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Gotowe bibliografie tematyczne / Musical theater

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Gotowa bibliografia na temat „Musical theater”

Autor: Grafiati

Data publikacji: 4 czerwca 2021

Data aktualizacji: 9 czerwca 2025

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Artykuły w czasopismach na temat "Musical theater"

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Feng, Yizhang, and Kexu Chen. "On the inspiration of Lin-Manur-Miranda musical Hamilton." International Journal of Education and Humanities 14, no. 1 (May 14, 2024): 152–54. http://dx.doi.org/10.54097/6dyf4743.

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Lin-manuel-Miranda's musical "Hamilton" as the fastest in the history of Broadway music costs and began to profitable musical with its pioneer music style and the core values of drama structure in the world stage, the success of the Broadway musical is not only in the history, also for the development of world musical provides unprecedented possibilities.the success of Lin-Manuel Miranda's musical "Hamilton" has had a profound impact on the world of theater, particularly in the realm of musicals. Its pioneering music style and the core values of drama structure have opened up new possibilities for the development of musicals worldwide. The widespread appeal and profitability of "Hamilton" have inspired artists to experiment with different genres and storytelling techniques, pushing the boundaries of what is considered traditional musical theater. Furthermore, the global interest in historical and biographical musicals that "Hamilton" has generated has enriched the cultural landscape of musical theater, offering audiences a diverse range of stories and perspectives. Overall, "Hamilton" has left an indelible mark on the world stage, paving the way for future innovations in the field of musical theater.

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Walker, Gwen, Max Chernin, Eliana Rubin, Jonah Schwartz, and Becca Suskauer. "MTEA Diversity, Equity, and Inclusion Committee Focus Group Series: Addressing Anti-Semitism Inclusive Musical Theatre Pedagogy." Musical Theatre Educators Alliance Journal 5, no. 2024 (January 1, 2024): 8–15. http://dx.doi.org/10.62392/mcqn9899.

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As an ongoing effort to support inclusive musical theater training within our musical theater educational community, the MTEA Diversity, Equity, and ELIANA RUBIN, Inclusion Committee hosts a Focus Group Series. On July 29th, 2023, Vice IONAH SCHWARTZ., AND President of the MTEA DEI Committee Gwen Walker convened a focus group BECCA SUSKAUER to discuss rising anti-Semitism and what musical theatre educators can do to address it. Included in our discussion from our community is an established professional, an educator, a young professional, and a student currently in an academic musical theater program.

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Jenkins, J. Daniel. "The Early Years of the American Musical in Vienna." Journal of Austrian-American History 6, no. 1 (May 18, 2022): 89–103. http://dx.doi.org/10.5325/jaustamerhist.6.1.0089.

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Abstract The individual most responsible for bringing the American musical to the Viennese stage was Marcel Prawy (1911–2003). Born into a Jewish Austro-Hungarian noble family, Prawy moved to the US in the late 1930s. While his first love was opera, he also developed an appreciation for the Broadway musical. He returned to Vienna after World War II and produced musical revues in local theaters that included showtunes. Upon becoming a dramaturge at the Vienna Volksoper in 1955, he began overseeing productions of American musical theater, which were among some of the earliest productions of American musicals on the European continent. The article reviews archival documents at the Prawy archive, housed at the Wienbibliothek, to better understand Prawy’s early efforts to bring American musical theater to the Viennese stage. The focus will be on the two earliest musicals Prawy produced, Kiss Me, Kate and Wonderful Town. The analysis will consider how Prawy packaged, promoted, and “sold” the American musical to his Viennese audience. A close reading of some of Prawy’s translations of libretti will be part of the analysis, revealing interesting insights into how Americans and American culture may have been viewed by the Viennese audience.

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Feng, Zimo. "Analysis of the Business Model of Chinese Musical Theater Based on Community Economy." Journal of Applied Economics and Policy Studies 12, no. 1 (November 14, 2024): 77–82. http://dx.doi.org/10.54254/2977-5701/12/2024114.

