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Relevant bibliographies by topics / Theatre stages

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Academic literature on the topic 'Theatre stages'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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Journal articles on the topic "Theatre stages"

1

Samitov, Dmitry G. "THE FIRST REGIONAL THEATRES OF THE UNITED STATES AS AN ALTERNATIVE TO BROADWAY COMMERCIALISM." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 40 (2020): 190–96. http://dx.doi.org/10.17223/22220836/40/16.

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The article aims to draw attention to the problem of the emergence and development of creative troupes of a new type. Non-profit theatres became noticeable to the public after a ten-year dominance of Broadway productions played on stages of American the ater. Contrary to Broadway and its commercialism non-profit theatres turned to art, becoming its alternative. The venues mostly performed musicals, uncomplicated comedies, musical shows. Huge halls, high ticket prices led to the fact that the theatre turned to a major business. The desire of theatrical figures to realize their creative powers in the art theatre led many of them to the idea of creating their own companies in opposition to the Broadway theatre in many regions of the United States. It was the nascence of the movement of non-profit theatres that became an alternate to Broadway commercialism, attracted all the new creative forces of the American theatre. Analyzing the activities of number of non-profit theatres such as Cleveland Playhouse, Arena Stage, Alley Theater, the conclusion was made that they all played an important role in the development of the movement of the regional theatres of the United States. The famous “Arena Stage” Theatre, like other regional theaters, developed traditions of non-profit theatres of the USA, including the ideas of “little” and “arti” theatres. The study of non-commercial drama theatres in the United States is relevant for modern Russia. Exploring the process of evolution of noncommercial companies the author concluded that the theatre is primarily a creative, artistic institution, that is to be valued precisely for its contribution and influence on the spiritual life of the audience.

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Matvieieva, Kateryna. "REPERTOIRE TRADITION OF THE UKRAINIAN DRAMA THEATRE: HISTORICAL AND CULTURAL ASPECT." CULTURE AND ARTS IN THE MODERN WORLD, no. 22 (June 30, 2021): 71–84. http://dx.doi.org/10.31866/2410-1915.22.2021.235896.

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The purpose of the article is to find out the repertoire traditions of Ukrainian theatre from the first professional theatre to the present day. The research methodology applies an interdisciplinary approach. In particular, the principle of historicism is an opportunity to trace the change in the repertoire policy of theatres under the influence of sociopolitical circumstances. Structural-functional and macrodynamic methods to study the theatre at different stages of development are methods of analysis and synthesis used to identify the main artistic phenomena and trends in theatrical activities. Scientific novelty. Based on the analysis of the repertoire plays of five Ukrainian theatres: the Theatre of Coryphaei, Taras Shevchenko Kharkiv Academic Ukrainian Drama Theatre, Taras Shevchenko Dnipro National Academic Ukrainian Music and Drama Theatre, Ivan Franko National Academic Drama Theatre, Maria Zankovetska Theatre — trends in the development of the repertoire policy of the Ukrainian theatre are identified, the influence of traditions and society on the work of leading Ukrainian theatre figures is justified; the boundaries of the concept of “repertoire traditions” are expanded. Conclusions. The article examines the peculiarities of the development of Ukrainian theatre from the creation of the first professional theatre in Ukraine to the present day, highlights the impact of repertoire censorship. Five stages of the formation of the repertoire traditions of Ukrainian drama theatres are described: the period of the birth of Ukrainian drama (I. Kotliarevsky); further repertoire traditions in Tsarist Russia era; the formation of modern Ukrainian theatre (Les Kurbas); the period of World War II and post-war times, when there were attempts to transform the Ukrainian theatre into a Soviet one. It was found out that a unique feature of modern Ukrainian theatre is performances on second stages, one-person production, and the use of advanced technology.

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Stefanova, Kalina. "When drama theatre meets puppetry: How a unique symbiosis brought about distinctive changes in Bulgaria’s theatre." Maska 31, no. 181 (December 1, 2016): 120–28. http://dx.doi.org/10.1386/maska.31.181-182.120_1.

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The text outlines the unique symbiosis between drama and puppetry that started taking shape on Bulgarian theatre stages in the mid-1990s and gradually became a distinctive new theatre reality that changed the face of Bulgarian theatre. It was created by Alexander Morfov, CREDO Theatre and Stefan Moskov, along with a number of actors – all of them puppet theatre graduates – in their collaboration with the Bulgarian National (and other drama) Theater(s).

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Thomas, Kyle A. "The Medieval Space: Early Medieval Documents as Stages." Theatre Survey 59, no. 1 (January 2018): 4–22. http://dx.doi.org/10.1017/s0040557417000461.

