Academic literature on the topic 'Variety theater'

The purpose of the article is to scientifically and theoretically substantiate the artistic features of the children's variety theater, to identify the specifics of directorial practices in such groups, to characterize the content, forms and working methods of the example of the children's star theater “Star time” in Odessa. The research methodology involves the use of the following scientific approaches: integrated is to disclose the essence of all aspects of the artistic specificity of children's theater; cultural is for contrasting and comparing the philosophical, historical, psychological, pedagogical and art components in the activities of children's pop theater; empirical is for observing, interviewing children and parents, etc. Scientific novelty. For the first time, for the research purpose, the experience of creative and organizational activity theater “Star Time” of Odessa was collected, the basic directorial techniques in work with children were characterized and the directions of the collective further development were summarized. Conclusions. Theater as a means of personality formation is one of the first places among other types of children's creativity, it is for children a source of information about the world and the laws of life, and it makes you think about the meaning of human existence and the depths of the human soul. Therefore, the children's pop theater “Star Time” of Odessa proposed a theoretical model of the children's pop theater, consisting of two areas of the collective. The first involves the analysis and determination of the working features with participants in the performance, as well as compliance with certain principles in their activities. The second direction relates directly to the creative activities of children's pop theater, in particular methods, forms and means. The article describes modern directorial techniques and defines the professional activities features of the director working in the children's team, which are extremely cautious about children's theater creativity, taking into account the age, physiological, psychological properties of children, the need to create such an organization of theatrical creativity of children that will ensure full self-expression of young actors, while maintaining a resemblance to a natural children's game; analyzed the main directorial and creative technologies, as well as further prospects for the children's theater development.

This article provides information about the distinctive features of the variety acting, its differences from theater acting, issues of aesthetic taste required of the variety actors, development of the fantasy of the variety actors.

The article analyzes the stages of formation and development of theater architecture (from antiquity to 1900) in accordance with the evolution of culture, historical, social and economic development of human society. A description of the technologies of the theater building of different eras, its design and construction norms are presented. The authors made an attempt to explain the evolution of architectural styles of theater buildings from ancient times to modern times. It helps to understand the influence of cultural, technological and social factors on architectural decisions. The impact of the development of architectural styles in the construction of theaters of different eras on cultural heritage is also considered. The authors emphasize the need for a comprehensive coverage of the importance of considering the architectural features of theater buildings as part of the cultural heritage of various peoples and eras. For this purpose, the authors reviewed architectural masterpieces that have become symbols of their cities or countries. The authors separately considered the issue of technical progress in the construction of theaters at different times. This part of the article is devoted to explaining the technological innovations that influenced theater architecture, such as improved acoustics, lighting, and construction methods. Also, the authors of the article reviewed modern trends in the use of materials and energy-efficient solutions. The article analyzes the relationship between the development of theater architecture and social aspects, such as changes in audience tastes, the role of theater in society, and the reflection of political and cultural trends in buildings. The authors of the article attempted to determine the influence of theater architecture on modern architecture and society. In particular, an overview of the influence of the heritage of outstanding architects of theater buildings and their contribution to the development of architecture in general is made. The article shows that the expansion of the typological structure of the architecture of various theaters created the prerequisites for a variety of compositional schemes and a fundamentally different presentation of architectural tasks. Different city-building conditions, typological foundations and individual characteristics of the theater led to the appearance of new buildings that contrast in their structure, style and means of artistic expression. Historical experience shows that theater architecture is as inexhaustible as theater art, as inexhaustible and complex multi-meaning concept of theater.

The paper examines the key features of the creative work of three stage directors of the Maria Zankovetska Theater during the 1990s–2010s: Fedir Stryhun, Alla Babenko, and Vadym Sikorskyi. The analysis of their landmark productions enables distinguishing the method of working on the theatrical production by each of them and outlines the thematic and conceptual range of both the artists’ works and the theater as a whole. The variety of artistic methods of stage direction during the period was studied, including the elements of psychological, poetic, and conditional theater in the terms of aesthetics, as well as the political, philosophical, and intellectual theater in relation to the concept, and the nature of the conservative and experimental theater in respect to the novelty of the implementation of stage solutions. It was identified that the creative image of the theater had been established by F. Stryhun and his artistic guidelines were dominant during the period, with his creative work oriented towards the social and cultural educational demands of Ukraine. Modern stage design and directing, presented by his colleagues A. Babenko and V. Sikorskyi, were less significant in the overall course of the theatre.

The article investigates the specifics of the basic elements of psychotechnics in theater and variety art. The nature and variety of the artist’s psychotechnics is clarified and specified. The specific peculiarities and differences of the way of existence of a dramatic actor and a stage artist are determined. Specificity of performance in the variety turn, which uses a laconic arsenal of means of acting expression is characterized. The “foundation” of K. Stanislavsky’s entire system are the basic principles where the process of dramatic transformation of an actor into an image is crucial. The theater reformer was able to discover the secret of creating an everyday life in unrealistic conditions. In this sense, it is necessary not only to select the crucial elements of the performing arts, but also to synthesize them, to merge into a new “human soul” seeking for dramatic transformation. The purpose of the article is to determine the nature of actor psychotechnics in the theater and on the stage, its aspects. The experience of the Ukrainian variety shows proves that the tendency of combining acting skills and technical virtuosity of performing a variety turn of a particular genre, which are becoming relevant at the current stage of development of variety art as a whole, is actualizing. Many components of the variety artist’s profession are based on the general fundamental principles inherent in dramatic theater, musical theater and the circus. Stage attention is one of the most important elements of a person’s mental activity, which includes being focused and to focus consciousness on a particular object. Possession of our attention is connected with the activity of our senses (sight, hearing, touch, smell, taste), ability to think and act. However, if in dramatic theater the artist’s attention on stage can be both passive and active, then on the stage the artist’s attention is always suspended, since the short time frames of the performance and co-operative interaction with the public do not allow the artist to involuntarily perceive it. Therefore, the attention of the artist on the stage is always active. In a dramatic performance, a complex form of external-internal attention is used; not during the entire theatrical production, but in some individual moments of perfoming the role. And on stage the artist almost always uses this type of attention throughout the variety turn. Therefore, in order to successfully demonstrate the artist’s variety turn, it is necessary to have a complex form of external-internal attention, to be able to manage multidimensional attention at different concert venues, to have the ability to instantly and repeatedly switch the attention from the object on the stage to the audience and back. Thus, the “double world” of a variety art also influences this element of the actor’s internal technique creating a different structure of attention other than the art of theater. The author emphasizes that psychotechnics are the most important in the art of the actor. The artist in his or her psychophysical unity is for him/herself both the creator and the “tool”. According to the author of the study, in order to create favorable conditions for creativity, it is necessary to bring into proper condition the “tool” of the actor – his own organism. For this purpose it is necessary to improve the internal (mental) technique of the artist. The analysis of the problem made it possible to identify and classify the two main differences between variety art and theatrical art: first, it is a special system of communication between the artist and the auditorium; secondly, this difference is laconicism.

