Relevant bibliographies by topics / Toy Theatre

Contents

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

Academic literature on the topic 'Toy Theatre'

Author: Grafiati
Published: 4 June 2021
Last updated: 27 April 2022

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Journal articles on the topic "Toy Theatre"

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Rahn, Suzanne. "Rediscovering the Toy Theatre—with a Review of George Speaight's The History of the English Toy Theatre." Lion and the Unicorn 11, no. 2 (1987): 111–27. http://dx.doi.org/10.1353/uni.0.0255.

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Hofer-Robinson, Joanna. "‘Kaleidoscopes of Changing Pictures’: Representing Nations in Toy Theatre." Journal of Victorian Culture 23, no. 1 (January 2018): 45–63. http://dx.doi.org/10.1093/jvc/vcx002.

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Everett, William A. "Imagining China in London musical theatre during the 1890s: The Geisha and San Toy." Studia Musicologica 57, no. 3-4 (September 2016): 417–26. http://dx.doi.org/10.1556/6.2016.57.3-4.9.

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For people living in London during the 1890s, China and the Chinese were largely mythical constructions. Attitudes towards China, as well as the Chinese themselves, were being imagined at the time through various media, including popular musical theatre. Two shows, both with music by Sidney Jones and produced by George Edwardes at Daly’s Theatre, were significant in this identity construction: The Geisha (1896) and San Toy (1899). Both musicals are set in East Asia and include Chinese and British characters. In The Geisha, which takes place in Japan, the sole Chinese character is Wun-Hi, the owner of a teahouse. He is less than honorable, and his music is in an ethnic-based music hall style, with nearly speech-sung melodies and unashamed Pidgin English. In Jones’s score for San Toy, which is set in China, characters who endorse Western views sing glorious melodic lines reminiscent of Gilbert and Sullivan while those who do not sound like Wun-Hi in The Geisha, with clipped articulations and non-standard English.
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Lev-Aladgem, Shulamith. "From Object to Subject: Israeli Theatres of the Battered Women." New Theatre Quarterly 19, no. 2 (May 2003): 139–49. http://dx.doi.org/10.1017/s0266464x03000058.

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Israeli institutional theatre has only just begun to toy with the idea of ‘feminist theatre’ and, despite a demonstrable increase in violence against women in Israel, with increased visibility in the mass media, the subject has yet to be confronted in mainstream theatres. However, women's creation has been longer at the frontier of theatre activities, and the issue of battered women has been a central theme of several community-based performances over the past two decades. In this article Shulamith Lev-Aladgem offers an overview of these plays – the first performed by professional actresses who had just graduated from university, and who were mostly Ashkenaziyot (of European origin); the two following produced by community amateur actresses who were Mizrahi (of Arabic origin) – women from a low social stratum who, although being acquainted with domestic violence, had wished to avoid being regarded as battered women; and the last performed by a group of amateur actresses who came from more heterogeneous backgrounds, but who were all being treated in one of the centres for prevention and treatment of domestic violence. The author argues that in the first performance the battered woman was articulated by another, distant woman; in the next two she was presented by a more closely, identifying relative; while only in the fourth production did she publicly represent herself by herself, articulating her own voice through the symbolic system of theatre. The author proceeds to analyze in detail the first and the last of these performances, which clearly present the process of passage from acting woman-as-object to acting woman-as-subject. Shulamith Lev-Aladgem is a lecturer, researcher and practitioner in the Community Educational Unit of the Theatre Department at Tel-Aviv University in Israel, who trained and worked as an actress and community theatre animator/director for many years. Her writings in areas of play theory, and performance and cultural studies, and their relation to community theatre, educational drama, drama therapy, and feminist theatre, have been published in numerous periodicals in the USA, Europe, and Israel, and her article ‘Ethnicity, Class, and Gender’ is forthcoming in Theatre Research International.
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Coleman, Allen. "Appearing to Play: A Memory Toy Theatre to Cut-Out and Collect." Performance Research 13, no. 4 (December 2008): 111–14. http://dx.doi.org/10.1080/13528160902875697.

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Fletcher-Watson, Ben. "From stage to screen: adapting a children's theatre production into a digital toy." Scottish Journal of Performance 1, no. 2 (June 13, 2014): 37–62. http://dx.doi.org/10.14439/sjop.2014.0102.04.