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Peter Brook begins the second chapter ofThe Empty Space,“The Holy Theatre,” with a lament for the loss of sacred approaches to theatre; approaches that satisfy a community's need to make visible its identity, its hope, and its history. In describing the vacuum within the modern theatre once occupied by ceremony—what he defines as the importance of a noble aim for theatre—Brook critiques hollow and backward attempts to fill new and grand spaces with old and meaningless ritual. In postwar Europe, he saw a need for new spaces that “crie[d] out for a new ceremony, but of course it is the new ceremony that should have come first—it is the ceremony in all its meanings that should have dictated the shape of the place.” Brook's assessment of postwar European bourgeois theatre and its search for new and meaningful agendas is framed by conceptions of space as antecedent to action, requiring only performer and audience in order for theatre to occur, and for a space to be called a theatre. Indeed, theatrical space is always a product of well-established cultural performance conventions—a phenomenon common throughout history. Brook's critique focuses on the conventions of theatrical space that developed from the romantic dramas and spectacle-driven performances of the late nineteenth century and continued well into the twentieth century. Echoing Bertolt Brecht, Brook rejected theatres that predetermined the limits of drama and performance, arguing that it was necessary to strip them of conventional expectations in order to lay bare their potential. Essentially, he asks: When and how does a space become a theatre?

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Thompson, Cheryl. "The Show Did Go On." Canadian Theatre Review 187 (July 1, 2021): 91–93. http://dx.doi.org/10.3138/ctr.187.027.

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Using examples from Toronto’s newspapers, this article examines the impact of the 1918–19 Spanish flu pandemic on the city's theatre and the changes that followed in the twenties. Like during the COVID-19 pandemic, in 1918 health boards across Ontario ordered all theatres to close. However, after two weeks, theatres opened, and productions from New York City’s Broadway, such as the musical comedy Ask Dad, appeared at the Royal Alexandra Theatre, to rave reviews. Toronto’s stages became more diverse following the Spanish flu, with productions such as Shuffle Along, the first all-Black musical on Broadway, which hit the city’s stages in 1923, and one of the first locally cast shows, Amateur Minstrel Frolics, which appeared in 1924 at the Winter Garden Theatre. This article explores how and why the theatre changed after the last pandemic and what issues, such as those related to race and gender, lingered on.

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Pukelytė, Ina. "Front Theatre and Variety Theatre in Lithuania During World War II." Art History & Criticism 16, no. 1 (December 1, 2020): 95–104. http://dx.doi.org/10.2478/mik-2020-0006.

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SummaryThis article reveals how theatre on small stages functioned in Lithuania during World War II and what was its impact on different audiences. It discusses two topics: 1) specificities of the front theatre intended for German soldiers and their administration; 2) specificities of variety theatre intended to all kinds of audiences. Front theatres in the Third Reich were a well-structured and well-financed organisation that served not only German soldiers and army officials but was an attractive job place for artists. Shows were given in all the occupied territories and thus the morale of the German army was supposed to be maintained. Variety theatres, that is small stage performances, were dedicated to lower class audiences; these shows demanded no intellectual effort and were meant to entertain. Journalists, writing about this type of theatre, avoided to criticise it, because it nevertheless fulfilled its duty to stimulate citizens’ optimism and to make them more loyal to the Nazi government.

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Earnest, Steve. "The East/West Dialectic in German Actor Training." New Theatre Quarterly 26, no. 1 (February 2010): 81–89. http://dx.doi.org/10.1017/s0266464x10000096.

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In this article Steve Earnest discusses contemporary approaches to performance training in Germany, comparing the content and methods of selected programmes from the former Federal Republic of Germany to those of the former German Democratic Republic. The Hochschule für Musik und Theater Rostock and the University of the Arts in Berlin are here utilized as primary sources, while reference is also made to the Bayerische Theater-akademie ‘August Everding’ Prinzregententheater in Munich, the Hochschule für Musik und Theater ‘Felix Mendelssohn Bartholdy’ in Leipzig, and Justus Leibig Universität in Giessen. The aim is to provide insight into theatre-training processes in Germany and to explore how these relate to the national characteristics that have emerged since reunification. Steve Earnest is Associate Professor of Theatre at Coastal Carolina University in Myrtle Beach, South Carolina. His publications include The State Acting Academy of East Berlin (Mellen Press, 1999) and articles in Performer Training (Harwood Publishers, 2001), New Theatre Quarterly, Theatre Journal, and Western European Stages.

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Richards, G. "Stages of automation [theatre automation]." Engineering & Technology 3, no. 21 (December 6, 2008): 38–41. http://dx.doi.org/10.1049/et:20082106.

