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Journal articles on the topic 'Toy Theatre'

Author: Grafiati

Published: 4 June 2021

Last updated: 27 April 2022

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Nield, Sophie, Marjean D. Purinton, and Matthew Solomon. "Reviews: William West and the Regency Toy Theatre. An Exhibition at Sir John Soane's Museum, 13 Lincoln's Inn Fields, London WC2, in Association with Pollock's Toy Museum. 16 January to 27 March 2004. (The Exhibition Will Have Closed at its London Venue by the Time This Review Appears but Will Tour Numerous British Regional Museums Throughout 2005)., Jane Austen and the Theatre., Jane Austen and the Theatre., Legitimate Cinema: Theatre Stars in Silent British Films, 1908–1918." Nineteenth Century Theatre and Film 31, no. 1 (May 2004): 81–88. http://dx.doi.org/10.7227/nctf.31.1.7.

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12

Bakos, Katalin. "Bortnyik und die „Műhely“ •." Acta Historiae Artium 62, no. 1 (April 7, 2022): 171–366. http://dx.doi.org/10.1556/170.2021.00010.

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Bortnyik and the “Workshop”. The graphic design work of Sándor Bortnyik (1893–1976) and the “Hungarian Bauhaus”. In the Hungarian and international art history literature, Sándor Bortnyik is primarily known as an avantgarde artist attached to the circle of the MA (Today/Hungarian Art) periodical established by Lajos Kassák. Less well known is his role in the emergence of modernism in Hungary after 1925. From the very start, his painting and printmaking developed in parallel with and in interaction with his graphic design work. Having spent time in the milieu of the Bauhaus in Weimar between 1922 and 1924, upon his return to Hungary he continued to work not only in painting and printmaking, but also in book art and advertising, as well as photography, toy and furniture design, theatre work, and animation. The transcendence of the boundaries between genres, and even between branches of the arts, and the mutual influence between traditional art problems and processes and new media, are among the characteristic and still influential aspects of the modern culture of objects and visuality that were brought about by the twentieth-century avantgarde movements, and which continued in their wake. The work produced by Bortnyik, who believed that art played a role in shaping society, evolved in this spirit. His private graphic design school, the “Workshop” (in Hungarian: Műhely), was the representative in Hungarian visual culture of the Bauhaus concept of practice-based art training and functionalism, which fed off the ideas of Constructivism. The study provides a brief overview of the later development of his career, and his turn away from the genre of graphic design towards the direct communication of social, and later ideological content in painting and in printmaking.

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13

Lambert, Rosa. "Over de kunst van het verdwijnen. Reflectie op twee masterclasses van Lucas Vandervost / On the art of disappearing: Reflections on two Masterclasses by Lucas Vandervost." Forum+ 26, no. 2 (June 1, 2019): 37–43. http://dx.doi.org/10.5117/forum2019.2.lamb.

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Abstract In het najaar van 2018 gaf Lucas Vandervost twee masterclasses die inkijk gaven in zijn eigenwijze omgang met tekst(zegging) in het theater. De eerste vond plaats in Theater Malpertuis in Tielt, de volgende in het Koninklijk Conservatorium van Antwerpen. De deelnemers kwamen er op een unieke manier in aanraking met zijn methode en technieken. Dit artikel blikt terug op die masterclasses en licht Lucas’ principes van tekst en theatraliteit toe. In the autumn of 2018, Lucas Vandervost gave two Masterclasses, providing a view of his particular approach to (the declamation of) text in theatre. The first took place at Theater Malpertuis in Tielt, the second at the Royal Conservatoire of Antwerp. Both times, participants got to discover his methods and techniques in a unique way. This article reflects on those Masterclasses and sheds light on Lucas' principles of text and theatricality.

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14

Sigman, Alexander. "Robot Opera: Bridging the Anthropocentric and the Mechanized Eccentric." Computer Music Journal 43, no. 1 (January 2020): 21–37. http://dx.doi.org/10.1162/comj_a_00498.