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Armstrong, Gordon S. "Art, Folly, and the Bright Eyes of Children: The Origins of Regency Toy Theatre Reevaluated." Theatre Survey 26, no. 2 (November 1985): 121–42. http://dx.doi.org/10.1017/s0040557400008607.

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Regency toy Theatre flourished in England in the years between 1811 and 1830. At the height of its popularity thousands of middle and working class youths, together with their upper class “betters,” escaped the grim realities of industrial London for the joys of staging — and playing all the parts of — The Fairy of the Oak, or Harlequin's Regatta (1811), Ferdinand of Spain, or Ancient Chivalry (1813), Bluebeard (1824), or even more exotic pieces such as “The Grand New Spectacle called Korastikan, Prince of Assassins” (1824).
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Senelick, Laurence. "Émigré Cabaret and the Re-invention of Russia." New Theatre Quarterly 35, no. 1 (January 16, 2019): 44–59. http://dx.doi.org/10.1017/s0266464x1800060x.

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Before the October Revolution, political exiles and Jewish refugees spread the image of Russia as a vast prison, riven by violence and corruption. After the Revolution, émigrés who scattered across the globe broadcast their idea of a fabulous, high-spirited Russia. Cabaret – an arena for theatrical innovation, stylistic experimentation, and avant-garde audacity – was a choice medium to dramatize this idea to non-Russian audiences. Throughout the 1920s, émigré cabarets enjoyed great popularity: Nikita Baliev's Chauve- Souris in New York, Jurij Jushnij's Die Blaue Vogel in Berlin, J. Son's Maschere in Italy, among others. Although the acts were polyglot and the compère pattered away in a pidgin version of whichever language was current, the chief attraction was an artificial Russian - ness. Cabarets promulgated a vision of a fairy-tale, toy-box Russia, akin to the pictures on Palekh boxes. This candy-box depiction was then perpetuated by nightclubs staffed by waiters in Cossack blouses and balalaika orchestras. Nostalgic regret for a factitious homeland deepened among the departed. In contrast, Soviet Russia came to look even more hostile and desolate. With time, the distance between the lives they had lived and those portrayed to foreigners increased, and became unmoored from reality. Laurence Senelick's most recent books include Soviet Theater: a Documentary History (2014, with Sergei Ostrovsky), the second, enlarged edition of A Historical Dictionary of Russian Theatre (2015), and Jacques Offenbach and the Making of Modern Culture (Cambridge University Press, 2017).
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Rooy, Ronald de. "Divine Comics." European Comic Art 10, no. 1 (March 1, 2017): 94–109. http://dx.doi.org/10.3167/eca.2017.100108.

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Dante’s multifaceted cultural reception includes many comics adaptations. Against the background of a strong tradition of illustrating and visualising Dante, this article proposes a comparative analysis of significant contemporary comics adaptations from Europe and the United States. Recent European Dante comics generally adopt largely reverent modes of illustration, showing less aggressive forms of adaptation than their US counterparts. The text of Dante’s poem remains of great importance, and artists often refer to certain traditional milestones in Dante’s visual reception. American Dante comics are more firmly rooted in popular culture, adopting reductive adaptation methods to a greater extent, and are frequently embedded in transmedial constellations. Where the highbrow European tradition of Dante’s visual reception does shine through, it is always with strong ironic undertones. Especially interesting in this respect are the toy theatre/puppet movie Dante’s Inferno directed by Sean Meredith, Seymour Chwast’s graphic novel The Divine Comedy and the popular video game Dante’s Inferno.
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Waszkiel, Halina. "The Puppet Theatre in Poland." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 51, no. 51 (October 3, 2018): 164–79. http://dx.doi.org/10.34064/khnum1-51.09.