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Occheli, Vera. "Польская драматургия рубежа XIX–XX веков на сцене грузинского театра." Bibliotekarz Podlaski Ogólnopolskie Naukowe Pismo Bibliotekoznawcze i Bibliologiczne 51, no. 2 (August 16, 2021): 165–86. http://dx.doi.org/10.36770/bp.606.

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The article presents findings based on the materials of the Archives of the State Theatre Museum of Georgia and theatrical reviews published in the Georgian periodical press of the designated time. The obtained data allowed to draw a conclusion about the wide popularity of Polish drama on the stages of Tiflis and Kutaisi theatres. Polish drama attracted the audience not only with its high artistic skill, but also with the desire to get acquainted with the Polish theatre system, its ability to pose and solve important life problems. Plays by Stanislaw Przybyszewski, Jerzy Żuławski, Gabriela Zapolska, Michał Bałucki and others were staged in Georgian theatres. The dramatization of the novel Quo vadis? by Henryk Sienkewicz was particularly recognized among the Georgian public. The article also points to the great interest of the Georgian audience in modern Polish drama, especially the plays of Sławomir Mrożek.

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Eminov, Nurillo Qosim Ogli. "Theatre And The Stage As Educational And Enlightenment Establishment." American Journal of Interdisciplinary Innovations and Research 03, no. 02 (February 27, 2021): 16–20. http://dx.doi.org/10.37547/tajiir/volume03issue02-03.

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In every society the question of creating an image of a hero who embodied the sorrows and joys of the people has always been one of the most important problems. One can notice that the performances which are based on educational upbringing in the repertoires of Uzbek theatre art are becoming rare day by day. The present article represents detailed information about how to solve positively those problems. The author focused on such weak plays that are being staged on the theatre stages nowadays.

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Dissertations / Theses on the topic "Theatre stages"

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Orr, Michelle D. "Theorizing stages : text, performance, and dramaturgical practice in the theatre of Marguerite Duras /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC IP addresses, 2003. http://wwwlib.umi.com/cr/ucsd/fullcit?p3099910.

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Marshall, Tristan. "Theatre and empire : Great Britain on the London stages under James VI and I /." Manchester ; New York : Manchester university press, 2000. http://catalogue.bnf.fr/ark:/12148/cb37715754t.

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Armstrong, Esther M. "A scenographic analysis of emergent British 'national' identity, on the stages of the National Theatre between 1995-2005." Thesis, University of the Arts London, 2010. http://ualresearchonline.arts.ac.uk/5369/.

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This thesis examines space within the context of scenography and investigates its presence as a theme exposing the unstable condition of identity. It does this by examining how 'national' identity has been presented through the medium of design on the stages of the UK's National Theatre during an era where identity is being used as a political tool. The 'new ideologies' of regionalism,multiculturalism and globalisation are identified as provocative catalysts that are expressed within selected designs and are seen as challenging fixed notions of identity. Influenced by Henri Lefebvre's Production of Space, the production of scenography is examined within this thesis by combining three perspectives. It sets up a dialogue which looks to reveal a 'code', which explains the space produced on stage, by considering the following: The three different Artistic Directors operating during this period (Richard Eyre, Trevor Nunn and Nicholas Hytner) and their intentions for the relevance of the institution. This is considered by comparing each Artistic Director's public mission statement about their direction for the institution with selected productions that they have personally directed when in this role Through interview with the designers who produced the scenography for these selected shows. And by re-examining reviewer reactions to the shows produced, where the selected productions are seen to be either challenging or reflecting national meaning. The criticism levelled at design is particularly focused upon within these reviews. Space is considered as a key theme within scenography as it has been identified by the scenographer Jaroslav Malina as a significant constant within this art form. The thesis concludes that design, the production of space on stage, is under acknowledged in wider theatre criticism but is nevertheless shown to be a significant aspect in the reading and composition of conveying 'national' identity upon the National Theatre's stages.

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Kwon, Kyounghye. "Local Performances, Global Stages: Postcolonial and Indigenous Drama and Performance in Glocal Circuits." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1259760023.

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Beare, David Merritt. "Social art effect : the a/r/tography and complexity of theatre education learning systems, developmental stages, and change mechanisms." Thesis, University of British Columbia, 2011. http://hdl.handle.net/2429/39663.