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The recent emergence of robot opera, in which robots and robotic entities have served polyvalent and at times ontologically ambiguous roles, has challenged the distinction made by Bauhaus artist László Moholy-Nagy between anthropocentric and mechanized eccentric theater, as is outlined in his 1924 essay “Theater, Circus, Variety.” When incorporated into the context of music theater, is the robot dimension intended to replace human activities and modes of expression; to augment, disembody or dislocate them; or rather to absorb them, such that the robot becomes an ersatz human presence in and of itself? If the latter, does the robot adequately emulate human attributes of musical expression, or does it establish its own artificial expressive mode and set of performance techniques? With Moholy-Nagy's criteria for a so-called Theater of Totality and these leading questions in the background, salient robot opera examples of the past several years will be discussed. Repertoire examples include Tod Machover's pioneering Death and the Powers (2010), the Komische Oper Berlin production My Square Lady (2015), Keiichiro Shibuya's Scary Beauty (2018), and works emerging from the University of Sussex Centre for Research in Opera and Music Theatre Robot Opera Mini Symposium, held in 2017.

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15

Morrison, Simon. "Debussy’s Toy Stories." Journal of Musicology 30, no. 3 (2013): 424–59. http://dx.doi.org/10.1525/jm.2013.30.3.424.

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Research in Moscow, New York, Paris, and Stockholm uncovers the compositional and early performance histories of Debussy’s ballet pantomime for children, The Toy Box. Surprisingly, the first large-scale production took place in Moscow, not Paris, and Henri Forterre—in advance of André Caplet—completed the orchestration after Debussy’s death. Theater directors and choreographers variously interpret Debussy’s distinctive approach to creating music for children as having been influenced by the designs of his scenarist, André Hellé. Although newly uncovered source materials might permit a reconstruction of The Toy Box, to do so would be to violate the spirit of the ballet, which embraces the imagined over the real and, paradoxically, the permanence of the ephemeral.

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16

Blair, Rhonda. "Theatre and Embodiment." Theatre Symposium 27, no. 1 (2019): 11–23. http://dx.doi.org/10.1353/tsy.2019.0001.

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17

García Brea, Leticia. "Pedagogía teatral para el aprendizaje del alemán toi, toi, toi Theater&Deutsch presenta Grenzen (Experiencia práctica)." mAGAzin Revista intercultural e interdisciplinar, no. 24 (2016): 22–29. http://dx.doi.org/10.12795/magazin.2016.i24.03.

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18

Daniels, Barry. "Romantic and Revolutionary Theatre, 1789–1860. Edited by Donald Roy. Compiled and introduced by Victor Emeljanow, Kenneth Richards, and Laura Richards. Theatre in Europe: A Documentary History. New York: Cambridge University Press, 2003; pp. 558. $130 cloth." Theatre Survey 45, no. 2 (November 2004): 310–11. http://dx.doi.org/10.1017/s0040557404360266.

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I was introduced to sourcebooks as an undergraduate in the 1960s. At that time, the most frequently used were A. M. Nagler's A Sourcebook in Theatrical History (1952), Toby Cole's Directors on Directing (1963), and Toby Cole and Helen Chinoy's Actors on Acting (1948). These books first introduced me to the process of theatre history, and as I believe it is important to introduce this process to students, I continued to use both Nagler and the Cole and Chinoy volume, which was expanded in 1970, in teaching theatre history.

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19

McConachie, Bruce. "Theatre and Film in Evolutionary Perspective." Theatre Symposium 19, no. 1 (2011): 129–47. http://dx.doi.org/10.1353/tsy.2011.0004.

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20

Pizzato, Mark. "Cave Rituals and the Brain's Theatre." Theatre Symposium 21, no. 1 (2013): 116–36. http://dx.doi.org/10.1353/tsy.2013.0004.

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21

Sheriko, Nicole. "Patchwork Play: Nineteenth-Century Toy Theater and Participatory Media Culture." Nineteenth Century Studies 30 (January 1, 2018): 25–43. http://dx.doi.org/10.5325/ninecentstud.30.2017-18.0025.

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22

Kazragytė, Vida. "The development of school theatre pedagogy in Lithuania: aspect of ideas." Pedagogika 114, no. 2 (June 10, 2014): 154–66. http://dx.doi.org/10.15823/p.2014.013.