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In recent years, the Chinese musical theater industry has developed rapidly, becoming an important component of the cultural industry. Compared to traditional musical theater production and distribution methods, the community economy offers a new business model for Chinese musicals. This paper aims to explore how the community economy, combined with self-media platforms, supports the promotion and profitability of Chinese musicals. It analyzes the factors behind its success, the challenges it faces, and its future development prospects. Through an in-depth analysis of the existing business models, this paper proposes multiple strategies to promote the sustainable development of the Chinese musical theater industry.

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Tsihan, Xia. "INTERPRETATION OF MUSICAL GENRE IN THE WORKS OF R. IGNATIEV AND K. BREITBURG." Arts education and science 1, no. 2 (2021): 121–25. http://dx.doi.org/10.36871/hon.202102015.

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Theater in Russia has for a long time neither cultivated nor encouraged the pursuit of entertainment and commercial success. Perhaps that is why, the first attempts to integrate the musical into the Russian theater environment ended in failure. "My Fair Lady" by F. Loewe, staged at the Stanislavsky and Nemirovich-Danchenko Theatre, "Avtograd–1929", staged at the Satire Theater and the "Chicago" musical, after several performances, were removed from the repertoire or, like enterprise productions, ceased to exist. The purpose of this research is to determine the reasons for the growing popularity of the literary musical in Russia. The article examines the development of literary musical through the work of its outstanding representatives, composers R. Ignatiev and K. Breitburg. Scientific novelty of the work lies in the study of previously unpopular classical literature samples, which are the basis for the modern musical theatre genre.

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PLAKHOTNYUK, Oleksandr. "CHOREOGRAPHERS OF THE STATE THEATER OF MUSICAL COMEDY IN LVIV FROM 1946-1953." Bulletin of the Lviv University. Series of Arts Studies 280, no. 20 (2019): 203–11. http://dx.doi.org/10.30970/vas.20.2019.10625.

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A study is conducted of the historical processes of the formation of dance traditions in musical theaters, as well as operetta theaters on the example of the activities of choreographers of the Lviv Theater of Musical Comedy in the period from 1946 to 1953. The study outlines the historical processes of the formation of the above dance traditions. This study identifies the personalities of the choreographers of the directors of this theater and their creative result; there is a careful attitude to the traditions of the past and the introduction of modern techniques of theatrical choreographer. In the context of the features of choreographic numbers and their significance for the opera performance, their repertoire is considered. Definition of research. At the beginning of the 21st century, the event of the separation of choreography as a separate scientific specialty called “Choreographic Art” took place in Ukrainian art, which in turn requires a deep and meaningful study of the choreographic art of Ukraine in all its aspects and the development perspective. One of the aspects of this study is the study of the activities of the theatrical choreographer. The purpose of this study is to track the historical processes of the formation of dance traditions in musical theaters using the example of the Lviv Theater of Musical Comedy in the period 1946-1953. Main objective of the study. To personify the choreographers of the theater and to indicate the result of their activities; to trace their careful attitude to the traditions of the past and modern traditions in the context of the activities of the theatrical choreographer; determine the prospect of further scientific research. Methodology. The general scientific methods of objectivity, historicism, systemicity and observation are applicable here. The method of objectivity and historicism provided an opportunity to trace the conditions and the main stages of the creative activity of the choreographers of the State Theater of Musical Comedy in Lviv. The comparative method is suitable for use in the analysis of the creative work of choreographers of the Musical Comedy Theater in Lviv, because such a method provides an opportunity to discover common and different features. The systematic approach allowed us to study this phenomenon comprehensively. The observation method, which was used for a comparative analysis of the activities of choreographers in the post-war years in Lviv with modern ballet activity, revealed the nature and inheritance of the traditions of musical theater. Conclusions. So, the dance became the main axis for the whole drama performance, on which interconnected episodes were strung together in pop and musical theaters. The introduction of choreography into theatrical performances by the choreographers released the energy, musicality, plasticity contained in it, and endowed the performance with dynamism. The dance introduced into the musical theater became the starting point for the use of dance in the cinema, avant-garde ballet, performances, installations and so on.All this was subtly felt and skillfully used in their activities by the choreographers of the Lviv Musical Comedy Theater O. Opanasenko, I. Brzhinsky, B. Tairov, N. Denson. It is pleasant to realize that the results of their activities and their choreographic inventions used in musical performances certainly found their response in the activities of theatrical choreographers of Ukraine in the modern environment. We consider the prospects for further research in the study of biographical facts from life, from the legacy of the work of choreographers of Lviv theaters of the 20-21 centuries. All this will provide an opportunity to determine the basis for the formation of the theater-choreographic school of Lviv in particular and Ukraine as a whole.