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Background, problems and innovations of the study. The modern Puppet Theater in Poland is a phenomenon that is very difficult for definition and it opposes its own identification itself. Problems here start at the stage of fundamental definitions already. In English, the case is simpler: “doll” means a doll, a toy, and “puppet” is a theatrical puppet, as well as in French functions “poupée” and “marionette” respectively. In Polish, one word serves both semantic concepts, and it is the reason that most identify the theater of puppets with theater for children, that is a big mistake. Wanting to get out of this hassle, some theaters have thrown out their puppet signage by skipping their own names. Changes in names were intended only to convey information to viewers that in these theaters do not always operate with puppets and not always for the children’s audience. In view of the use of the word “animation” in Polish, that is, “vitalization”, and also the “animator”, that is, “actor who is animating the puppet”, the term “animant” is suggested, which logically, in our opinion, is used unlike from the word “puppet”. Every subject that is animated by animator can be called an animant, starting with classical puppets (glove puppets, cane puppets, excretory puppets, silhouette puppets, tantamarees, etc.) to various plastic shapes (animals, images of fantastic creatures or unrelated to any known), any finished products (such as chairs, umbrellas, cups), as well as immaterial, which are animated in the course of action directed by the actor, either visible to viewers or hidden. In short, the animator animates the animant. If the phenomenon of vitalization does not come, that is, the act of giving “the animant” the illusion of life does not occur, then objects on the stage remain only the requisite or elements of scenography. Synopsis of the main material of the study. In the past, puppet performances, whether fair or vernacular, were seen by everyone who wanted, regardless of age. At the turn of the XIX–XX centuries, the puppet theater got divided into two separate areas – theater for adults and the one for children. After the war, the professional puppet theater for adults became a branch of the puppet theater for children. In general, little has changed so far. The only puppet theater that plays exclusively for adults is “Theater – the Impossible Union”, under the direction of Mark Khodachinsky. In the Polish puppet theater the literary model still dominates, that is, the principle of starting to work on the performance from the choice of drama. There is no such literary work, old or modern, which could not be adapted for the puppet theater. The only important thing is how and why to do it, what significance carries the use of animants, and also, whether the applying of animation does the audience mislead, as it happens when under the name of the puppet theater at the festival shows performances that have nothing in common with puppets / animations. What special the puppet theater has to offer the adult audience? The possibilities are enormous, and in the historical perspective may be many significant achievements, but this does not mean that the masterpieces are born on the stones. The daily offer of theaters varies, and in reality the puppet theaters repertoire for adults is quite modest. The metaphorical potential of puppets equally well justifies themselves, both in the classics and in modern drama. The animants perfectly show themselves in a poetry theater, fairy-tale, conventional and surrealistic. The puppet theater has an exceptional ability to embody inhuman creatures. These can be figures of deities, angels, devils, spirits, envy, death. At the puppet scenes, also animals act; come alive ordinary household items – chairs, umbrellas, fruits and vegetables, whose animation gives not only an interesting comic effect or grotesque, but also demonstrates another, more empathic view of the whole world around us. In the theater of dolls there is no limit to the imagination of creators, because literally everything can became an animant. You need only puppeteers. The puppet theater in Poland, for both children and adults, has strong organizational foundations. There are about 30 institutional theaters (city or voivodship), as well as an increasing number of “independent theaters”. The POLUNIMA, that is, the Polish branch of the UNIMA International Union of Puppets, operates. The valuable, bilingual (Polish–English) quarterly magazine “Puppet Theater” is being issued. The number of puppet festivals is increasing rapidly, and three of them are devoted to the adult puppet theater: “Puppet is also a human” in Warsaw, “Materia Prima” in Krakow, “Metamorphoses of Puppets” in Bialystok. There is no shortage of good dramas for both adults and children (thanks to the periodical “New Art for Children and Youth” published by the Center for Children’s Arts in Poznan). Conclusions. One of the main problems is the lack of vocational education in the field of the scenography of the puppet theater. The next aspect – creative and now else financial – the puppet show is more difficult, in general more expensive and more time-consuming in preparation than the performance in the drama theater. Actor-puppeteer also gets a task those three times heavier: to play live (as an actor in a drama theater), while playing a puppet and with a puppet. Consequently, the narrative of dramatic story on the stage is triple: the actor in relation to the viewer, the puppet in relation to the viewer, the actor in relation to the puppet. The director also works double – both the actor and the puppet should be led. It is necessary to observe the effect that arises from the actions of both stage partners. So the second threat seems to be absurd, but, alas, it is very real – the escape of puppeteers from puppets. The art of the puppet theater requires hard work, and by its nature, it is more chamber. This art is important for gourmets, poets, admirers of animation skills, as well as the searchers for new artistic ways in the theater, in wide understanding. Fortunately, there are some real fans of the puppet theater, and their admiration for the miracle of animation is contagious.
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Dissertations / Theses on the topic "Toy Theatre"

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Goh, Yen-Lin. "Reimagining the Story of Lu You and Tang Wan: Ge Gan-ru's Wrong, Wrong, Wrong! and Hard, Hard, Hard!" Bowling Green State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1349118390.