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This study examined how the Compassion Project, a collective theatre and social learning program, fostered positive youth and group development. The Compassion Project involved over 200 secondary students who participated in four theatre-making and social learning phases, where they inquired upon the topic of safe and caring schools. Through the process of collective theatre-making, students co-created two original plays (The Flip Side and Focus) about their social and emotional experiences in school. A/r/tography, the arts education research methodology for this study, emphasizes living inquiry and reflective practice through the examination of the in-between spaces of art-making/researching/teaching (a/r/t). Expanding upon the field of a/r/tography, this study introduces the rendering of the fourth wall as a theatre education research lens. By conceptualizing the theatre classroom as a stage, the rendering of the fourth wall directs attention to several perspectives: to the students, teacher-directors, players, and audience on both the classroom and stage sides; to the spaces in between the imaginary world of the play and the real life experiences of the inquirers; and, to the theatre-making and reflective practices. Based on observations, interviews, circle talks, and students’ written reflections, stories, and scripts, the data are analyzed and presented throughout the dissertation. The findings are conceptualized as the social art effects, which are the benefits that result from students’ social and theatre-making actions and interactions. The conceptualization also combines psychological, pedagogical, and theatre-based theories, such as positive psychology, complexity in education, and collective theatre. As a way to organize the data, the findings on the social art effect are categorized into three components: learning systems, developmental stages, and change mechanisms. This study illustrates how students’ social conditions are critical, and precede learning conditions. Furthermore, this study emphasizes the importance of integrating social learning and complex systems theories into the curriculum as a way to optimize learning spaces and to foster positive youth and group development.

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Scales, Roger W. "The battle of the stages : the conflict between the theatre and the institutions of government and religion in England, 1660-1890." Thesis, City, University of London, 2002. http://openaccess.city.ac.uk/17423/.

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Between 1660 and 1880 a number of Royal Patents were granted and Acts of ParI iament passed whose purpose and effect, it has generally been acknowledged, was to restrict the spread and availability of English theatre, in particular that within the two cities of the metropolis, and to limit its potential as a forum of debate for the examination of ideas or the promotion of political dissent. During the same period, although not necessarily at the same time, theatre came under fire from religious groups of many different denominations. This condemnation and the measures taken by this special interest group in society to combat the influence of the stage has also been held to have had a restrictive effect on the institution of theatre. This research has been primarily based on an examination and analysis oflegislation, parliamentary debates, religious tracts, papers and letters in Lambeth Palace Library, letters in the Manuscript Department of the British Library, theatre texts, the writings of contemporary theatre critics, articles in contemporary newspapers and journals specialising in theatrical topics, specialist reports and magazines published by various religious denominations, contemporary pamphlets, diaries, biographies, theatre ephemera and current critical writing in specialist magazines and books devoted to theatrical and religious topics. After discussing the reasons for setting the parameters of 1660 and the late 1880s for this research, the thesis considers the importance of the institution of theatre in the particular period studied and its relationship to the whole panorama of the history of theatre. After detailing a number of questions regarding the purpose of theatre and the effect it has and has had on society, this research examines the objects, effects and motivation behind the main statutes that were enacted to deal with the phenomenon of theatre between 1660 and 1880. In particular the genesis and context of The Restoration Patents, the Licensing Act (1737), the Disorderly Houses Act (1751), the Theatrical Representations Act (1788), the failed Sadler's Wells Bill (1788), and Interludes Bill (1788), and the Theatres Act (1843) have been examined, the aims of each debated and the effects of each of the legislative measures on theatre as a whole is explored. The opposition that came from religious forces within the country during the period under study is also examined and analysed. The complaints from Church and Chapel were various: blasphemy, indolence, vice, perversion (particularly of the young), consorting with unwholesome company and drawing people away from God were all cited as sins of the stage. The underlying causes ofthe censure of important religious figures as well as that which came from different denominations is examined. The various measures put into operation to combat the dangers perceived to be coming from theatre are explored and their efficiency debated. Finally the study examines the nature of the theatrical experience and how this has been affected by the legislation and condemnation of the religious interest in the country. A principal conclusion is that theatre in England was not repressed or rendered impotent by any of the legislation nor was it by the tactical opposition of the religious faction in society. Indeed theatre gained strength and potency by finding ways to circumvent the opposition it encountered. So successful was it in overcoming the ploys of the legislature and religious interests and so instrumental was theatre as a focus for life in England during the period under study that both of the forces of opposition eventually had to adopt theatre as an ally in the implementation of their own political agenda.

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He, Man. "Chinese Play-Making: Cosmopolitan Intellectuals, Transnational Stages, and Modern Drama, 1910s-1940s." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1429737192.

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Midthun, Amy L. "Manipulating the Stage: A Comparison of the Government-Sponsored Theaters of the United States and Nazi Germany." Ohio : Ohio University, 2002. http://www.ohiolink.edu/etd/view.cgi?ohiou1040072155.