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Lkhagvasuren, Damdinsuren, and Batsaikhan Dashdondog. "On the issue of establishing the origins of the State Academic Opera and Ballet Theater." Mongolian Journal of Arts and Culture 25, no. 49 (December 27, 2024): 122–30. https://doi.org/10.69561/mjac.v25i49.3835.

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The State Central Theater, founded in 1931, was a traditional drama theater. In 1943, the theater was renamed the State Musical Drama Theater. In 1963, the party and government decided to reorganize the theater into two new professional theaters: the Opera and Ballet Theater and the Drama Theater, and the theater was divided into two independent theaters. The current Academic Opera and Ballet Theater (ADBOT) has been counting its age since 1963, which is a mistake. However, it is reasonable and historically significant to start counting its age from 1943, when the Musical Theater was founded. Улсын Дуурь бүжгийн эрдмийн театрын үүслийг тогтоох асуудалд Хураангуй: 1931 онд байгуулагдсан Улсын төв театр бол ший жүжгийн буюу драмын театр байв. 1943 оноос тус театрыг Улсын Хөгжимт драматик театр гэж нэрлэсэн. 1963 онд тус театрыг Опер-балетын театр, Драмын театр гэсэн мэргэжлийн хоёр театр болгон шинээр байгуулах нам засгийн шийдвэр гарч бие даасан хоёр театр болж салжээ. Одоогийн Улсын Дуурь бүжгийн эрдмийн театр 1963 оноос насжилтаа тоолж ирсэн нь учир дутагдалтай хэрэг. Харин Хөгжмийн театр үүссэн 1943 оноос насжилтаа тооцож эхлэх нь үндэслэлтэй, түүхэн ач холбогдолтой. Түлхүүр үгс: хөгжмийн театр, театрын төрсөн өдөр, опер балетын театр

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Breytburg, Kimol A. "Broadway musical commercial theater in the context of the socio-cultural environment of the 70s of the XX century." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 46 (2022): 182–95. http://dx.doi.org/10.17223/22220836/46/15.