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.

I empirically examine the impact of the 1948 Paramount antitrust case on ticket prices using a unique dataset collected from Variety magazine issues between 1945 and 1955. With information on prices, revenues, and theater ownership for an unbalanced panel of 393 theaters in 26 cities, I find that vertically integrated theaters charged lower prices and sold more admission tickets than nonintegrated theaters. I also find that the rate at which prices increased in theaters was slower while integrated than after vertical divestiture. These findings together with institutional details are consistent with the prediction that vertical integration lowers prices through the elimination of double marginalization. (JEL G34, K21, L11, L22, L42, L82)

Consulting the most recent publication on the history of Albanian theater, we find the term partisan theater used to describe a practice that precedes the emergence of professional Albanian theater. It is surprising that (even today) such a minor theatrical phenomenon, which appeared in the years 1941-1944, is accorded such an important role in the history of Albanian theater, one nearly equivalent to the 30 years of vigorous theatrical development that has its genesis in 1874, in Gjirokastra, with Koto Hoxhi. Beyond this unexpectedly significant historical weight, it is surprising to see a phenomenon that has more in common with variety theater (estrada) than with the traditional practice of theater, with its classical elements, nonetheless classified as and equated with theater. In its characteristics, partisan theater contrasts markedly with the theater movement as it developed both before and after the communist regime came to power. So: does partisan theater really deserve its current place on the map of Albanian – and world – theater history?

Circus Photos at the Theatre Collection of the National Museum The specialized circus fund of the theater collection of the National Museum contained over 9 000 images when it was created in 2004. The study describes its time limitations for the years 1950–1990, it also deals with older images, forms of shooting circus and variety shows, and the issue of describing photographs as a historical source. Authors of circus photos Vladimír Lammer, Václav Gína and Oldřich Mazůrek.

Thesis (D.M.A.)--University of California, San Diego, 2009.<br>Title from 1st page of PDF file (viewed Sept. 16, 2009). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references: P. 45-46.

Le cabaret de l’Écluse est une petite salle de spectacles, ouverte entre 1951 et 1974 au 15, quai des Grands Augustins à Paris, et dont la particularité est de programmer chaque soir des numéros variés — chant, sketch comique, poésie récitée, marionnettes, mime et projection de dessins. Au fil des vingt ans d’existence de ce cabaret, s’y produisent des artistes aussi divers que Barbara, Raymond Devos, Marcel Marceau, Yves Joly, Philippe Noiret et Jean-Pierre Darras ou Cora Vaucaire. À rebours de l'éclectisme déroutant du spectacle qu'il accueille, c'est en tant que lieu que le cabaret de l'Écluse semble le mieux « donner prises », construisant son identité à partir d'une localisation parisienne qui l'insère dans un paysage urbain, social et culturel soutenu par une tradition historique complexe. Il fait ainsi partie des cabarets dits « rive gauche », qui fleurissent près de la Seine après la Seconde Guerre mondiale et affichent spatialement leur refus du divertissement commercial qu’offrent par ailleurs les « boîtes » plus luxueuses de la rive droite. Cette lecture déterminée de l’espace qui fait du cabaret un mot-valeur doit être comprise dans une histoire plus longue. Se construit en effet depuis le XIXe siècle, loin des premières représentations du lieu, d’abord attaché à une inquiétude sociale, l’image du cabaret comme un espace refuge où la poésie trouverait à s’épanouir contre l’affirmation croissante d’une culture industrielle et commerciale.En dépit d’un tel patrimoine axiologique, le cabaret de l’Écluse présente une réalité plus métissée. S’il rend hommage à des modèles littéraires prestigieux, comme le Chat Noir ou le Lapin Agile, dont il contribue à prolonger le mythe, il intègre pourtant, pour chacun de ses numéros, les apports du café-concert, du music-hall et du cinéma — autant de manifestations associées à une culture du divertissement souvent bannie du champ littéraire. Cette hétérogénéité est soulignée par la formule même du spectacle, qui érige la variété en principe de composition. À la diversité des modes d’expression convoqués répond ainsi le caractère composite de leurs héritages. L’Écluse apparaît donc comme un objet pluriel qui exige, pour être pensé, de fonder de nouvelles catégories d’analyse. C’est précisément au prisme de la variété, envisagée comme un véritable outil méthodologique aux prolongements herméneutiques et éthiques féconds, que nous l’étudierons.Irréductible aux déterminations axiologiques, le cabaret de l'Écluse fait vaciller la stabilité de son ancrage géographique, et nous oblige à repenser les territoires et prérogatives du littéraire, qu'il n'effleure, par le biais poétique, que pour mieux le sidérer. Quelle place accorder à ce lieu rebelle qui prend de cours nos critères d'analyse traditionnels et rend illisible le paysage artistique et culturel qu'explorent les études littéraires ? À force d'écarts et de détours, le lieu qui s'imposait à nous par sa visibilité évidente ne risque-t-il pas de perdre toute consistance ? L’Écluse parviendrait à demeurer — telle est notre hypothèse — en transformant le lieu géographique et social du cabaret pris dans les mailles d'un réseau et d'un champ, dans les filets de déterminations historiques, en un espace poétique délié. Lieu traversé, habité de propositions spectaculaires variées, il fonderait à partir de leur mise en présence cet espace poétique, que nous nous proposerons de définir non comme une certaine mise en forme du texte mais comme un réseau d’échos, tissés d’une prestation à l’autre. Cette « manœuvre foudroyante de rapports » déplace la production du sens du plain-chant à ses résonances<br>L’Écluse was a small performance hall which presented mixed shows every evening between 1951 and 1974 : songs, shorts comedy sketches, recitations of poems, puppet shows, mimes and projected drawings. Many performers worked at L’Écluse. Some became famous, suche as Barbara, Raymond Devos, Marc Marceau, Yves Joly, Philippe Noiret and Cora Vaucaire. Despite the confusing eclectism of the cabaret shows, the place itself seems to offer a stable way to consider the subject. Indeed, L’Écluse built itself through its localisation in Paris, situated in an urban, social and cultural landscape shaped by a long and historical tradition. It was part of these « cabarets rive-gauche » that bloomed in Paris after the Second World War, pretending to refuse every form of commercial entertainment usually proposed to tourists by luxurious night-clubs on the right bank of the Seine river. This emblematic partition of the French capital between a right and a left bank resulted from a long history. Since the end of the XIXth century, cabarets were indeed considered as places of arts, where poetry could blossom far from a besides growing industrial and commercial culture. However, l’Écluse’s identity was not as clear as it seemed. The cabaret payed tributes to its prestigious literary precursors such as Le Chat Noir and Le Lapin Agile, but also to café-concerts, music-halls and popular movies, that are frequently left out of the literary field. This complete heterogeneity appeared in its shows themselves, shaped by various artistic expressions. L’Écluse was thus ruled by variety. It was therefore a complex object that requires specific methods to be considered. It is precisely through the prism of variety, regarded as a fruitful methodological analysis tool, that we intent to study it. With its mixed shows, L’Écluse cannot be sorted into a « black-or-white » category. It encourages us to re-think what belongs to literature or not. Where can such an unclassifiable place, that catches us unawares and strikes down our usual analysis categories, stand in literary studies ? Accordingly, we postulate that L’Écluse converted its place, defined by historical, geographical and social determinations, into a creative poetic space, shaped by the coexistence of various artistic expressions and the echoes that appeared between each of them and not by the pretended quality of its acts. The meaning of the shows was thus not provided by what was clearly said : it came from what remained unformulated