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Celestine, Akeem Amire. "From head to toe creating the look." Thesis, University of Iowa, 2019. https://ir.uiowa.edu/etd/6921.

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As a costume designer, I begin looking at who and what a character is. I then look at how they relate to other characters in the play. Costumes and hair have the ability to help the audience understand time, location, emotional, and physical aspects of a character. The process of a costume designer begins with analyzing a script and characters, researching the time and fashions of the show, creating a visual rendering of what characters wear in the world. Rendering is a tool of communication, a working document that will often change as the production develops. It is the costume designer’s job to understand why a character wears what they wear. Characters are meant to help create and solidify the world of the play. The costume designer is one of those keys to making that world come alive. This thesis portfolio will include images and brief descriptions of my costume design work and wig work at the University of Iowa. This portfolio contains both realized productions photos, renderings and projects from class work. This document also shows the evolution of my design work over the course of my Master of Fine Arts education. The entire breadth of my thesis portfolio can be found at the link: http://ir.uiowa.edu/theatre_d_folio/.
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Klüssendorf, Ricarda. ""The great work begins" : Tony Kushner's theater for change in America /." Trier : Wissenschaftlicher Verlag, 2007. http://opac.nebis.ch/cgi-bin/showAbstract.pl?u20=9783884769782.

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Malina, Barbara. "Das Nouveau Theatre Boris Vians." Bonn : Romanistischer Verlag, 2005. http://www.loc.gov/catdir/toc/fy0605/2005421402.html.

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Poulain, Alexandra. "Individu et communaute. La structure initiatique dans le theatre de tom murphy." Caen, 1996. http://www.theses.fr/1996CAEN1212.

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Malgre la variete formelle, thematique et stylistique qui caracterise son theatre, la plupart des pieces de tom murphy repondent a une meme structure. Murphy met en scene l'effondrement des institutions et des valeurs communautaires dans la societe moderne. Ses heros sont des marginaux qui, a la peripherie de la spere communautaire, entreprennent un voyage initiatique, structure sur le modele des rituels initiatiques traditionnels. L'enjeu essentiel de ce parcours est la reconquete d'un langage et d'un corpus mythique intime
Despite the formal, thematic and stylistic variety which characterizes his dramatic work, most of tom murphy's plays are similarly structured. Murphy stages the collapse of communal institutions and values in modern society. His heroes are marginals who set off on an initiatory voyage on the periphery of the communal spere; this voyage follows the pattern of traditional initiatory rituals, and enables them to recapture a language and mythic corpus of their own
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Holden, Martin Lee Castleberry Marion. "A director's approach to Tom Stoppard's Rosencrantz & Guildenstern are dead." Waco, Tex. : Baylor University, 2007. http://hdl.handle.net/2104/5064.

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Klüssendorf, Ricarda. ""The great work begins" Tony Kushner's theater for change in America." Trier Wiss. Verl. Trier, 2006. http://www.wvttrier.de/top/Beschreibungen/ID14.html.

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Peters, Glenn David. "Walking Dangerous Tonight: Creating and Performing a Role in Tony Kushner's Angels in America." The Ohio State University, 1999. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392737747.

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Carlson, Elizabeth J. "Even in Arcadia: Conflict, Certainty, and Self-Perception whilst Directing Tom Stoppard's Iconic Play." Master's thesis, Temple University Libraries, 2015. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/311450.

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Theater
M.F.A.
This thesis is a partial documentation of the process of preparing and rehearsing Temple University Theatre's 2015 production of Tom Stoppard's Arcadia, and the ways in which the process was artistically challenging and personally transformative. It is a demonstration of the manifold procedure of discovering action through language in the rehearsal process, the essential relationship of language to behavior in all collaborative practice and both the embrace of constructive conflict and the fundamental exercise of self-reflection as the primary catalysts for artistic development.
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Seals, Jacqueline Marie. "A scenic and costume design process for a production of A Bright Room Called Day, by Tony Kushner." The Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392717155.

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Books on the topic "Toy Theatre"

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Gorey, Edward. Edward Gorey's Dracula: A toy theatre. Petaluma, Calif: Pomegranate, 2002.

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Powell, David. W.G. Webb and the Victorian toy theatre. [London?]: Webb Festival, 2005.