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At the beginning of last century the school theatrical performances were organized by enthusiastic teachers amateurs. The purposes of theatre in schools were considered differently: as a teaching tool and as area of artistic education through theatre. From the 8th decade of XX century in Klaipėda in higher school the preparing of stage directors for amateur activities was established. There the professional actors worked as theatre teachers. Thy pushed the artistic trend toward. But the idea of children‘s theatre as a learning tool through performances grounded on pretend play was also strong. About 1500 of children‘s theatrical groups aroused in Lithuania.From 1988 the reform of general education started and through about twenty years the theatre subject or acting was integrated in the system of general education in Lithuania. In 2003 the implementation of theatre pedagogy master study program and in 2005 bachelor study program undertakes. But until now there are no theoretical backgrounds of theatre didactics created. But on the development of didactics the quality of theatre integration in general education depends. In 2013 the theatre mature examination was implemented firstly. It requires the new competences of theatre teachers. And that is the new directions for theatre pedagogy development.

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23

Fox, Rob Franklin, Scott J. Parker, Mark R. Sumner, and Jay Malarcher. "Theatre Symposium Keynote Roundtable: Saturday, April 12, 2008." Theatre Symposium 17, no. 1 (2009): 10–29. http://dx.doi.org/10.1353/tsy.2009.0004.

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24

King, Thomas. "Between Piety and Sacrilege: Muslim Theatre and Performance." Theatre Symposium 21, no. 1 (2013): 104–15. http://dx.doi.org/10.1353/tsy.2013.0002.

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25

Adams, Dean. "Puttin’ the Profit in Nonprofit Broadway Theatre Companies." Theatre Symposium 22, no. 1 (2014): 48–61. http://dx.doi.org/10.1353/tsy.2014.0009.

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26

Iswantara, Nur. "A Play Of Performance Waktu Batu Yogyakarta Teater Garasi In The Dramaturgi Study." Lekesan: Interdisciplinary Journal of Asia Pacific Arts 4, no. 2 (October 18, 2021): 51–66. http://dx.doi.org/10.31091/lekesan.v4i2.1757.

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The title of the paper of Play of Performance Waktu Batu (WB) Yogyakarta Garasi Teater (TGY) in this Dramaturgy Study is a summary of research results at the Yogyakarta Institute of Indonesian (ISI) Research Institute in 2014. Research in dramaturgy studies uses the dramaturgy theory of George Kernodle & Portia Kernodle (1978 ). Kernodle states that in dramaturgy there are six possible dramatic values that can help arrange the unity of theater performances. The six dramatic values include plot, character, theme (structure), and dialogue, atmosphere and spectacles (texture). One of TGY’s inspirational works, namely the WB performances sourced from Javanese mythology: Watugunung, Murwakala, Sudamala and Late Majapahit History, became an aesthetic presentation especially “Waktu Batu” The Stories that Meet in the Ruang Tunggu’ (WB1) will be analyzed with a dramaturgy approach which includes structure: plot, character, theme, and texture: dialogue, atmosphere and spectacles. The results of analyzing the structure consisting of plots, characterizations and themes; texture: dialogue, mood and spectacle performance of WB 1, showing that TGY belongs to a theater group that positions as a ‘theater creation laboratory’ having a unique aesthetic concept, which is typical for building eclectic dramaturgy. The eclectic drama in the Indonesian contemporary theater scene, an TGY effort to create a WB 1 play originating from Javanese mythology: Sudamala, Murwakala, Watugunung and the late history of Majapahit so that it becomes an aesthetic presentation that can be enjoyed by the audience. TGY group can survive more than 20 years. In fact in Indonesia there are not many contemporary theater groups that can survive long enough. Every TGY staging is always in demand by the audience as the WB 1 play shows.

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27

Carlyon, David. "William Dunlap, Father of American Theatre—and American Antitheatricality." Theatre Symposium 15, no. 1 (2007): 29–40. http://dx.doi.org/10.1353/tsy.2007.0010.

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28

Lublin, Robert I. "Anxious Audiences and the Early Modern English Transvestite Theatre." Theatre Symposium 20, no. 1 (2012): 66–73. http://dx.doi.org/10.1353/tsy.2012.0009.