Prior to his career as a painter, Walter Richard Sickert (1860-1940) was employed for a number of years as an actor. Indeed the muse of the theatre was a constant influence throughout Sickert’s life and work yet this relationship is curiously neglected in studies of his career. The following thesis, therefore, is an attempt to address this vital aspect of Sickert’s œuvre. Chapter one (Act I: The Duality of Performance and the Art of the Music-Hall) explores Sickert’s acting career and its influence on his music-hall paintings from the 1880s and 1890s, particularly how this experience helps to differentiate his work from Whistler and Degas. Chapter two (Act II: Restaging Camden Town: Walter Sickert and the theatre c.1905-c.1915) examines the influence of the developing New Drama on Sickert’s works from his Fitzroy Street/Camden Town period. Chapter three (Act III: Sickert and Shakespeare: Interpreting the Theatre c.1920-1940) details Sickert’s interest in the rediscovery of Shakespeare as a metaphor for his solution to the crisis in modern art. Finally, chapter four (Act IV: Sickert’s Simulacrum: Representations and Characterisations of the Artist in Texts, Portraits and Self-Portraits c.1880-c.1940) discusses his interest in the concept of theatrical identity, both in terms of an interest in acting and the “character” of artist and self-publicity. Each chapter analyses the influence of the theatre on Sickert’s work, both in terms of his interest in theatrical subject matter but also in a more general sense of the theatrical milieu of his interpretations. Consequently Sickert’s paintings tell us much about changing fashions, traditions and interests in the British theatre during his period. The history of the British stage is therefore the backdrop for the study of a single artist’s obsession with theatricality and visual modernity.

Durante gli anni del primo conflitto mondiale la popolazione a Trieste, città immediata della duplice monarchia austro-ungarica, cerca di reagire alla fame e alle malattie, non rinunciando agli spettacoli ed al divertimento. I Theater-Kino-Varieté diventano luoghi di intrattenimento, ma anche di espressione culturale di una ‘nazionalizzazione italiana’, attraverso i media quali il cinema, la stampa, i teatri e le associazioni. Le autorità locali cercano di contrastare il fenomeno imponendo repertori drammatici tedeschi. Teatri, cinema e varietà diventano i principali luoghi di svago per una popolazione vittima degli effetti civili della guerra. Particolare rilievo acquistano le donne manager, nuove protagoniste dell’impresariato cinematografico, che sostituiscono i loro mariti al fronte. La ricerca si basa fonti eterogenee quali giornali, periodici, documenti d’archivio, memorie, musica e film.<br>During the years of World War I, the people in Trieste, an Austrian city, struggled against hunger and disease, but still they did not give up on entertainment and plays. The Theater-Kino-Varieté became entertainment places as well as the most popular expression of cultural “Italian nationalization” through media-forms as cinemas, printing, stages and associations. The local authorities tried to oppose this situation by imposing German dramatic repertoires. Theatres, cinemas and varieté became the most important entertainment forms for a people suffering the war effects. Furthermore very often women became entrepreneurs of businesses and cinemas while their husbands had to go at front. This study is carried out through several types of sources, such as journals, archivist documents, memoires, printing sources, music and film

No Sleep '˜Til Minsky's is a one-man show paying tribute to early 20th century variety entertainment. The writing process began with research into the forms of vaudeville and burlesque, including films of period acts, study of autobiographies and biographies of burlesque performers, and study of historical scripts performed in the time period and stored at the Library of Congress. The format of the show consists of a one-hour core script in which Lou Drake speaks of his life and career in burlesque. In addition to the core script, the structure is designed to allow more actors to participate in staging sketches described by Drake, as well as allowing external acts to splice their material into a performance.