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Cartlidge, Michelle. Theatre mice. London: Campbell Books, 1992.

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Jack Juggler and the emperor's whore: Seven tall tales linked together for an indecorous toy theatre. London: Methuen, 1995.

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Baskomb, Candida F. V. The use of modern materials in the conservation/restoration of a late 19th century model toy theatre. (London: Camberwell School of Art and Crafts), 1986.

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Speaight, George. The earliest English puppet play?: The interlude of the cleric and the girl, with a conclusion. Bicester: DaSilva Puppet Books, 1997.

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Library, Thomas Fisher Rare Book. The juvenile drama: Or, Penny plain, twopence coloured : an exhibition in conjunction with a conference of the American Society for Theater Research, the Theater Library Association, and the Association for Canadian Theatre History/Association d'histoire du théâtre au Canada. [Toronto]: Printed by University of Toronto Press, 1990.

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Toy theaters. New York: F. Watts, 1991.

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Baldwin, Peter. Toy Theatres: Of the World. London, England: A. Zwemmer Ltd., 1992.

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The theatre of Tom Stoppard. 2nd ed. Cambridge: Cambridge University Press, 1989.

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Book chapters on the topic "Toy Theatre"

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Beacham, Richard. "Heron of Alexandria’s ‘Toy Theatre’ Automaton: Reality, Allusion and Illusion." In Theatre, Performance and Analogue Technology, 15–39. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137319678_2.

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Purkis, Charlotte. "The Other Gates: Anglo-American Influences on and from Dublin." In Cultural Convergence, 107–40. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-57562-5_5.

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Abstract An important influence on the foundation of the Dublin Gate Theatre in 1928 was the London Gate Theatre Studio. This chapter offers a historiographical survey concerning how the range of connections between these theatres have been treated by theatre commentators up to the present. Alongside this re-examination is a discussion of two other theatres that were also inspired by the London Gate, but established independently by the two London co-directors, Peter Godfrey and Velona Pilcher. Godfrey revived the early programming from London in 1943 at his ‘transplanted’ theatre in Hollywood, which also connected Los Angeles emigré culture back to Ireland. In London, Pilcher worked with a group of women associates to found a ‘new Gate’, the Watergate Theatre Club in 1949, which, with its avant-garde artistic ethos, had a cultural impact on the post-war London scene similar to the achievements of the earlier Gate theatres.
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Witham, Barry B. "Too True to Be Good: Consequences of Integrity." In A Sustainable Theatre, 87–100. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137121851_7.

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Schmieden, Susanne. "Inhalt." In Theater, 5–10. Bielefeld, Germany: transcript Verlag, 2021. http://dx.doi.org/10.14361/9783839459638-toc.

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Speicher, Hannah. "Inhalt." In Theater, 5–8. Bielefeld, Germany: transcript Verlag, 2021. http://dx.doi.org/10.14361/9783839456170-toc.

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Canyürek, Özlem. "Contents." In Theater, 5–8. Bielefeld, Germany: transcript Verlag, 2022. http://dx.doi.org/10.14361/9783839460177-toc.

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Haakh, Nora. "Inhalt." In Theater, 5–8. Bielefeld, Germany: transcript Verlag, 2021. http://dx.doi.org/10.14361/9783839430071-toc.

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Tuchmann, Kai. "Content." In Theater, V—VIII. Bielefeld, Germany: transcript Verlag, 2022. http://dx.doi.org/10.14361/9783839459973-toc.

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Waters, Les. "“Diary: Top Girls in Tokyo, 1992”." In The Theatre of Les Waters, 147–69. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003170808-40.

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Garcin-Marrou, Flore. "Theatre-thinking." In The Routledge Companion to Performance Philosophy, 166–73. Abingdon, Oxon; New York, NY: Routledge, 2020. | Series: Routledge companions; 18: Routledge, 2020. http://dx.doi.org/10.4324/9781003035312-18.

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Conference papers on the topic "Toy Theatre"

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Oosthuizen, Patrick H. "A Numerical Study of the Effect of Inlet Vent Position and Size on the Velocity and Temperature Distributions in a Smaller Naturally Ventilated Theater in Canada." In ASME 2014 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2014. http://dx.doi.org/10.1115/imece2014-36781.