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Warnick, Lindsay. "Stage managing Seed." Thesis, University of Iowa, 2018. https://ir.uiowa.edu/etd/6334.

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Seed, written by Scott Bradley and directed by Patrick Du Laney, is a play that was written to explore the legacy of suicide in the Midwest Region and its specific correlation to the disappearance of the family farm. The University of Iowa Department of Theatre Arts selected Seed to appear as a part of the annual Iowa New Play Festival in May of 2017. This thesis examines the specific challenges faced during the production process as relates to the production as a whole and those faced from the stage management perspective. This was an influential production to the stage manager, Lindsay Warnick, so connections between these challenges are looked at in two ways: how they played a role in Lindsay’s development as a stage manager and her growth as an individual.

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Olmez, Husniye Nihan. "The Analysis Of Theatre Plays For Children Staged By The State Theatre And Private Theatres In 2008-2009 Theatre Season In Bursa." Master's thesis, METU, 2009. http://etd.lib.metu.edu.tr/upload/12611061/index.pdf.

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The aim of this study is to investigate theatre plays for children staged by the State Theatres and private theatre companies in one specific theatre season in Bursa in terms of their essential language, physical, educational, entertainment and social characteristics. More specifically, the present study examines appropriateness of theatre plays for children in term of these essential characteristics stated by the experts and also opinions of audiences, parents, teachers, and professionals gained by interviews. Twelve preschool children between the ages of 5 and 6, ten parents who had 5 or 6-year-old children, and two preschool drama teachers were asked about their opinions after attending one or more of the theatre plays which were chosen for the study. The theatre plays which were chosen for the study were also scored according to the five different essential characteristics by two coders by using the &ldquo
theatre for young audiences evaluation rubric&rdquo
which was developed by the researcher based on the literature. The study presented the composition of the information gained from the interviews and the characteristics scores of each theatre play. The results revealed that As an outcome, this study documented general information about the existing, required and desired characteristics of theatre plays for children
specific information about the current status of theatre plays for children in Bursa
and also implications and suggestions for parents, educators, playwrights, theatre directors and further studies.

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Books on the topic "Theatre stages"

1

Shakespeare in stages: New theatre histories. Cambridge, UK: Cambridge University Press, 2010.

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Stages of life: Indian theatre autobiographies. New York, NY: Anthem Press, 2011.

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Critical stages: Canadian theatre in crisis. Canada: Oberon Press, 1998.

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Stages: A life in the theatre. Danbury, Connecticut: Hyphenates Books, 2013.

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Jeff, Bennett. Secondary stages: Revitalizing high school theatre. Portsmouth, NH: Heinemann, 2001.

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City stages: Theatre and urban space in a global city. Toronto: University of Toronto Press, 2007.

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Francine, Parker, and Lloyd Norman 1914-, eds. Stages of life in theatre, film, and television. New York: Limelight Editions, 1993.

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The fool in European theatre: Stages of folly. Houndmills, Basingstoke, Hampshire, UK: Palgrave Macmillan, 2012.

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Surwillo, Lisa. The stages of property: Copyrighting theatre in Spain. Toronto: University of Toronto Press, 2007.

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Shakespeare by stages: An historical introduction. Malden, MA: Blackwell Pub., 2003.

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Book chapters on the topic "Theatre stages"

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Lenton-Young, Gerald. "6. Variety Theatre." In Early Stages, edited by Anne Saddlemyer, 166–213. Toronto: University of Toronto Press, 1990. http://dx.doi.org/10.3138/9781487586249-009.

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Itzin, Catherine. "Womens Theatre Group." In Stages in the Revolution, 228–33. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003194255-31.

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Itzin, Catherine. "The National Theatre." In Stages in the Revolution, 268–73. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003194255-38.

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Itzin, Catherine. "The ICA Theatre." In Stages in the Revolution, 264–67. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003194255-37.

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Itzin, Catherine. "Broadside Mobile Workers Theatre." In Stages in the Revolution, 238–42. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003194255-33.

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Itzin, Catherine. "Theatre Writers Union (TWU)." In Stages in the Revolution, 306–16. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003194255-43.

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Itzin, Catherine. "Joint Stock Theatre Group." In Stages in the Revolution, 220–27. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003194255-30.

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Itzin, Catherine. "Pip Simmons Theatre Group." In Stages in the Revolution, 73–75. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003194255-10.

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Plant, Richard. "8. Chronology: Theatre in Ontario to 1914." In Early Stages, edited by Anne Saddlemyer, 288–346. Toronto: University of Toronto Press, 1990. http://dx.doi.org/10.3138/9781487586249-011.