Thesis (MA)--Stellenbosch University, 2008.<br>ENGLISH ABSTRACT: This study was initiated to gain insight into cabaret as a form of theatre for the migration of singers with a classical singing orientation. It researches a form of music theatre known as entertainment cabaret, which is individual by nature, as it is not bound by convention. The study entails a discussion of the nature of cabaret as a diverse form of theatre. It illustrates the role of the artist and the genre’s music style in researching structure, to determine differences and similarities in the frameworks of cabaret and opera, with specific reference to classical singing. Currently there is an abundance of musical theatre genres, and cabaret is not differentiated as an individual genre. This leads to problems in the definitive classifying of cabaret, as well as the bridging of a singer with a classical singing orientation migrating to cabaret. The study researches the concept of, and reasons for, this migration in South Africa. The qualitative research method, which makes use of in-depth interviews to gain insight, generated a wealth of information about the realities in South Africa. This method introduces a new method of acquiring information, where the changes of the last few years had a tremendous impact on the careers of performing artists in South Africa. For this reason, artists with a classical singing orientation must have a choice to take action; to generate their own opportunities. The main findings and the need for multi-talented artists to adapt to the different styles of genres were analysed in the theoretical section, followed by a discussion of the respondents’ feedback selected to contribute to this study. The gap in skills between the cabaret artist and the classical singer is identified to showcase and define the possibility of cabaret as a form of theatre for classical singers. New categories are generated in which ideas of how development can be adapted are laid out.<br>AFRIKAANSE OPSOMMING: Die doel van hierdie studie is om insig te verkry in kabaret as moontlike teatervorm vir die migrasie van sangers met ’n klassieke sangoriëntasie. Dit ondersoek die vermaaklikheidsvorm kabaret, ’n eiesoortige vorm van musiekteater deurdat dit nie deur konvensies begrens word nie. Die studie behels ’n bespreking van die aard van kabaret as diverse teatervorm, en illustreer die rol en vaardighede van die kabarettis asook die genre se musiekstyl om die ooreenkomste en verskille in die raamwerk van kabaret en opera, met betrekking tot klassieke sangoriëntasie, te ondersoek. Tans oorvloei die musiekteatergenres, en word kabaret nie as eiesoortige genre onderskei nie. Dit maak die onderskeid van kabaret, asook die oorbrugging van ’n klassieke sanger wat na kabaret migreer, uiters problematies. Die studie stel ondersoek in na die konsep van en redes vir die migrasie van sangers met ’n klassieke sangoriëntasie na kabaret in Suid-Afrika. Die kwalitatiewe metode, wat met behulp van diepte-onderhoude insig verkry, het ’n magdom inligting oor die werklikhede in Suid-Afrika opgelewer. Hierdie metodologie is ’n nuwe manier om inligting in te samel, veral in die lig van veranderinge in die laaste paar jaar in die land, wat ’n geweldige impak op die loopbaan van Suid-Afrikaanse uitvoerende kunstenaars gehad het. Kunstenaars met ‘n klassieke sangoriëntasie moet kan kies om tot aksie oor te gaan; om hulle eie geleenthede te genereer. Die hoofbevindinge en die behoefte dat veelsydige kunstenaars by verskillende genrestyle moet kan aanpas word in die teoretiese afdeling ondersoek, gevolg deur ’n bespreking van die respondentterugvoering wat vir die doel van die studie geselekteer is. Die gaping tussen die vaardighede van die kabarettis en klassieke sanger word geïdentifiseer om sodoende die moontlikheid van kabaret as teatervorm vir klassieke sangers te definieer. Nuwe kategorieë word geskep waarin idees vir die moontlike aanpassing van ontwikkeling neergelê word.

Thesis (MA)--Stellenbosch University, 2008.<br>ENGLISH ABSTRACT: This study examines cabaret in South Africa, and more particularly the use of a personation in cabaret. Cabaret employs a variety of comedic forms that combine to comment on social and political issues. The personation is often a manifestation of current social and political values, and the cabaretist uses such personation to deride these values and expose society. Themes such as human nature and life are foregrounded by means of comedy, parody and satire in order to highlighted weaknesses and malpractices. The personation often serves as a shield, affording the cabaretist the freedom of speech to assume a critical stance; it serves as a mouthpiece for enquiring societal mores and norms. The cabaretist not only entertains the audience in a comical way, but also strives to make audiences aware of social and political irregularities. Comedy, parody and satire are found in various forms of entertainment and literature, but in the cabaret genre it is purposefully applied to voice socio-political criticism. The success of cabaret is indebted to each caberetist’s unique style. South African performers such as Pieter-Dirk Uys, Casper de Vries and Hennie Aucamp apply these means successfully to entertain their audiences and encourage reflection. The cabaret persona, drawing upon comedic devices, is used to present reality as opposed to the human ideal, while treating the audience to a lighter view of life. Apart from the fact that cabaret, like comedy, parody and satire, is difficult to define, these forms often overlap, as they serve the same purpose, namely to entertain and to comment.<br>AFRIKAANSE OPSOMMING: Hierdie studie ondersoek kabaret in Suid-Afrika en in die besonder die gebruik van ’n karakter in kabaret as sosiale en politiese kommentator. Kabaret gebruik ’n verskeidenheid komiese vorme wat saamspan om sosiale en politieke kommentaar te lewer. Die karakter verteenwoordig dikwels ’n gemeenskap se sosiale en politieke waardes en die kabarettis gebruik so ’n karakter om hierdie waardes te bespot en kommentaar op die gemeenskap te lewer. Temas soos die menslike natuur en die lewe word met behulp van die komiese, parodie en satire in die kalklig geplaas om swakhede en wanpraktyke te beklemtoon. Die karakter dien ook dikwels as ’n skild waaragter ’n kabarettis skuil en waarmee hy sodoende vryheid van spraak verkry met die doel om te kritiseer; dit dien as spreekbuis vir sosiale waardes en norme. Die kabarettis vermaak nie net ’n gehoor op komiese wyse nie, maar probeer ook om die gehoor van sosiale en politieke wantoestande bewus te maak. Die komiese, parodie en satire kom in verskeie vorme van vermaak en die literatuur voor, maar in kabaret word dit doelgerig as middel gebruik om sosio-politiese kommentaar te lewer. Die sukses van kabaret word gemeet aan elke kabarettis se unieke styl. Suid-Afrikaanse kunstenaars soos Pieter-Dirk Uys, Casper de Vries en Hennie Aucamp slaag daarin om hierdie middele aan te wend en sodoende hul gehore te vermaak en tot nadenke te stem. Die kabaret-karakter word met behulp van komiese vorme aangewend om die werklikheid teenoor die menslike ideaal op te weeg en aan gehore ’n ligter sy van die lewe te wys. Buiten dat kabaret en ook die komiese, parodie en satire moeilik gedefinieer kan word, oorvleuel hierdie vorme dikwels en word dit vir dieselfde doel gebruik, naamlik om te vermaak en kommentaar te lewer.

Bien qu’il ait inspiré des contemporains plus célèbres, tels François Rabelais et Clément Marot, et fréquenté des humanistes de premier plan, bien qu’il soit l’auteur d’une forme de tragédie latine inédite et maintes fois rééditée, et d’une chronique du règne de Louis XII connue des historiens, le poète néo-latin Nicolas Barthélemy de Loches est resté parfaitement méconnu. Il est ainsi nécessaire de rassembler, corriger et compléter les données dont on peut disposer sur ce personnage et ses oeuvres, mais aussi de reconstituer le cadre social, littéraire et historique dans lequel il a vécu et composé, afin de réévaluer la diversité et la richesse poétique de ses oeuvres. Ces données suffisent à montrer que les écrits de Barthélemy ne sont pas ceux d’un moine cloîtré, mais bien plutôt ceux d’un véritable humaniste engagé dans les réformes de son temps, qu’elles soient pédagogiques, monastiques ou évangéliques. L’édition d’un des recueils poétiques de Barthélemy les plus représentatifs de sa production littéraire (le recueil varié paru à Paris en 1520) vient nourrir et confirmer cette lecture<br>Although he inspired famous contemporaries like François Rabelais or Clément Marot, and spent time with leading humanists, although he wrote a new Latin tragedy form many times reprinted and a chronicle about the reign of Louis XII familiar to historians, very little is known about the Neo-Latin poet Nicolas Barthélemy de Loches. Collecting, correcting and completing existing data about the man and his writings is necessary, as well as the reconstruction of the social, literary and historical environment in which he lived and wrote, in order to reevaluate the poetic diversity and richness of his work. Such data are enough to show that Barthélemy’s works were not written by a cloistered monk, but rather by a true humanist involved in the pedagogical, monastic and evangelical reforms of his time. The edition of one of the most representative poetic collections written by Barthélemy (a varied collection printed in 1520 in Paris) supports and confirms this interpretation