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29

Laverty, Ashley. "Suzan Zeder versus Pinkalicious: Today’s Theatre for Young Audiences." Theatre Symposium 23, no. 1 (2015): 117–23. http://dx.doi.org/10.1353/tsy.2015.0002.

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30

Carlson, Marvin. "Theatre Symposium 24 Closing Remarks: Sunday, April 12, 2015." Theatre Symposium 24, no. 1 (2016): 129–37. http://dx.doi.org/10.1353/tsy.2016.0010.

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31

Gonzalez, Anita. "Theatre as Cultural Exchange: Stages and Studios of Learning." Theatre Symposium 25, no. 1 (2017): 12–28. http://dx.doi.org/10.1353/tsy.2017.0001.

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32

Sharma, Vishal, Susan Alderton, Helen McNamara, Richard Steeds, Will Bradlow, Adrian Chenzbraun, David Oxborough, et al. "A safety checklist for transoesophageal echocardiography from the British Society of Echocardiography and the Association of Cardiothoracic Anaesthetists." Echo Research and Practice 2, no. 4 (December 2015): G25—G27. http://dx.doi.org/10.1530/erp-15-0035.

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The World Health Organisation (WHO) launched the Surgical Safety Checklist in 2008. The introduction of this checklist resulted in a significant reduction in the incidence of complications and death in patients undergoing surgery. Consequently, the WHO Surgical Safety checklist is recommended for use by the National Patient Safety Agency for all patients undergoing surgery. However, many invasive or interventional procedures occur outside the theatre setting and there are increasing requirements for a safety checklist to be used prior to such procedures. Transoesophageal echocardiography (TOE) is an invasive procedure and although generally considered to be safe, it carries the risk of serious and potentially life-threatening complications. Strict adherence to a safety checklist may reduce the rate of significant complications during TOE. However, the standard WHO Surgical Safety Checklist is not designed for procedures outside the theatre environment and therefore this document is designed to be a procedure-specific safety checklist for TOE. It has been endorsed for use by the British Society of Echocardiography and the Association of Cardiothoracic Anaesthetists.

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33

Kazragytė, Vida. "The Subject of Theatre in the Lithuanian School: Relationships within the General Educational Cultural Context." Pedagogika 111, no. 2 (September 10, 2013): 195–202. http://dx.doi.org/10.15823/p.2013.1805.

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The article investigates the rather new educational phenomenon – about twenty years ago under the impact of educational reform the theatre subject teaching was introduced. In many neighbor’s countries there is no such separate theatre subject still yet. The focus of the article is on the relationships between the curricula of theatre subject (2008, 2001) and the practice of long-lived non-formal education of children and youth of Lithuania. The curricula of theatre subject were prepared according to comprehensive discipline-arts education conception formed in United States of Amerika. Taking into account the notion of M. Lukšienė, that experience of other cultures, as well as the educational innovations must be adopted according to “own cultural model”, the attention is paid to analysis how curricula of theatre subject are grounded on traditions of Lithuanian non-formal education, especially its artistic trend. The self-expression paradigm or psychological trend of theatre education is less evident in our context. The roots of artistic trend are in Jesuit’s school theatre that existed in Lithuania 1570–1843. The artistic trend was recreated at the end of 20th century in non-formal theatre education in Lithuania by relaying on the professional theatre pedagogy (the training of professional theatre pedagogues started, the first books of methodology of theatre education appeared). Analysis showed that common concepts, as “theatre” and “education through theatre” are those which relate artistic trend of non-formal theatre education with curricula of theatre subject, accordingly, which are grounded on discipline-based art education conception. Especially that is clear from the revealing of content of “education through theatre” concept and explaining its formative and cognitive impacts on children and youth who are acting the roles created by dramaturge. The biggest challenge related with coming of theatre subject as separate, is the creating of theatre knowledge appropriated for school children. Now the theatre subject curricula describe the knowledge which are known in professional theatre pedagogy and in artistic trend of non-formal theatre education, but only in part. Thy must be expanded by new knowledge which will be get by way of externalization from direct practice. Also, there is a need of artistic orientation of theatre didactics – that can guarantee the succession of the best traditions of Lithuanian‘s theatre education and encourage their development.