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Broadway musicals created in the 70s of the XX century are a reflection of many socio-cultural phenomena taking place in the USA at that time. Their dynamic, originally formed musical dramaturgy, an appeal to topical topics consonant with the public consciousness of the era of the 70s, makes this period of development truly unique. The works created during these years by Stephen Sondheim, Stephen Schwartz, John Kander, Fred Ebb, Marvin Hamlisch, Edward Kleban greatly influenced the development of the musical genre, enriching it with new musical and dramatic techniques, a fundamentally new worldview for that time. The 70s of the XX century were the heyday of the creative work of musical theater di- © К.А. Брейтбург, 2022 rectors such as Harold Prince, Bob Foss, Jerome Robins, Michael Bennett, whose work revealed the musical and dramatic features of musicals, created an atmosphere and a unique charm of entertainment, but at the same time a special psychological depth, for which such musicals as “Chicago”, “Corps de Ballet”, “Company”, “Little Night Music” became famous. Commercial theater is also professional management and non-trivial production solutions that promote artistic works to the market. Perhaps because of this, these musicals have become beloved by a huge audience and iconic in the history of the genre as a whole. The 70s were especially difficult for the life survival of Broadway theaters, because the conditions of the economic crisis in the United States were increasing. Society, on the one hand, became more and more divided, on the other hand, various racial and gender minorities united, intensifying the struggle for their civil rights, the women's movement for equality was gaining more and more strength. Since its inception in the middle of the XIX century and up to the beginning of the XXI century, the Broadway musical has been and remains a vibrant, viable entertainment form. The musical as a kind of musical theater has endured devastating economic and political crises, radical shifts in public consciousness and the development of much more modern, less expensive and supported mass entertainment media with enviable resilience. This type of musical and scenic art continues to live and develop steadily, and in recent years its importance in social and cultural life and popularity among the general population, including in our country, has increased significantly. The stage American musical is a constantly adapting commercial musical and theatrical entertainment form, which is the product of a dynamically developing socio-cultural environment. It is impossible to separate the processes occurring in the genre-stylistic evolution of the musical from the economic, socio-political and social phenomena occurring at each individual historical stage of the development of society. That is why the materials presented in the article are interdisciplinary. They are connected not only with the musical as a kind of musical and scenic art, but, what is fundamentally important and new for this kind of research, with the socio-historical background that influenced the formation of certain trends in the development and formation of musical theater.

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Fulton, Patrick. "Musical Theater Songs." Music Reference Services Quarterly 19, no. 3-4 (October 2016): 238–41. http://dx.doi.org/10.1080/10588167.2016.1231483.

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Sajewski, Mallory. "Musical Theater Songs." Notes 73, no. 4 (2017): 764–65. http://dx.doi.org/10.1353/not.2017.0061.

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Rozprawy doktorskie na temat "Musical theater"

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Gallagher, Kelsey B. "So Much Better: A Lighting Design Approach for a Production of Legally Blonde: The Musical." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1555414324698267.

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Axtell, Katherine Leigh. "Maiden voyage : the genesis and reception of Show boat, 1926-1932 /." Digitized version, 2009. http://hdl.handle.net/1802/10968.

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Thesis (Ph. D)--University of Rochester, 2009.<br>Includes abstract and vita. Includes bibliographical references. Digitized version available online via the Sibley Music Library, Eastman School of Music http://hdl.handle.net/1802/10968

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Gordon, Wendy A. "The marriage of musical theater and the avant-garde: The musical theater of Tina Landau as experimental theater." Thesis, The University of Arizona, 2004. http://hdl.handle.net/10150/292018.

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Tina Landau's writing and directing work has gained increasing prominence over the last decade. She has made strides in both the experimental and the musical theater arenas, and her accomplishments in each are noteworthy independent of each other. However, her concurrent interest and success in both arenas, which are commonly viewed as quite disparate, make her work particularly interesting. These interests, which might seem incongruent, are actually interrelated; her work in one area influences her work in the other, a fact which is evident both in her rehearsal process and the end products. Her experimental work has a musical sensibility and her work in musical theater is quite experimental. This thesis examines works for which she was both writer and director as representative examples: 1969, Stonewall: Night Variations, Space, Floyd Collins and Dream True. Her amalgamated sensibility results in a directing style which serves contemporary musicals, particularly "smart musicals," well.

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Bidgood, Lee. "River Song (musical theater production)." Digital Commons @ East Tennessee State University, 2014. https://dc.etsu.edu/etsu-works/1049.

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Lentz, Cassandra Nicole. "The Scenic Design for a Production of Legally Blonde the Musical." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1555345046533812.

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Sugarbaker, Sarah. "Scenic design for the musical Godspell." Columbus, Ohio : Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1243614306.

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Nogar, Julianne K. "Costume Design and Production for Legally Blonde the Musical book by Heather Hach,Music and Lyrics by Nell Benjamin and Laurence O’Keefe." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1555364601372494.