Thesis (Ph. D.)--Ohio State University, 2005.<br>Title from first page of PDF file. Document formatted into pages; contains vii, 216 p. Includes bibliographical references (p. 195-216). Available online via OhioLINK's ETD Center

Restituer un théâtre disparu du XVIIIe siècle impose de s’intéresser à des sources de nature différente. Pour le projet VESPACE (Virtual Early Modern Spectacles and Publics, Active and Collaborative Environnement), nous avons développé une méthodologie permettant de tirer parti au mieux de la spécificité de ces documents et de la technologie d’immersion en réalité virtuelle : la rétro-architecture. Elle consiste à reproduire non seulement l’environnement tel qu’il est représenté dans les sources graphiques ou décrit dans des sources littéraires, mais également – c’est la spécificité de cette méthode – à restituer un espace compatible avec les usages attestés et décrits dans une multitude de sources. La rétro-architecture a été appliquée pour VESPACE à un théâtre de marionnettes à la Foire Saint-Germain, dans la seconde moitié du XVIIIe siècle et on la suit ici grâce à cinq images clés. Restoring a lost eighteenth-century theater requires the examination of a variety of sources. For the VESPACE (Virtual Early Modern Spectacles and Publics, Active and Collaborative Environnement) project, we have developed a methodology that takes full advantage of the specific nature of these documents and of virtual reality immersion technology: retro-architecture. This involves not only reproducing an environment as depicted in graphic or literary sources, but also – and this is specific to this method – restoring a space compatible with the uses attested and described in a multitude of sources. Retro-architecture was applied for VESPACE to a puppet theater at the Foire Saint-Germain in the second half of the eighteenth century. In this chapter, this method is summarized in five key images.

This chapter reviews 10 women writers, 1776-1848, from Austria, Croatia, Czechia, Hungary, and Slovenia. It thus covers five emergent languages, as nationalism begins to take shape in the Habsburg territories, contributing directly to the empire’s end a century later. Writers express different degrees of loyalty to the empire and to their own nation, engaging in a variety of ways with the concept of the people’s voice. A variety of genres are here represented, from lyric poetry to theatre to a variety of prose genres.

This chapter reviews 4 women writers, 1776-1848, from Switzerland, writing either in French or in German, though with ties to a variety of other countries, notably the Netherlands and France. Writers here range form the wife of the French prime minister to a governess who went insane, and their genre choices also vary, from memoir to novel to theatre to lyric poetry.

One of the most effective means of unlocking students and breaking down mental reserves is theater, which offers the opportunity to use the foreign language to "do something", possibly to entertain, and not just to demonstrate that the grammar rule was learned. Dramatization recreates a situation of spontaneous communication and facilitates memory and language learning. Often, in speech, the understanding of an utterance goes through the context, which requires semiotic competence, that is, the ability to recognize and relate the different linguistic and extra-linguistic codes.Theatrical language has the advantage of being close to speech due to the variety of speech opening and closing forms, the low frequency of the connective, lexical redundancy and the presence of extra-segmental features (exclamations, laughter, coughs, etc.) and in emphatic forms.The Glottodrama method simultaneously discusses all the components of the speech act and linguistic competence, harmonizing them in one of the oldest art forms, theater.

Abstract The Hyper Hospital is a proposal of novel medical care system which is constructed on an electronic or computerized information network using virtual reality as the principal human interface [1]. The major purpose of the Hyper Hospital is to restore humane interactions between patients and various medical caretakers by making a much closer contact between them. This task will be accomplished by reforming the medical system rather patient-centered than provider-oriented current system by virtue of most advanced multi-media network information technology. The Hyper Hospital will be built as a distributed system on the real and the virtual world on the network, a node of which represents a variety of medical care facilities; for example, the out patient office, the nursing care center, the medical examination unit, the operating theater, etc (Fig.1). Above all, the Hyper Hospital space consists of the alternate reality space owned and exclusively controlled by the patient himself/herself. Most of the physical contact, such as the visit to the out patient office by the patient, is actualized by the electronic contact of the patient private space and the public space of the hospital system. Prescription of the drugs, special cares, even the administration to the ward will be integrated to the distributed electronic network.

Adaptation is a creative process that crosses and blurs boundaries: from page to stage, from small screen to big screen – and then, sometimes, back again. Beyond questions of form and medium, many adaptations also cross national borders and language barriers, making them important tools for intercultural communication and identity formation. This paper calls for a more intensive, transnational study of adaptation across print, stage, and screens in EU member and affiliate countries. For the highest possible effectiveness, interdisciplinarity is key; as a cultural phenomenon, adaptation benefits from perspectives rooted in a variety of fields and research methods. Its influence over transnational media flows, with patterns in production and reception across European culture industries, offers scholars a better understanding of how narratives are transformed into cultural exports and how these exchanges affect transnational relationships. The following questions are proposed to shape this avenue for research: (1) How do adaptations track narrative and media flows within and across national, linguistic, and regional boundaries? (2) To what extent do adapted narratives reflect transnational relationships, and how might they help construct Europeanness? (3) How do audiences in the EU respond to transnational adaptation, and how are European adaptations circulated and received outside Europe? (4) What impact does adaptation have in the culture industries, and what industrial practices might facilitate adaptation across media platforms and/or national boundaries? The future of adaptation studies and of adaptation as a cultural practice in Europe depends on the development of innovative, comparative, and interdisciplinary approaches to adaptation. The outcomes of future research can hold significant value for European media industries seeking to expand their market reach, as well as for scholars of adaptation, theater, literature, translation, and screen media.