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Biet, Christian, and Christophe Triau. "Other stages, other apparatuses." In What is the theatre?, 198–204. London ; New York, NY : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9780429437137-13.

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Conference papers on the topic "Theatre stages"

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Spath, Dieter, Wilhelm Bauer, and Manfred Dangelmaier. "Virtual Service System Engineering." In ASME 2008 9th Biennial Conference on Engineering Systems Design and Analysis. ASMEDC, 2008. http://dx.doi.org/10.1115/esda2008-59213.

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Virtual Engineering is well-known in product design and widely in use i. e. in the automotive industry. The “frontloading” approach uses simulation and visualization to improve planning and communication in the early phases of product development processes. Benefits are: more efficient development processes, better development quality in early stages, and avoidance of error costs. This contribution presents an extension to this approach: Virtual Service System Engineering. It is intended to precede the more traditional product development. The product is considered in a generalized way as hardware and/or software and/or service. The lab environment ServLab at Fraunhofer IAO for the development of such generalized products is described. ServLab combines a team room for service process engineering (1), an immersive 3D-interactive virtual environment for rapid prototyping of generalized products (2), and a stage for performing Service Theatre as part of the development and evaluation process (3). As pilot application project on redesigning the hotel check-in is presented and first experiences are reported.

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Parkin, E., and J. Chilcott. "Integrating Autonomy - Maintain, Launch, Execute and Recover." In Engine As A Weapon International Symposium VIII. IMarEST, 2019. http://dx.doi.org/10.24868/issn.2515-8171.2019.006.

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In recent years, autonomy has been subject to significant interest and investment within the maritime industry. Several high-profile trials such as Unmanned Warrior 2016 and Autonomous Warrior 2018, have drawn attention to the rapidly emerging and advancing technology. Following the successful operation of 7 autonomous vessels during Unmanned Warrior 2016, L3 Technologies completed a series of demonstrations at Autonomous Warrior 2018. The continually evolving technology has enabled increasing complex autonomous operations to be trialled. This accessibility and enhanced capabilities have resulted in the increased adoption of autonomous vessel technology. Navies around the world have shown much interest in the enhanced military capability that autonomous vessels bring to the operational theatre. It is clear that the technology is available, and the demand exists, but integration into a modern operation warship poses an indisputable challenge? The operating cycle of an USV when hosted on-board a warship can be summarised as ‘Maintain, Deploy, Execute and Recover’. Understanding how the USV integrates into the mothership at each of these stages will increase the effectiveness and efficiency of operating the USV. To fully understand this all aspects of integration should be considered, people, processes and technical interfaces. Two key on-board systems that an autonomous vessel will need to interact with are the combat system and the IPMS. As autonomous technologies become more established and proven, the confidence gained will have implications for its possible implementation on larger vessels potentially leading to fully autonomous cargo ships and cruise ships.

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Koch, Renate. "Marcel Prawy und das erste Broadway-Musical im Österreich der Nachkriegszeit." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.57.

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Marcel Prawy, born in Vienna, graduated in law. In 1936, the couple Kiepura/Eggerth engaged him as private assistant. Two years later Jan Kiepura helped him to emigrate to New York. In 1943, after his employment ended, Prawy joined the US Army. Finally he returned as an elite soldier to Vienna and began his pioneering work for ‘Broadway Musicals’. In 1955, he was appointed dramaturge at the ‘Wiener Volksoper’. One year later in February, Kiss Me, Kate was performed in two Austrian theatres. The Viennese version was produced by Prawy himself and staged by Heinz Rosen. In Graz André Diehl directed the orchestration by conductor Rudolf Bibl on the basis of a piano score. Prawy relied on a mixture of Austrian theatre luminaries and American actors. In the Volksoper 183 performances took place – Graz had only 16. The reviews for the Viennese premiere reaffirmed the cheers. The criticism of the Graz production did not receive the same attention as Prawy’s production did.

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Malinina, Elena. "Contemporary Art Culture as a Creator of Publicity New Forms: Experience of Perm Theatrical Community." In The Public/Private in Modern Civilization, the 22nd Russian Scientific-Practical Conference (with international participation) (Yekaterinburg, April 16-17, 2020). Liberal Arts University – University for Humanities, Yekaterinburg, 2020. http://dx.doi.org/10.35853/ufh-public/private-2020-13.