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Many smaller churches and similar buildings in Canada have been converted into small theaters. Such theatres are often not fitted with an air-conditioning system. For performances in the fall these theaters sometimes rely on buoyancy driven natural ventilation to moderate the indoor air temperature. Such ventilation systems usually involve near floor inlet vents and a roof level air discharge system. A preliminary numerical study of the effect of inlet vent position and size on the performance of such a system has been undertaken. A simple model of a typical theater building of the type considered has been used. The heat generated by the audience has been represented by a uniform heat flux distributed over the audience area. Inlet vents have been assumed to be located low on the side walls of the theater and the air-flow leaving the theatre has been assumed to be through vents at the top of a chimney system. The flow has been assumed to be steady and symmetrical about the vertical center-line through the building. The Boussinesq approach has been adopted. The standard k-epsilon turbulence model has been used. The solution has been obtained using the commercial CFD solver ANSYS FLUENT©.
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Bannò, Mariasole, and Giorgia Maria D'Allura. "Art-based methods: Theatre Teaches and Business Theatre." In Fifth International Conference on Higher Education Advances. Valencia: Universitat Politècnica València, 2019. http://dx.doi.org/10.4995/head19.2019.9249.

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The paper aims to investigate the use of arts in teaching, specifically the art of theater, to provide the new skills searched from the job market. Our work compares the two experiences of the Theatre Teaches performed at University of Brescia and of Business Theatre at University of Catania. The idea of the paper is based on the scientific collaboration among the two co-authors involved, during the last 10 years, on the development of innovative method of teaching focused on non- technical skills. After depicting the incumbent needs of non-technical skills searched from the job market, the comparison on the use of theatre in the two Universities highlighted how both methods support the development of relational, cognitive and managerial soft skills, even if in a different way: when using Theatre Teaches the major skills concern the cognitive ones, while when using Business Theatre the major skills concern the relational ones. Furthermore, it emerges that Theatre Teaches is more effective with cognitive engagement while Business Theatre with emotional engagement. Both are effective in the behavioral engagement (i.e. physical participation in an activity), which emerges as the distinctive characteristic of theatre art-based method.
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Nilsson Tengelin, M., N. Mylly, and P. O. Hedekvist. "ARE THE DEMANDS IN ENTERTAINMENT LIGHTING TOO HIGH FOR WHITE LIGHT EMITTING DIODES?" In CIE 2021 Conference. International Commission on Illumination, CIE, 2021. http://dx.doi.org/10.25039/x48.2021.po04.

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This paper reports the result of a survey on entertainment lighting distributed to 246 museums and 56 theatres in Sweden. The questions concerned the lighting technology used, experience from changing lighting systems, plans, problems, apprehensions and expectations. The replies showed that the transition to LED has been much faster in museums than in theaters and 35% of the theatres do not plan for a transition to LED. Reasons given are economy, light quality, and dimming functionality. Lighting professionals are generally sceptical in exchanging halogen lights. The artistic expression in lighting design goes beyond the specifications and what is promised in the data sheet. To facilitate a smoother transition to modern lighting technologies, the quality of the white light and proper function of the luminaires must be ensured and the communication between the manufacturers, retailers, lighting professionals and other artistic functions must be improved.
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Semenov, Igor Vitalievich. "Saratov - theater city." In V International Research-to-practice conference for pupils, chair Vera Alekseevna Pishkova. TSNS Interaktiv Plus, 2019. http://dx.doi.org/10.21661/r-486321.

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The article covers the history of the development of theatrical art in Saratov: from its origins to the present. The theaters of Saratov are listed, prominent theatrical figures are mentioned. Attention is drawn to the fact that the year 2019 is declared the Year of the Theater in Russia.
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Mukai, Hibiki. "An Interactive and Digital Puppeteering Interface for new musical expression (IDPI)." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.115.