Adaptation is a creative process that crosses and blurs boundaries: from page to stage, from small screen to big screen – and then, sometimes, back again. Beyond questions of form and medium, many adaptations also cross national borders and language barriers, making them important tools for intercultural communication and identity formation. This paper calls for a more intensive, transnational study of adaptation across print, stage, and screens in EU member and affiliate countries. For the highest possible effectiveness, interdisciplinarity is key; as a cultural phenomenon, adaptation benefits from perspectives rooted in a variety of fields and research methods. Its influence over transnational media flows, with patterns in production and reception across European culture industries, offers scholars a better understanding of how narratives are transformed into cultural exports and how these exchanges affect transnational relationships. The following questions are proposed to shape this avenue for research: (1) How do adaptations track narrative and media flows within and across national, linguistic, and regional boundaries? (2) To what extent do adapted narratives reflect transnational relationships, and how might they help construct Europeanness? (3) How do audiences in the EU respond to transnational adaptation, and how are European adaptations circulated and received outside Europe? (4) What impact does adaptation have in the culture industries, and what industrial practices might facilitate adaptation across media platforms and/or national boundaries? The future of adaptation studies and of adaptation as a cultural practice in Europe depends on the development of innovative, comparative, and interdisciplinary approaches to adaptation. The outcomes of future research can hold significant value for European media industries seeking to expand their market reach, as well as for scholars of adaptation, theater, literature, translation, and screen media.

&lt;title&gt;ABSTRACT&lt;/title&gt; &lt;p&gt;Digital Image Correlation (DIC) technology developed for off-road vehicle dynamics at the University of Pretoria, South Africa, was recently assessed for all-season and all-terrain viability through a Foreign Technology Assessment Support (FTAS) program at the US Army Engineer Research and Development Center-Cold Regions Research and Engineering Laboratory (ERDC-CRREL) in Hanover, New Hampshire (NH). Advancements in camera technology have brought on the proliferation of inexpensive, high resolution and high frame-rate cameras. At the same time the increase in computational power of computers has allowed algorithms to determine the depth of a scene and enable the near real-time tracking of features on an image. These advancements have enabled the application of DIC to measure surface and velocity profiles as well as deformation from a reference state (for terrain or for tires). In large off-road vehicle dynamics DIC can be used to improve maneuverability of vehicles by monitoring the road or terrain surface before and after the tire passes. From these measurements the initial road roughness and the deformation of the terrain can be determined to provide an indication of the terrain trafficability. DIC can also be used to determine the motion of the vehicle or tire, which can aid in vehicle safety systems via slip angle and traction performance.&lt;/p&gt; &lt;p&gt;This paper details the application of DIC on a military vehicle to measure terrain deformation and vehicle motion on varied terrain with the final aim of providing additional information to the driver or vehicle control system for performance optimization; and ultimately for providing feedback on mobility or terrain information for situational awareness at the driver or theater level. The technology was tested and validated using the CRREL Instrumented Vehicle (CIV) and two military vehicles; an unarmored High Mobility Multipurpose Wheeled Vehicle (HMMWV) (M1097) and a 20-ton Heavy Expanded Mobility Tactical Truck (HEMTT). Testing with the HEMTT on snow, ice, water, asphalt, concrete and vegetated ground will be shown to illustrate use of the technology on large military vehicles on a variety or surfaces.&lt;/p&gt;

Начало специальной военной операции на Украине по демилитаризации и денацификации привело к яркому проявлению целого ряда трендов в самых разных областях жизни. Одним из таких трендов стала культура отмены русскости во всех ее проявлениях (культурном, научном, историческом и др.), что свидетельствует о трансформации военной доктрины и формировании новых театров военных действий, среди которых особое значение приобретает сфера информационно-психологического противоборства. Еще в 1960 году Е. Э. Месснер (1891-1974) предсказал, что в ХХI веке главным театром военных действий станет ментальная сфера. Принято различать жесткую силу (hard power) и мягкую силу (soft power). Жесткая сила связана с использованием метода кнута и пряника для получения желаемого результата. Мягкая сила (soft power) дает возможность привлекать людей на свою сторону без применения насилия. В США, Германии, Великобритании и некоторых других западных странах методы психотерапии рассматриваются как элементы мягкой силы, направленной на формирование прозападного мировоззрения и системы ценностей. Продвижение определенных психотерапевтических методов на территории Восточной Европы, Постсоветского пространства и Китая финансируется западными фондами, аффилированными с государственными структурами. Так можно вспомнить, что на Украине западная психотерапия начала массово укореняться при поддержке различных западных фондов и институтов, начиная примерно с 2005, а в Белоруссии – с 2012 года. В апреле 2022 года в ВКонтакте нами был проведен опрос российских психотерапевтов «Уважаемые коллеги, способны ли Вы отличить Добро от Зла?», в котором принял участие 86 специалистов. Выборка носила случайный характер. Почти 40% респондентов признали, что не в состоянии отличить Добро от Зла. В ситуации, когда основным актуальным запросом клиентов является выработка собственной позиции по отношению к СВО на Украине, данный показатель свидетельствует о растерянности самих специалистов, работающих в западных психотерапевтических подходах. Для решения проблемы необходимо снятие негласного общественного запрета на разработку российских методик мировоззренческой психотерапии (для западных специалистов таких ограничений нет) и развитие проактивности у психотерапевтов и психологов-консультантов. The start of a special military operation in Ukraine on demilitarization and denazification led to a bright manifestation of a number of trends in a variety of areas of life. One of these trends was the culture of the abolition of Russianism in all its manifestations (cultural, scientific, historical, etc.), which shows the transformation of military doctrine and the formation of new theaters of war, among which the sphere of information and psychological confrontation is of particular importance. Back in 1960, E. E. Messner (1891-1974) predicted that in the 21st century the mental sphere would become the main theater of military operations. It is customary to distinguish between hard power and soft power. Hard power is associated with using the carrot and sticks method to produce the desired result. Soft power makes it possible to attract people to your side without the use of violence. In the USA, Germany, Great Britain and some other Western countries, psychotherapy methods are seen as elements of soft power aimed at forming a pro-Western worldview and value system. The promotion of certain psychotherapeutic methods in Eastern Europe, post- Soviet countries and China is financed by Western funds affiliated with government agencies. Therefore, we can recall that western psychotherapy in Ukraine began to take root in the population with the support of various western foundations and institutions, starting around 2005, and in Belarus since 2012 In April 2022, on VKontakte, we conducted a survey of Russian psychotherapists "Dear colleagues, are you able to distinguish Good from Evil?" 86 specialists participated in the survey. The sample group was random. Almost 40% of respondents admitted that they were unable to distinguish Good from Evil. In a situation where the main urgent request of clients is to develop their own position in relation to a special military operation in Ukraine, this indicator shows the confusion of the specialists themselves working in western psychotherapeutic approaches. In order to solve the problem, it is necessary to remove the unspoken public ban on the development of Russian methods of worldview psychotherapy (there are no such restrictions for western specialists) and the development of proactive psychotherapists and psychologists-consultants.