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This article covers some new forms of publicness in the field of art culture of the Russian city of Perm, e.g. dramatics as a performance in a street environment, and synthetic museum-theatrical form under the conditions of a stage box. The study was accomplished mainly via culturological method. At one time theatre left the urban environment, but in the 21st century theatrical forms have begun to permeate urban space again, the statement primarily concerns site-specific theatre. This is equivalent to the birth of new theatrical-city publicity, a new modality of the interpenetration of the public and the private. One of the best-known theatrical projects in this field is ‘Remote X’ (‘Rimini Protokoll’ band). Here, the close co-existence habitual to city dwellers turns into a social substrate, and a way to implement interpersonal artistic communication, thereby largely changing the disposition of the former, and transforming itself. Another new form of relationship between collective and individual aspects in the public sphere is the synthetic museum-theatre form, on the example of immersion dramatics ‘Permian Pantheon’ (Perm Academic Theatre, stager Dmitry Volkostrelov). The natural ‘calendar-seasonal’ tempo-rhythm of the dramatics creates a triple semantic effect risen from artistic reality. It immerses the viewer into the process of traditional subsistence in whole (actualisation of the cultural collective unconscious), represents cultural phenomena (which corresponds to the culture-focused paradigm of artistic consciousness of the second half of the 20th century to the early 21st century), reaches the level of worldview values, the philosophical generalisation of cultural-existential reality. Thus, on the example of two Perm theatrical plays the author can speak about the origin of new forms of publicness in contemporary culture to entail new relationships between publicity and privacy in the current realities.

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Gabellone, Francesco, Daniele Malfitana, Giuseppe Cacciaguerra, Ivan Ferrari, Francesco Giuri, and Claudia Pantellaro. "CRITICAL READING OF SURVIVING STRUCTURES STARTING FROM OLD STUDIES FOR NEW RECONSTRUCTIVE PROPOSAL OF THE ROMAN THEATRE OF CATANIA." In ARQUEOLÓGICA 2.0 - 8th International Congress on Archaeology, Computer Graphics, Cultural Heritage and Innovation. Valencia: Universitat Politècnica València, 2016. http://dx.doi.org/10.4995/arqueologica8.2016.3556.

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The Graeco-Roman theatre of Catania stands in the heart of the historic centre, on the south-eastern slopes of the hill of Montevergine. The building visible today was built during the Julio-Claudian period as part of a programme that saw the rebuilding of the monument, which probably used structures and materials from the earlier Greek theatre. The work undertaken over more than fifty years, involving expropriation, demolition, excavation, and restoration, has, on the whole, made it possible to bring to light the surviving parts of the theatre, improving the comprehension of this monument, despite the fact that some sectors have been irreparably compromised.

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Geigel, Jietong Chen Kunal Shailesh Shitut Joe, David Munnell, and Marla Schweppe. "Building the Virtual Stage: A System for Enabling Mixed Reality Theatre." In 2020 IEEE Conference on Virtual Reality and 3D User Interfaces Abstracts and Workshops (VRW). IEEE, 2020. http://dx.doi.org/10.1109/vrw50115.2020.00205.

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Ren, Hui, Jingjing Zhang, Wei Jiang, and Zhibin Su. "Measurement Method of Background Noise in Theatre Based on Stage Machinery." In 2010 Third International Joint Conference on Computational Science and Optimization. IEEE, 2010. http://dx.doi.org/10.1109/cso.2010.165.

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Honauer, Michaela, and Eva Hornecker. "Challenges for Creating and Staging Interactive Costumes for the Theatre Stage." In C&C '15: Creativity and Cognition. New York, NY, USA: ACM, 2015. http://dx.doi.org/10.1145/2757226.2757242.

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Smolin, Artem. "INTEGRATION OF INTERNET- AND MEDIA-TECHNOLOGIES AT THE NEW STAGE OF ALEXANDRINSKY THEATRE." In SGEM 2014 Scientific SubConference on ARTS, PERFORMING ARTS, ARCHITECTURE AND DESIGN. Stef92 Technology, 2014. http://dx.doi.org/10.5593/sgemsocial2014/b41/s14.039.

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Green, Stanley J. "Stages are for Theaters - Decibels are for Airplane Noise Measurements." In Aerospace Technology Conference and Exposition. 400 Commonwealth Drive, Warrendale, PA, United States: SAE International, 1989. http://dx.doi.org/10.4271/892293.

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Reports on the topic "Theatre stages"

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Corey, Brian K. Theater Ballistic Missile Defense, an Achilles Heel for the United States. Fort Belvoir, VA: Defense Technical Information Center, February 1999. http://dx.doi.org/10.21236/ada363251.

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Thomas, Gary L. United States Marine Corps Air-Ground Integration in the Pacific Theater. Fort Belvoir, VA: Defense Technical Information Center, March 1999. http://dx.doi.org/10.21236/ada424520.