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34

Becker, Becky, Amanda Rees, Andrea Dawn Frazier, and Camille L. Bryant. "Integrating Theatre and Geography to Develop Spatial Thinking in Youth." Theatre Symposium 23, no. 1 (2015): 67–80. http://dx.doi.org/10.1353/tsy.2015.0007.

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35

Canning, Charlotte M. "Theatre and Citizenship: Performing the Myths of We, the People." Theatre Symposium 28, no. 1 (2020): 12–26. http://dx.doi.org/10.1353/tsy.2020.0001.

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36

Zaatov, Ismet A. "Crym Girey I – the founder of the classical theater in the Crimea (on the issue of 257 years experience of the Crimean Tatar`s first theatrical productions of the European type theater)." Crimean Historical Review, no. 1 (2020): 100–135. http://dx.doi.org/10.22378/kio.2020.1.100-135.

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The formation process of the Crimean Tatar theater can be divided into the following periods: medieval – folk theater (the initial round dance and toy puppet theater of shadows “Karagoz”, the theater of one actor “meddah”, the arena theater “orta oyuny”); Khan`s theater in the middle of the XVIII century (penetration into the Crimea of European theater traditions in the era of the Crimean Khan Crym Girey I); the revival of traditions of the Crimean Tatar theater late XIX–XX centuries (the activities of a theater-goers group of the Jadidist Crimean Tatar youth–followers of I. Gasprinsky, under the leadership of J. Meinov – the efforts of the Crimean Tatar noblewoman-myrzachkas under the leadership of A. Taiganskaya; organization of a professional Simferopol Tatar theater troupe under the People’s Commissar of Education of the Crimean ASSR in 1921 and creation and activities of the Crimean Tatar Drama Theater, headed by A. Taigan, and the Crimean Tatar amateur movement in the Crimea, and among the Crimean Tatar foreign diaspora of 1923–1944 (Soviet pre-deportation period); recreation and current activities of the Crimean Tatar theater in the Crimea,1989 (post deportation period). In this article, for the first time in the art history, is revealed the so-called Khan`s period in the formation of the Crimean Tatar theater, discussed the revolutionary activity in the field of Crimean Tatar art, the ascetic activity of the Crimean Khan Crym Girey I to promote the ideas of European theater traditions and create a classical theater in the Crimea. The picture of the actions undertaken by the Crimean ruler in the construction of theater business in the Crimea, as well as his thoughts and statements about the theater, was recreated according to the text published in the XVIII century, memories of personal meetings and conversations with Crym Girey I of European authors: German – von der Goltz, Polish – Pilshtynova, Russian – Nikiforov, Frenchman – de Tott, Austrian – Kleeman. Based on these recollections is built a clear and explicit picture of a role of Crym Girey I as a pioneer in bringing European theater traditions and creation of a classical theater in the culture of the Crimea, the Turkic and Muslim worlds.

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37

Hostetter, Anthony, and Elisabeth Hostetter. "Robert Edmond Jones: Theatre and Motion Pictures, Bridging Reality and Dreams." Theatre Symposium 19, no. 1 (2011): 26–40. http://dx.doi.org/10.1353/tsy.2011.0003.

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38

Wade, Leslie A. "The London Theatre Goes Digital: Divergent Responses to the New Media." Theatre Symposium 19, no. 1 (2011): 54–68. http://dx.doi.org/10.1353/tsy.2011.0007.

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39

Becker, Becky. "Nollywood: Film and Home Video, or the Death of Nigerian Theatre." Theatre Symposium 19, no. 1 (2011): 69–80. http://dx.doi.org/10.1353/tsy.2011.0008.

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40

Zeder, Suzan. "Theatre and Youth: It’s All in the Prepositions: A Keynote Reflection." Theatre Symposium 23, no. 1 (2015): 7–19. http://dx.doi.org/10.1353/tsy.2015.0010.

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41

Banerji, Arnab. "Struggling to Stage: The Contentious Issue of Theatre Space in Kolkata." Theatre Symposium 24, no. 1 (2016): 88–98. http://dx.doi.org/10.1353/tsy.2016.0007.