The object of the investigation is the relation between theatrical discourse and traditional cultural expressions. The main objective of the research is to highlight the way traditional art was made use of by directors at different historical stages and the artistic, cognitive, educational meanings and valences of some forms of traditional cultural expressions in the structure of theatrical discourse. Resorting to the comparativehistorical method, through the analyzes of the performances, we demonstrate the polysemanticism of the dramatic action and the variety of artistic functions of the traditional Romanian song, of the nuptial ceremony ”Iertarea miresei” /Forgiveness of the bride”, of the rite of passage “Moşii/Forefathers” in the spectacular universe created by directors in different theaters. These traditional forms promote and affirm identity marks – of the ethnic group and of the creative individuality (playwright, director, set designer, actor), but also the intercultural character of some shows.

The central role that avant-garde music and dance theatre played in the interplay and synthesis of the arts and media in the 1920s, particularly in Paris, is well known. However, the creative potential of ballet has hardly been recognized in its manifold relationships with film and cinematic-inspired expression. The extent to which especially ballet music interacted with the latest cinematographic principles and techniques and referred to cinematic aesthetics in a variety of ways can instructively be seen regarding the productions of the Ballets Suédois. This is discussed in this article with an exemplary look at Les Mariés de la Tour Eiffel (1921), Within the Quota (1923), Skating Rink (1922) and Relâche (1924). By that it becomes clear that the transmedia inclusion of cinematographic ideas not only inspired the vocabulary of avant-garde dance and modern choreography, but was also distinctively reflected in the conception and composition of film-affected music.

This project seeks to develop a Multimodal Performance Evaluation System (MPES), a system for real-time evaluation of individual and team stress levels suitable for a wide array of military medical training and assessment domains and conditions. This system was designed to identify changes in stress levels during training scenarios and determine whether changes to environmental or task stressors are needed. MPES capitalizes on the predictive abilities of pretest data (cognitive and affective) along with real-time physiological and sociometric data, to make claims about individual team member stress levels during training and aggregating that data into a team stress-level score. Our overarching goal was to improve the quality of training for medical teams, by adapting scenario-related characteristics to maximize stress levels, while avoiding overstressing to the point of performance failure. MPES is designed to be utilized in a variety of training environments of varying complexity, including screen-based, head-mount, immersive VR theatre, and open field exercises. Independent variables include heart rate, skin temperature, vocal characteristics. Moderating variables are working memory capacity and eight affective variables (e.g., extroversion and emotional stability). A Machine Learning approach using TPOT (a Python Automated Machine Learning Tool) was utilized for validation of the MPES analytic engine. Results indicate that the system is sensitive to individual differences and is capable of reliably reporting on perceived stress level.

Nowadays, transportation, communication, technology and scientific developments are rapidly changing all areas. Consumers have been changed by the intensification of rivalry. Businesses have to produce proper products and services by giving more attention to changing consumer demands and needs against this rivalry. So, the experience economy is seen to take the place of the service economy. In this context, marketing strategies rather than selling products and services varies as to ensure consumer experience. Thus, the experience economy is starting with proposing products and services as a theater or visual art. Service here; to put on the stage is to create unforgettable moments and memories for customers. Today consumers are looking for features that address to their emotions and feelings. In this sense, experience takes the place of the functional value by providing mental, emotional, cognitive, behavioral and relational values. Consumption experience, is composing the focal point of the experiential approach, creating fantasies, emotions and entertainment. From this point they entered rivalry and began branding in cities. Therefore, all the dynamics of the city is necessary to make a difference by staging features that the experiential marketing has revealed. With which properties cities must be at the forefront, they should be identified and tried to be marketed. Experiential marketing will create an unforgettable experience by making the biggest help for city branding. By taking experiential marketing, the study will attempt to evaluate its effect to city branding with making conceptual analysis in the theoretical structure framework.

As part of the campaign to increase readiness in northern regions, a near commercial off-the-shelf (COTS) solution was identified for the High Mobility Multipurpose Wheeled Vehicle (HMMWV); and used to assess the suitability of commercially available winter tires for operational deployment. Initial performance evaluations conducted during the winters of 2020 and 2021 demonstrated and quantified significant improvements to traction and handling on a variety of winter surfaces. User feedback from United States Army Alaska (USARAK) Soldiers confirmed these results in an operational environment. Results of this study provide new winter tire specifications for the Army and justify the procurement of a HMMWV winter tire for improved safety and capability for US Soldier and vehicle fleet needs. The data and Soldier evaluations support attaining a National Stock Number (NSN) and provide data to develop models of winter vehicle performance that include the impact of winter tires and chains. This work also paves the way for future development and procurement of winter tires for vehicles where COTS solutions are unavailable. The motivation is to provide Soldiers with state-of-the-art winter tires to increase safety, capability, and operational compatibility with North Atlantic Treaty Organization (NATO) partners in the European Theater of Operations, and mobility superiority in all environments.

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.