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Wilson, Jarod Douglas. "A Lighting Design Process for a Production of Aida, with Music by Elton John and Lyrics by Tim Rice." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1306296781.

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Hoffman, Brian D. "Elements of the Musical Theater Style: 1950–2000." University of Cincinnati / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1307322562.

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Albawardy, Reema. "Costume Designs for "Urinetown| The Musical"." Thesis, The George Washington University, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1599645.

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<p> <i>Urinetown: The Musical</i> by Greg Kotis and Mark Hollman was produced by the Department of Theatre and Dance at George Washington University in the Fall of 2014. The show opened on October 30, 2014 at the Dorothy Betts Marvin Theatre, part of the George Washington University in Washington DC. It was directed by Muriel Von Villas along with costume designer Reema Albawardy, lighting designer Carl Gudenius, and set designer Kirk Kristlibas. This thesis explores the costume design process for <i>Urinetown: The Musical</i> and the challenges of working with a large cast and dealing with many quick changes.</p>

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Książki na temat "Musical theater"

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Allen, Cohen. Writing musical theater. New York, NY: Palgrave Macmillan, 2006.

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Cohen, Allen, and Steven L. Rosenhaus. Writing Musical Theater. New York: Palgrave Macmillan US, 2006. http://dx.doi.org/10.1007/978-1-137-04810-3.

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1948-, Walker Christine, ed. Wooleycat's musical theater. Santa Rosa, Calif: Tortuga Press, 2003.

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Len, Platt, ed. Musical theater and American culture. Westport, Conn: Praeger, 2003.

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Drone, Jeanette Marie. Musical theater synopses: An index. Lanham, Md: The Scarecrow Press, 1998.

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Alberto, Basso, ed. Musica in scena: Storia dello spettacolo musicale. Torino: Unione tipografico-editrice torinese, 1995.

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Chen, Bill. The musical. Alhambra, Calif: Heryin Books, Inc., 2013.

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Novak, Elaine Adams. Staging musical theatre. Cincinnati, Ohio: Betterway Books, 1996.

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Blumenfeld, Robert. Blumenfeld's dictionary of musical theater: Opera, operetta, musical comedy. New York: Limelight Editions, 2010.

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Hatta. Tun Perak: Sebuah teater semi musikal = a semi musical theatre. Kuala Lumpur: Istana Budaya, 2001.

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Części książek na temat "Musical theater"

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Cornelius, Steven, and Mary Natvig. "American Musical Theater." In Music a Social Experience, 209–27. Second edition. | New York ; London : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315222868-13.

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McGill, Craig M., Alan Chaffe, and Kyle Ross. "American Musical Theater." In The Routledge Handbook of LGBTQ Identity in Organizations and Society, 304–19. New York: Routledge, 2024. http://dx.doi.org/10.4324/9781003128151-24.

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Cornelius, Steven, and Mary Natvig. "American Musical Theater." In MusicA Social Experience, 239–58. 3rd ed. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003155812-15.

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Cohen, Allen, and Steven L. Rosenhaus. "Theater Basics." In Writing Musical Theater, 3–13. New York: Palgrave Macmillan US, 2006. http://dx.doi.org/10.1007/978-1-137-04810-3_1.

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"musical theatre | musical theater, n." In Oxford English Dictionary. 3rd ed. Oxford University Press, 2024. http://dx.doi.org/10.1093/oed/2449492728.

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Goldberg, Halina. "Musical Theater." In Music in Chopin's Warsaw, 217–53. Oxford University Press, 2008. http://dx.doi.org/10.1093/acprof:oso/9780195130737.003.0008.

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"Musical Theater." In The Musical, 23–76. Routledge, 2005. http://dx.doi.org/10.4324/9780203329764-6.

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"MUSICAL THEATER." In In Search of American Jewish Culture, 59–87. Brandeis University Press, 2014. http://dx.doi.org/10.2307/jj.3385960.6.

