C. F. Loyden, and P. J. Rimell. "Difficult airway management - novel use for the theatre register." Acta Anaesthesiologica Scandinavica 51, no. 10 (October 18, 2007): 1401–2. http://dx.doi.org/10.1111/j.1399-6576.2007.01453.x.
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