The War in the Pacific National Historical Park (WAPA), a protected area managed by the National Park Service (NPS), was established "to commemorate the bravery and sacrifice of those participating in the campaigns of the Pacific Theater of World War II and to conserve and interpret outstanding natural, scenic, and historic values on the island of Guam." Coral reef systems present in the park represent a vital element of Guam?s cultural, traditional, and economical heritage, and as such, are precious and in need of conservation. To facilitate the management of these resources, NPS determined that a scleractinian (stony coral) species survey was necessary to establish a baseline for existing coral communities and other important factors for conservation. EnviroScience, Inc. performed a survey of stony coral species, coral habitat, and current evidence of stressors at WAPA?s H?gat and Asan Units in 2022. This report summarizes these findings from a management perspective and compares its findings to previous survey data from 1977 and 1999 (Eldridge et al. 1977; Amesbury et al. 1999). WAPA is located on the tropical island of Guam, located on the west-central coast of the island, and encompasses 2,037 acres. Underwater resources are a significant component of the park, as 1,002 acres consists of water acres. The park is comprised of seven units, of which two of these, the H?gat and Asan Beach Units, include all the oceanic water acres for the park. The H?gat Beach Unit (local spelling, formerly known as ?Agat?) is located at the south-west portion of the park and consists of 38 land acres and 557 water acres (NPS 2003). The Asan Beach Unit consists of 109 acres of land and 445 water acres (NPS 2003). A current baseline for existing coral communities and other important factors for conservation necessitates the need for up-to-date data on the location, presence, relative abundance, and present health of corals. Park managers need this updated data to determine where and how to best focus conservation priorities and identify restoration opportunities. Management actions in park reef areas informed by this inventory included identifying locations where there were: high rates of sedimentation; high coral biomass; rare or threatened species, with a priority given to species endemic to Guam and listed as ?threatened? under the U.S. Endangered Species Act (ESA; Acropora globiceps, A. retusa, A. speciosa, and Seriatopora aculeata); coral persistence and decline, disease and/or nuisance species, including the crown-of-thorns starfish (Acanthaster cf. solaris, ?COTS?) and the sponge Terpios hoshinota; and bleached areas. All work carried out was in accordance with the NPS statement of work (SOW) requirements, which involved a quantitative inventory using both new and pre-existing transects. The resulting transects totaled 61 (including the four from the 1999 study), each measuring 50 meters in length and distributed across depths of up to 50 feet. Divers took photo-quadrat samples covering an area of approximately 9 m?, encompassing 50 photo-quadrats of dimensions 0.50 m x 0.36 m (n=50). The collective area surveyed across all 61 transects amounted to ~549 m?. Additionally, a qualitative search was conducted to enhance documentation of coral species that have limited distribution and might not be captured by transects, along with identifying harmful species and stressors. Timed roving diver coral diversity surveys were carried out at a total of 20 sites occurring within the waters of WAPA, including eight sites at the H?gat unit and 12 sites at the Asan unit. The findings from this report reveal significant disparities in benthic cover compositions between H?gat and Asan units. The H?gat unit exhibits high abundances of turf algae and unconsolidated sediment while the Asan beach unit presents a different scenario, with hard coral as the dominant benthic cover, followed closely by crustose coralline algae (CCA). The Asan unit is also more difficult to access from shore or boat relative to H?gat which provides that unit some protection from human influences. The Asan beach unit's prevalence of hard coral, CCA, and colonizable substrate suggests a more favorable environment for reef growth and the potential benefits of maintaining robust coral cover in the area. These distinct differences in benthic communities highlight the contrasting ecological dynamics and habitats of the two study areas. Across both H?gat and Asan beach unit transects, a total of 56 hard coral species were recorded from 27 genera, with 44 species recorded from the H?gat unit and 48 species recorded from the Asan unit. Of the four historical transects surveyed in the Asan unit from 1999, three experienced declines in percent coral cover (17.38-78.72%), while the fourth had an increase (10.98%). During the timed roving diver coral diversity surveys, a total of 245 hard coral species, including 241 scleractinian coral species representing 49 genera and 4 non-scleractinian coral species representing 4 genera were recorded. Uncertainties related to coral identification, unresolved boundaries between morphospecies, differences in taxonomists' perspectives, and the rapidly evolving state of coral taxonomy have significant implications for species determinations during coral diversity surveys. While the recent surveys have provided valuable insights into coral diversity in WAPA waters, ongoing taxonomic research and collaboration among experts will be essential to obtain a more comprehensive and accurate understanding of coral biodiversity in the region. Of the several ESA coral species that were searched for among the H?gat and Asan beach units, Acropora retusa was the only coral species found among quantitative transects (n=2) and A. globiceps was observed during coral diversity surveys. Acropora speciosa, which was dominant in the upper seaward slopes in 1977, is now conspicuously absent from all the surveys conducted in 2022 (Eldredge et al., 1977). The disappearance and reduction of these once-dominant species underscores the urgency of implementing conservation measures to safeguard the delicate balance of Guam's coral reefs and preserve the diversity and ecological integrity of these invaluable marine ecosystems. Other formerly common or locally abundant species were infrequently encountered during the diversity surveys, including Acropora monticulosa, A. sp. ?obtusicaulis?, A. palmerae, Stylophora sp. ?mordax?, Montipora sp. ?pagoensis?, and Millepora dichotoma. Significant bleaching-associated mortality was recorded for these species, most of which are restricted to reef front/margin zones exposed to moderate-to-high levels of wave energy. Sedimentation was present in both H?gat and the Asan units, though it was more commonly encountered in H?gat transects. While significant portions of the reef area within the WAPA H?gat unit are in poor condition due to a variety of stressors, some areas still hosted notable coral communities, which should be a potential focus for park management to prevent further degradation. There is a need for more effective management of point source pollution concerns, particularly when subpar wastewater treatment or runoff from areas with potential pollution or sediment-laden water is flowing from nearby terrestrial environments. Future monitoring efforts should aim to establish a framework that facilitates a deeper understanding of potential point source pollution incidents. This would empower park managers to collaborate with adjacent communities, both within and outside of park boundaries, to mitigate the localized impacts of pollution (McCutcheon and McKenna, 2021). COTS were encountered during transect surveys as well as in coral diversity surveys. including along the upper reef front/reef margin at site Agat-CS-2. The frequency of these observations, particularly in the WAPA H?gat unit and where stress-susceptible corals are already uncommonly encountered, raise concern about the ability of the populations of these coral species to recover following acute disturbance events, and calls in to question the ability of some of these species to persist in WAPA waters, and in Guam?s waters more broadly. More frequent crown-of-thorns control efforts, even if only a handful of sea stars are removed during a single effort, may be required to prevent further loss to vulnerable species. There were several documented incidents of Terpios hoshinota covering large sections of branching coral in the reef flat along transects, but it is still unclear how detrimental this sponge is to the overall reef system. There is a concern that elevated levels of organic matter and nutrients in the water, such as those resulting from sewage discharge or stormwater runoff, could lead to increased Terpios populations (De Voogd et al. 2013). Consequently, it is important to track populations in known areas of sedimentation and poor water quality. The presence of unique species at single survey sites within the study areas underscores the ecological importance of certain locations. Some species are known to occur in other locations in Guam, while a few may be limited to specific sites within WAPA waters. These differences are likely influenced by environmental and biological factors such as poor water quality, severe heat stress events, chronic predation by crown-of-thorns sea stars, disease, and reduced herbivore populations. These factors collectively shape the condition of the benthic community, leading to variations in species distribution and abundance across the study sites. Documenting coral stress and identifying potentially harmful species allows for proactive management strategies to prevent the establishment of nuisance or detrimental species while populations are still manageable. Updated data on the location, presence, relative abundance, and health of corals is essential for park managers to prioritize conservation efforts and identify restoration opportunities effectively. Observations from this report raise concerns about the health and resilience of coral ecosystems in the H?gat unit and emphasize the need for knowledge of local factors that shape benthic community structure. Understanding the drivers responsible for these variations is crucial for effective conservation and management strategies to preserve the ecological balance and overall health of coral reefs in both units. Continued monitoring efforts will be critical in assessing long-term trends and changes in benthic cover and enabling adaptive management approaches to safeguard these valuable marine ecosystems in the face of ongoing environmental challenges.