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Puppetry is the oldest form of the virtual reality and has a strong tradition as a theatrical art. The aim of this research project is to create digital puppeteering system which translates gestural acts into live and expressive control of virtual 3D models including in real-time 3D sound. I will devise a model of practice that extends our understanding and notion of the digital puppet. It seeks to establish new practical and conceptual relations between the puppet and new technologies in the framework of puppet theatre. The practical aim is to focus on the special spirit of animated 3D models and silhouettes and to contribute to cultural preservation and fixing of the tradition(s) of puppet theatre. This project will explore the potential of puppetry as a musical expressive medium by new media, including the sensor, 3D sound system, digital projection, and 3D simulation. The conceptual aim of the project is to integrate traditional and new forms of puppetry through different interfaces that will advance traditional forms of cultural expressions. This project focuses on analogies and differences between different puppet theatre traditions. A key aspect is the relationship between the Western puppetry and the Eastern puppetry traditions, and the impact of the resulting cross- cultural dialogue in dramatic performances with figures. In seeking to identify the potential effects of digital puppetry, I will obtain a new vocabulary for gestural musical performance and can develop guidelines that can be used for future creative theatrical practice in the field of digital puppetry. The aim of my research project is to design an interactive digital puppetry system which is sensitive to gestural acts of puppeteers and enriches the performances as a musical expressive medium on its own right. Such a system will serve creative possibilities using digitalisations of old forms by puppet restoration and preserving its instructions. Through analyses of European and Japanese traditional puppet theatres, I will achieve a new cross-cultural form of puppetry. Thus, I investigate how acts and music of puppetry can be restored from not only actual traditional. puppet theatre, but also archives and documents, then performed and remediated with digital performance technology. Furthermore, my investigation includes in transitioning layers between old and new media — objects of puppet theatre and digital simulation – alternative action and transformation. I believe that the digital re-presentation of traditional puppetry is one of the most efficient and effective ways to impart to later generations and also to revitalise the arts of puppet theatres. An orientation toward new medias will enable me to explore 'tradition' and the puppet as a technological media object. Through my digital practice and an encounter with old, lost, forgotten puppet theatre, I set out to create something new.
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Segaud, Romain, Christel Pougeoise, and Supinfocom Valenciennes. "Tim Tom." In ACM SIGGRAPH 2003 video review on Electronic theater program. New York, New York, USA: ACM Press, 2003. http://dx.doi.org/10.1145/1006032.1006051.

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Banno, Mariasole, Andrea Albertini, Ileana Bodini, Sandro Trento, and Valerio Villa. "Theatre teaches." In Fourth International Conference on Higher Education Advances. Valencia: Universitat Politècnica València, 2018. http://dx.doi.org/10.4995/head18.2018.8098.

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Theatre teaches is a new experiment carried out at the University of Brescia. The growing importance of transversal competences i.e. those skills that essentially concern attitudes in the workplace and interpersonal relationships such as team work, language and communication skills, gave us the idea to develop an educational innovation to help students bring out these skills. We asked students to wrote a play using topics seen in class. So, they tried to wrap their mind around it and worked in team to write a script and get him to scene. Not to be confused to business theatre, this method is applicable in any framework. The assessment results reveal that students appreciate this method because this work helps them to express theirself better and, in general terms, they could improve their non techniocal skills. In conclusion, we can say that this experiment has been a success and gave the students the opportunity to show transversal competences. The ability to communicate, to teamworking, to manage conflicts, to speak in public, to problem solving, creativity, imagination, the ability to manage unforeseen situations and tolerate pressure and stress, leadership skills, negotiation skills and the ability to motivate are just few of the emergent competences.
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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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Gherghișan, Alina. "Theatre Of Elite Performance." In ICPESK 2018 - International Congress of Physical Education, Sports and Kinetotherapy. Education and Sports Science in the 21st Century, Edition dedicated to the 95th anniversary of UNEFS. Cognitive-Crcs, 2019. http://dx.doi.org/10.15405/epsbs.2019.02.71.

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ZHANG, SHENGHUAN. "THE DILEMMA AND REFLECTION OF CHINESE THEATRE ARTS EDUCATION IN UNIVERSITIES." In 2021 INTERNATIONAL CONFERENCE ON ADVANCED EDUCATION AND INFORMATION MANAGEMENT (AEIM 2021). Destech Publications, Inc., 2021. http://dx.doi.org/10.12783/dtssehs/aeim2021/35964.

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Abstract. At present, the education of Traditional Chinese theatre arts in universities is lacking in both “software” and “hardware”, which is in the dilemma of being marginalized by teaching. There are many common problems in the bottleneck and causes of many kinds of theatre arts in the development of universities education, such as the shortage of teachers, the lack of interest of students, the weakness of scientific research, the poor environment of Traditional Chinese Theatre arts and so on. In view of the above problems, it is suggested to adopt multi-channel strategies to cultivate students' interest, improve the supporting Traditional Chinese Theatre arts curriculum, and optimize the traditional Chinese Theatre arts environment, so as to change the current dilemma of Traditional Chinese Theatre arts in universities.
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Reports on the topic "Toy Theatre"

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McIntyre, Phillip, Susan Kerrigan, and Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Coffs Harbour. Queensland University of Technology, 2021. http://dx.doi.org/10.5204/rep.eprints.208028.