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McLamore, Alyson. "Whither Musical Theater?" In Musical Theater, 507–25. Routledge, 2017. http://dx.doi.org/10.4324/9781315563770-46.

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"Whither Musical Theater?" In Musical Theater, 310–12. Taylor & Francis, 2016. http://dx.doi.org/10.4324/9781315663517-50.

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Streszczenia konferencji na temat "Musical theater"

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Kusayanagi, Ai, and Keiji Iramina. "The Effect of Inclusive Musical Theater Based Intervention for Individuals with Neurodevelopmental Disabilities." In 2024 16th Biomedical Engineering International Conference (BMEiCON), 1–4. IEEE, 2024. https://doi.org/10.1109/bmeicon64021.2024.10896366.

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Kim, Hayoon, Ahyeon Choi, Sungho Lee, Hyun Jin Jung, and Kyogu Lee. "Emosical: An Emotion-Annotated Musical Theatre Dataset." In Findings of the Association for Computational Linguistics: EMNLP 2024, 4169–80. Stroudsburg, PA, USA: Association for Computational Linguistics, 2024. http://dx.doi.org/10.18653/v1/2024.findings-emnlp.241.

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Keefe, Amalie J., Zoë Sherpbier, Margaret Dion, Justin Kauff, and Blake Hament. "Exploring Dynamic Analysis of a Quadrupedal Mobile Robot Modified for Animatronic Entertainment in Musical Theatre Production." In 2025 Systems and Information Engineering Design Symposium (SIEDS), 467–72. IEEE, 2025. https://doi.org/10.1109/sieds65500.2025.11021214.

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Pavel, Tal. "CYBER STUDIES IN ROMANIA." In 11th SWS International Scientific Conferences on SOCIAL SCIENCES - ISCSS 2024, 143–54. SGEM WORLD SCIENCE, 2024. https://doi.org/10.35603/sws.iscss.2024/s02/08.

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There are many issues in cyberspace that have an impact on people and society overall in different ways, affecting all industries and nations. Part of what makes cyberspace so unique is how creatively it uses modern technologies. The research emphasises the need for a proliferation of cyber studies among academic institutions in Romania: The cyber domain is related to every area of our modern lives and affects them in an immediate and far-reaching way, being a space based on technology. Cyber programs should focus on Bachelor�s degrees to enable a broad and well-trained cyber Master students. Such programs should be part of a broader spectrum of academic institutions in Romania and in more cities, covering various themed academic institutions, including those that allegedly are not technology-oriented. Even though some academic institutions are specified on allegedly non-related cyber domains (Arts, Music, Theatre and Film, Sports, Religion, Agricultural Sciences and Veterinary and Healthcare), at least some of the others should have cyber-related programs, for example, Engineering, Urban, Petroleum- Gas, and even Healthcare. Due to the holistic nature of cyberspace, such cyber programs should not only be part of various academic institutions but also part of various faculties, and not necessarily the technology or economic-related faculties. Thus, dedicated programs must be established for cyber-related domains as part of multidisciplinary studies and in the faculties of Humanities and Social Sciences, where the emphasis will be placed on relevant aspects of cyberspace. Cyber studies at Romanian academic institutions need to take a more comprehensive approach, emphasizing that cyberspace is a far bigger topic that should be covered by every faculty and not just something connected to cybersecurity and technology

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Ivanova, K. S. "ORGANIZATION OF PUBLISHING ACTIVITIES IN REGIONAL THEATERS (ON THE EXAMPLE OF SIBERIAN THEATERS)." In ACTUAL PROBLEMS OF LINGUISTICS AND LITERARY STUDIES, 620–23. TSU Press, 2023. https://doi.org/10.17223/978-5-907572-02-7-2023-129.

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The organization of publishing activities in Siberian theaters is considered in the example of the Tomsk Drama Theater, the Novosibirsk Musical Theater, and the Seversky Musical Theater. The purpose is to review the editorial and publishing process in cultural institutions. The study reveals the theater as a special space engaged in the publication of printed products; there is a comparison of the theater with «small» publishing houses.