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Rivera, Francisco. Intra-theater Air Mobility and Theater Distribution for the Joint Force Commander: Is the United States Central Command Model the Best. Fort Belvoir, VA: Defense Technical Information Center, June 2010. http://dx.doi.org/10.21236/ad1019182.

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Christie, R. A. The United States' Second Major Theater of War: A Bridge Too Far? Fort Belvoir, VA: Defense Technical Information Center, January 2000. http://dx.doi.org/10.21236/ada432180.

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Elam, Richard L. A Theater of War Big Enough for All Services: The U.S. Army's Operational Role in the United States Pacific Command. Fort Belvoir, VA: Defense Technical Information Center, April 1990. http://dx.doi.org/10.21236/ada234970.

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Vernon, Michael H. Air Interdiction: Joint Coordination Issues for the United States Army and Air Force Conducting Coalition Warfare within the NATO Theater of Operations. Fort Belvoir, VA: Defense Technical Information Center, April 1986. http://dx.doi.org/10.21236/ada174193.

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Prysyazhnyi, Mykhaylo. UNIQUE, BUT UNCOMPLETED PROJECTS (FROM HISTORY OF THE UKRAINIAN EMIGRANT PRESS). Ivan Franko National University of Lviv, March 2021. http://dx.doi.org/10.30970/vjo.2021.50.11093.

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In the article investigational three magazines which went out after Second World war in Germany and Austria in the environment of the Ukrainian emigrants, is «Theater» (edition of association of artists of the Ukrainian stage), «Student flag» (a magazine of the Ukrainian academic young people is in Austria), «Young friends» (a plastoviy magazine is for senior children and youth). The thematic structure of magazines, which is inferior the association of different on age, is considered, by vital experience and professional orientation of people in the conditions of the forced emigration, paid regard to graphic registration of magazines, which, without regard to absence of the proper publisher-polydiene bases, marked structuralness and expressiveness. A repertoire of periodicals of Ukrainian migration is in the American, English and French areas of occupation of Germany and Austria after Second world war, which consists of 200 names, strikes the tipologichnoy vseokhopnistyu and testifies to the high intellectual level of the moved persons, desire of yaknaynovishe, to realize the considerable potential in new terms with hope on transference of the purchased experience to Ukraine. On ruins of Europe for two-three years the network of the press, which could be proud of the European state is separately taken, is created. Different was a period of their appearance: from odnogo-dvokh there are to a few hundred numbers, that it is related to intensive migration of Ukrainians to the USA, Canada, countries of South America, Australia. But indisputable is a fact of forming of conceptions of newspapers and magazines, which it follows to study, doslidzhuvati and adjust them to present Ukrainian realities. Here not superfluous will be an example of a few editions on the thematic range of which the names – «Plastun» specify, «Skob», «Mali druzi», «Sonechko», «Yunackiy shliah», «Iyzhak», «Lys Mykyta» (satire, humour), «Literaturna gazeta», «Ukraina і svit», «Ridne slovo», «Hrystyianskyi shliah», «Golos derzhavnyka», «Ukrainskyi samostiynyk», «Gart», «Zmag» (sport), «Litopys politviaznia», «Ukrains’ka shkola», «Torgivlia i promysel», «Gospodars’ko-kooperatyvne zhyttia», «Ukrainskyi gospodar», «Ukrainskyi esperantist», «Radiotehnik», «Politviazen’», «Ukrainskyi selianyn» Considering three riznovektorni magazines «Teatr» (edition of Association Mistciv the Ukrainian Stage), «Studentskyi prapor» (a magazine of the Ukrainian academic young people is in Austria), «Yuni druzi» (a plastoviy magazine is for senior children and youth) assert that maintenance all three magazines directed on creation of different on age and by the professional orientation of national associations for achievement of the unique purpose – cherishing and maintainance of environments of ukrainstva, identity, in the conditions of strange land. Without regard to unfavorable publisher-polydiene possibilities, absence of financial support and proper encouragement, release, followed the intensive necessity of concentration of efforts for achievement of primary purpose – receipt and re-erecting of the Ukrainian State.

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Flynn, Paul J. Latin America: Close The Back Door! Does United States Southern Command's (USSC) FY03-05 Theater Security Cooperation Strategic Guidance (TSCSG) Sufficiently Address and Mitigate the Growing Threat Posed by Terrorists and Terrorist Organizations Resident in USSC's Area of Responsibility (AOR)? Fort Belvoir, VA: Defense Technical Information Center, May 2003. http://dx.doi.org/10.21236/ada419902.

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