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Coffs Harbour on the north coast of NSW is a highway city sandwiched between the Great Dividing Range and the Pacific Ocean. For thousands of years it was the traditional land of the numerous Gumbaynggirr peoples. Tourism now appears to be the major industry, supplanting agriculture and timber getting, while a large service sector has grown up around a sizable retirement community. It is major holiday destination. Located further away from the coast in the midst of a dairy farming community, Bellingen has become a centre of alternative culture which relies heavily on a variety of festivals activated by energetic tree changers and numerous professionals who have relocated from Sydney. Both communities rely on the visitor economy and there have been considerable changes to how local government in this region approach strategic planning for arts and culture. The newly built Coffs Harbour Education Campus (CHEC) is an experiment in encouraging cross pollination between innovative businesses and education and incorporates TAFE NSW, Coffs Harbour Senior College and Southern Cross University as well as the Coffs Harbour Technology Park and Coffs Harbour Innovation Centre all on one site. The 250 seat Jetty Memorial Theatre is the main theatre in Coffs Harbour for local and touring productions while local halls and converted theatres are the mainstay of smaller communities in the region. As peak body Arts Mid North Coast reports, there is a good record of successful arts related events which range across all genres of music, art, sculpture, Aboriginal culture, street art, literature and even busking and opera. These are mainly managed by passionate local volunteers.
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Bouchat, Clarence J. An Introduction to Theater Strategy and Regional Security. Fort Belvoir, VA: Defense Technical Information Center, August 2007. http://dx.doi.org/10.21236/ada470925.

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Ilgenfritz, Pedro. Guide Me Without Touching My Hand: Reflections on the Dramaturgical Development of the Devised-theatre Show One by One. Unitec ePress, December 2016. http://dx.doi.org/10.34074/ocds.038.

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This essay is a reflection on some aspects of dramaturgy observed during the creation and development of One by One, a silent tragicomedy designed by the Auckland company, LAB Theatre, in 2011 and restaged in 2013. The emphasis of the essay is on pedagogical aspects at the core of the company’s work, as they inform the creative process and lead to the blending of the actor’s function into that of the dramaturg. The following discussion makes apparent the fact that this process of hybridisation, made possible by implementing features of devised theatre, emancipates the actor and brings improvisation to a better use. The play was based on the notion that theatrical action must be ‘suggestive’ rather than ‘descriptive.’ This idea originated in the works of Konstantin Stanislavski (1988) and Jacques Copeau (2000) and was developed by more recent theorists of dramaturgy into a practical framework for theatrical performance in general. The success of One by One depended very much on the implementation of these principles. The achievement was duly noted by reviewer Lexie Matheson (2011), who appreciated that One by One “exists on its own, doesn’t need explanation, doesn’t explain itself; it just unravels with delicacy and tenderness, like a good yarn should.
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Metz, Steven. A Theater Approach to Low Intensity Conflict. CLIC Papers. Fort Belvoir, VA: Defense Technical Information Center, April 1989. http://dx.doi.org/10.21236/ada209049.

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Morales, Bruce L. Role Conflict: The Impediment to Joint Theater Logistics Management. Fort Belvoir, VA: Defense Technical Information Center, May 2012. http://dx.doi.org/10.21236/ada564039.

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Critchlow, Robert D. Weaving the Net: Linking Space Systems to Theater Operations. Fort Belvoir, VA: Defense Technical Information Center, February 1998. http://dx.doi.org/10.21236/ada348377.

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Tate, Michael A. Is Sufficient Information Available to Develop Theater Engagement Plans? Fort Belvoir, VA: Defense Technical Information Center, January 2001. http://dx.doi.org/10.21236/ada391906.

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LeBlanc, Joseph P. Theater Logistics' Important Link to Transition and Exit Strategy. Fort Belvoir, VA: Defense Technical Information Center, March 2008. http://dx.doi.org/10.21236/ada479083.

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Emmons, Nelson L. Transforming the Army Service Component Command to a Theater Army. Fort Belvoir, VA: Defense Technical Information Center, March 2013. http://dx.doi.org/10.21236/ada589198.

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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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