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Postolache, Inga. "Premises of the appearance of the Romanian musical: pages of history." In International scientific conference "Valorization and preservation by digitization of the collections of academic and traditional music from the Republic of Moldova". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2023. http://dx.doi.org/10.55383/ca.13.

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The musical is a genre of the musical theater of non-academic orientation, which syncretically combines literature, theater, music, dance, scenography, light design, thus creating a show for audiences of all ages. The purpose of the article is to analyze the premises of the appearance of the musical on the Romanian stage, as well as to reveal the first attempts to create the national musical.

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Koroliova, Elfrida. "The book on theater – an element of cultural heritage." In Simpozionul Național de Studii Culturale, Ediția a 2-a. Institute of Cultural Heritage, Republic of Moldova, 2022. http://dx.doi.org/10.52603/9789975352147.07.

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The article “The book on theater – an element of cultural heritage” includes publications on Moldovan Drama Theater, from the late 60s of the XX century to the 20s of the XXI century. Books signed by D. Prilepov, L. Cemortan, E. Coroliova, N. Bătrânu, V. Tăzlăuanu, N. Rojkovskaia, B. Zavatin, P. Proca, P. Pelin, A. Manoil, A. Ghilaș, A. Roșca, I. Nechit, L. Ungureanu, V. Fedorenco, T. Kotovici and others analyze the evolution processes of the Moldovan theater during the decades, of personalities – directors, actors, who worked in the theaters of the republic “Mihai Eminescu” National Theater, “Luceafărul” Theater, “B. P. Hasdeu” Musical-Dramatic Theater in Cahul, “Vasile Alecsandri” National Theater from Bălți, etc.

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Ermicioi, Nina, and Svetlana Tartau. "The means of expression and the essential techniques of the asian theater as components of the performance on the european stage (end of the 20th century - beginning of the 21st century)." In „Cultura şi arta: cercetare, valorificare, promovare”, conferinţă ştiinţifică naţională, 78–86. Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2025. https://doi.org/10.55383/ca2025.10.

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The subject of this article represents the study on the means of expression and essential techniques of the Asian theater which can be found in the performances of Peter Brook, Ariane Mnouchkine, in the dramatic shows of Robert Lepage, as well as in the productions of other theater directors of the late 20th - early 21st centuries. Aiming to intensify the dramatic effect, these directors introduce into the sphere of modern European theater techniques characteristic of Eastern theatre art such as pantomime, mask, ritual, different ways of the actor’s walking on stage, and the use of specific musical instruments. This study highlights the existing link between the tradition of Oriental theater and the innovations within the contemporary European theater. As a result of the intersection with Indian, Japanese and Chinese stage practices, the spectacular intensity of the European directorial product has been significantly transformed.

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Lee, YeaJi, Ariana Wyatt, Jiayuan Dong, Tanner Upthegrove, Brandon Hale, Chelsea H. Lyles, Koeun Choi, et al. "Robot Musical Theater for Climate Change Education." In 2022 17th ACM/IEEE International Conference on Human-Robot Interaction (HRI). IEEE, 2022. http://dx.doi.org/10.1109/hri53351.2022.9889644.

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Mardari, Elena. "Vlad Burlea – portrait of creation." In International scientific conference "Valorization and preservation by digitization of the collections of academic and traditional music from the Republic of Moldova". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2023. http://dx.doi.org/10.55383/ca.05.

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Vlad Burlea is a prominent personality of the local musical culture. He is prodigiously active in the field of musical creation, signing works of great artistic value. He is involved in the musical life of the Republic, both by organizing various events, concerts, and directly participating in them. He manifests himself prodigiously in the sphere of musical pedagogy, educating generations of young musicians within the Ștefan Neaga Center of Excellence in Artistic Education and the Academy of Music, Theater and Fine Arts. The works of composer Vlad Burlea are successfully performed in concert halls in our country and abroad. The prestigious New Music Days International Festival organized annually in Chisinau has an important role in revealing the musical personality of maestro Vlad Burlea and his manner of composing.