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42

Headrick, Charlotte, and Andrew Vorder Bruegge. ""Look at the Moon": Hunter Hills Theatre; Outdoor Drama in the Smokies." Theatre Symposium 17, no. 1 (2009): 84–96. http://dx.doi.org/10.1353/tsy.2009.0000.

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43

Macki, Adrienne C. "Bearing Witness: The Noose as an Iconic Prop in African American Theatre." Theatre Symposium 18, no. 1 (2010): 67–82. http://dx.doi.org/10.1353/tsy.2010.0000.

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44

Jaros, Michael. "Image-Makers and Their Discontents: Lady Gregory and the Abbey Theatre Audience." Theatre Symposium 20, no. 1 (2012): 56–65. http://dx.doi.org/10.1353/tsy.2012.0007.

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45

Jordan, Carol, and Jerry Daday. "Theatre-in-Diversion: Evaluating an Arts-Based Approach to Combating Juvenile Delinquency." Theatre Symposium 23, no. 1 (2015): 81–94. http://dx.doi.org/10.1353/tsy.2015.0009.

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46

Majer, Michele. "Plus que Reine: The Napoleonic Revival in Belle Epoque Theatre and Fashion." Theatre Symposium 26, no. 1 (2018): 11–39. http://dx.doi.org/10.1353/tsy.2018.0001.

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47

García Brea, Leticia. "TOI, TOI, TOI! Eine Theaterwerkstatt, um Deutsch zu lernen." Scenario: A Journal of Performative Teaching, Learning, Research VIII, no. 2 (July 1, 2014): 97–106. http://dx.doi.org/10.33178/scenario.8.2.9.

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Ausdrucksvermögen und Kommunikationsfähigkeit werden [durch Drama-Aktivitäten] erweitert sowie die Sensibilisierung für sprachliche Phänomene angestrebt. Gleichzeitig führen der Spaß am Spiel und das Vergnügen an der Sprache zu höherer Sprechbereitschaft und bauen Sprechhemmungen ab. (Even 2003: 63f.) Das Ziel dieser Werkstatt ist die Verbesserung des Ausdrucksvermögens und der Kommunikationsfähigkeit sowie der Abbau der Sprechhemmungen, die Even in ihrer Publikation beschreibt. Es wird auch an der körperlichen und der non-verbalen Kommunikation durch Drama-Aktivitäten gearbeitet, die den Teilnehmern (TN) helfen sollen, sich besser auf Deutsch auszudrücken. Selbst dann, wenn ihnen in einer bestimmten Sprechsituation einmal der konkrete Wortschatz fehlen sollte. Über den Verlauf der Werkstatt und das kommunikative Vergnügen äußert sich eine der Teilnehmerinnen beispielsweise wie folgt: [SCBlockcitation] „Meine Freunde fragen mich, warum ich an so einer Theaterwerkstatt teilnehme. Ich finde, dass es klar ist: Weil mir Deutsch gefällt. Aber ich werde sehr nervös, wenn ich auf Deutsch sprechen muss. Meiner Meinung nach ist das Theater ein gutes Mittel, um die Angst zu nehmen. Nach unserem ersten Tag fühlte ich mich selbstbewusster. Ich finde, dass die Arbeit mit der Musik und der Mimik sehr positiv ist. Wir arbeiten mit dem Körper und dem Geist, um die deutsche Sprache zu lernen. Ich hoffe, dass ...

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Kelly, Aaron L. "Voices from Roosevelt: Community-Based Devised Theatre as a Youth Rite of Passage." Theatre Symposium 23, no. 1 (2015): 95–105. http://dx.doi.org/10.1353/tsy.2015.0011.

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Jackson, K. Suzanne. "The importance of non-technical skills and risk reduction in the operating theatre." Obstetrician & Gynaecologist 18, no. 4 (October 2016): 309–14. http://dx.doi.org/10.1111/tog.12307.

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Callaghan, David. "Ritual Performance and Spirituality in the Work of The Living Theatre, Past and Present." Theatre Symposium 21, no. 1 (2013): 36–53. http://dx.doi.org/10.1353/tsy.2013.0003.

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