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Raporty organizacyjne na temat "Musical theater"

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Dairianathan, Eugene, Larry Francis Hilarian, Peter Stead, Chee Hoo Lum, and Hoon Hong Ng. Learning through popular music, lessons for the general music programme syllabus in Singapore. National Institute of Education, Nanyang Technological University, Singapore, 2024. https://doi.org/10.32658/10497/27422.

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This project sought to investigate the identity, role and function of popular music within classroom-based education in Singapore. Popular music is characterised by: (i) lnterdisclplinarity (music, dance, poetry, theatre, etc); (ii) It suffuses the lives of school-going youth in their out-of-school curriculum. (iii) Skill acquisition is frequently gained through more informal learning than is usual in institutional settings (Green, 2002). (iv) Participation in popular music by various communities seems to cut across ethnic, religious and age boundaries, which makes popular music participation an interesting study in social integration. (v) Engaging in popular music potentially provides students life-long engagement The impact of popular music in the classroom has not been fully explored. Creating, performing and responding to popular music genres arguably act as an apt medium of and for self expression considering the complex nature of an ever-shifting demographic mix and strategies to bring about more effective social integration across communities-of-practice (Wenger 1998) engaging the later cosmopolitan society in Singapore. The GMP (2008) document supports the value of popular music beginning with musical skills of composing, improvising and recreating extending to identity formation and multiplicity in identity negotiation in group dynamics (MOE 2008, pp. 7-10). Current broader educational aims are to develop creative, imaginative and socio-culturally well-tempered individuals and popular music has an important educational role to play in this respect. Dairianathan and Lum (2010) have discovered how popular musics re/iterate their place in the music curriculum for music as lived and living space. Secondary factors crucial to this research are: (a) to examine the place of popular music in local public and international schools across Singapore, (b) to draw out the intrinsic and extrinsic motivations for school-going youth to be engaged in popular music and (c) to critically examine popular music immersion in relation to the objectives established in the GMP syllabus (MOE 2008).

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

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

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Kerrigan, Susan, Phillip McIntyre, and Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Bendigo. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.206968.

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Bendigo, where the traditional owners are the Dja Dja Wurrung people, has capitalised on its European historical roots. Its striking architecture owes much to its Gold Rush past which has also given it a diverse cultural heritage. The creative industries, while not well recognised as such, contribute well to the local economy. The many festivals, museums and library exhibitions attract visitors from the metropolitan centre of Victoria especially. The Bendigo Creative Industries Hub was a local council initiative while the Ulumbarra Theatre is located within the City’s 1860’s Sandhurst Gaol. Many festivals keep the city culturally active and are supported by organisations such as Bendigo Bank. The Bendigo Writers Festival, the Bendigo Queer Film Festival, The Bendigo Invention & Innovation Festival, Groovin the Moo and the Bendigo Blues and Roots Music Festival are well established within the community. A regional accelerator and Tech School at La Trobe University are touted as models for other regional Victorian cities. The city has a range of high quality design agencies, while the software and digital content sector is growing with embeddeds working in agriculture and information management systems. Employment in Film, TV and Radio and Visual Arts has remained steady in Bendigo for a decade while the Music and Performing Arts sector grew quite well over the same period.

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Study of Social Entrepreneurship and Innovation Ecosystems in the Latin American Pacific Alliance Countries: Case Study: La Tarumba, Peru. Inter-American Development Bank, July 2016. http://dx.doi.org/10.18235/0009335.

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This report sets out to present some of the highlights from a more in depth study carried out on social entrepreneurship and innovation ecosystems in Peru, presenting the case study of La Tarumba. La Tarumba trains young people in life-skills through theater, circus and music, to improve their employability, leadership skills self esteem, creativity and social inclusion.

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