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Готові списки джерел за темами / DAH Theatre

Добірка наукової літератури з теми "DAH Theatre"

Автор: Grafiati

Опубліковано: 10 січня 2023

Оновлено: 28 січня 2023

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Зміст

Статті в журналах
Дисертації
Книги
Частини книг
Тези доповідей конференцій

Статті в журналах з теми "DAH Theatre":

1

Vidal, C. Drew. "DAH Theatre: A Sourcebook ed. by Dennis Barnett." Theatre History Studies 37, no. 1 (2018): 349–51. http://dx.doi.org/10.1353/ths.2018.0028.

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2

Ristić, Maja. "Culture of resistance: The theatre that changes the world." Kultura, no. 169 (2020): 234–48. http://dx.doi.org/10.5937/kultura2069234r.

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The main goal of this paper is to point out the power of the alternative and independent theatre in changing society, based on the scientific research of prof, dr Milena Dragićević-Šešić. The first part of the paper offers deliberations on the theories of reflection and shaping of Victoria de Alexander, according to which art and theatre always reflect social events. In the second part of the paper, we will analyse the work of independent theatre troupes (Dah teatar, Mim Art.) during the nineties, and their resistance to the regime of Slobodan Milošević - a significant contribution to the struggle for freedom of thought and the right of every human being to take to the streets freely. And the streets were indeed cordoned by police during the student and civil protests. This paper wants to point out the importance of the applied theatre for spreading of culture and the influence of the theatre on the audiences. The work was written based on the sociological theories of art of Victoria de Alexander, the theory of applied theatre by August Boal, and also the studies of dr Milena Dragićević Šešić: Art and Alternative, Culture of Resistance and Indian Theatre.

3

Johnson, Marlene. "Double Directions in Serbia and Greece: Blending the Methods of the DAH Theatre and Frankie Armstrong." Voice and Speech Review 7, no. 1 (January 2011): 113–20. http://dx.doi.org/10.1080/23268263.2011.10739530.

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4

Guini, Eleni. "TEATRO POSDRAMÁTICO EN TIEMPOS DE CRISIS: TRES EJEMPLOS DE TEATRO DOCUMENTO Y TEATRO DE CREACIÓN." Acotaciones. Revista de Investigación y Creación Teatral 1, no. 46 (June 29, 2021): 71–101. http://dx.doi.org/10.32621/acotaciones.2021.46.03.

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En el período que nos ocupa —desde 2010 hasta la actuali-dad— caracterizado como una época de crisis que todavía no ha aca-bado, debemos reflexionar sobre cómo se involucra el teatro en la crisis y actúa en paralelo, al emitir juicios, plantear preguntas y mantener un diálogo con la sociedad. El presente ensayo analiza tres creaciones tea-trales que presentan su trabajo en la escena griega y europea y que han obtenido un notable éxito. La elección del dúo de directores Azás -Tsini-coris, el grupo Station Athens de Marcopulu y el grupo Blitz, respondió a dos consideraciones: por un lado, su temática, que expone puntos co-munes como la emigración, la xenofobia, la violencia y la melancolía pro-vocada por la resistencia a un mundo cruel, y, por otro lado, sus textos, que proceden de la ficción y el documental, y que son fruto de la labor común de todo el grupo. La intertextualidad, la alegoría y el realismo del formato como documento, componen representaciones vertebradas, road movies sin desplazamiento, relatos tragicómicos de la violencia de los siglos XX y XXI, versiones de canciones con guiños bien reconocibles a la coyuntura de crisis actual. Actores amateurs y profesionales, inmi-grantes, ciudadanos de la calle, directores que cuentan con la tecnología como coprotagonista, transforman experiencias e ideas en un fecundo género metateatral.

5

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

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

6

Bahun, Sanja. "Beyond good and evil? Popular songs, mathemes and bus rides (art and transition in the region of the former Yugoslavia)." Media, War & Conflict 13, no. 1 (August 7, 2019): 70–87. http://dx.doi.org/10.1177/1750635219866969.

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Art production and art reception play a vital role in transitional societies. However, their actual operation and patterns of impact often appear ‘messy’ to those who use and evaluate art in transitional contexts: an artwork can serve as a catalyst for peace building and transitional justice processes, but it can also obstruct such processes, or impart ambiguous meanings to them; and its modes of operation (including the art producers’ awareness of their role in transitional justice processes), its reception trends and its influence on transitional society all vary over time. Framed by transitional justice theory and an interdisciplinary approach that incorporates the insights of psychosocial cultural studies, comparative arts and the phenomenology of embodiment, this article scrutinizes this ambivalent operation in relation to the fluctuating sphere of reception in the region of the former Yugoslavia since the establishment of the International Criminal Tribunal for the former Yugoslavia (ICTY) in 1993. The author juxtaposes art practices widely different in terms of expression, format, scope, reach and ambition, but comparable insofar as they all operate in the ‘open’ and appeal to senses and repetition engagement to create patterns of affiliation. These include various types of popular music (turbo-folk, rock, hip-hop, soft pop) and the public intervention activities of the Serbian DAH Theatre and pan-regional art and theory collective Monument Group. The article argues for the development of hermeneutic and axiological thinking that befits the complex functioning of art in transition: nuanced and multilevelled, challenging inherited hierarchies and paradigms while appreciating the prolonged life/impact of art practices and the sensorial, cognitive and ideological variation in their reception. It proposes moving beyond the binary assessments and adopting a more dynamic approach to the evaluation of artworks in transition for the benefit of both scholars and practitioners in the field.

7

Sutton, Timothy. "Avatar, Tar Sands, and Dad." International Review of Qualitative Research 11, no. 2 (May 2018): 178–97. http://dx.doi.org/10.1525/irqr.2018.11.2.178.

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This is an (auto)ethnographic performance inspired by a conversation with my father while leaving the theater after watching Avatar back in 2009. It is intended to be performed as readers’ theater. In it, I examine the role anthropology plays in the performance of imperialist nostalgia across the stories of James Cameron's film Avatar, Ursula K. Le Guin's novella The Word for World Is Forest, and Theodora Kroeber's Ishi in Two Worlds: A Biography of the Last Wild Indian in North America. I see a performance of alternative possibilities in Le Guin's utopian speculative fiction and in recent Indigenous-led activism opposing megaresource extraction projects such as Alberta's tar sands and the pipelines that snake out from it.

8

YEGANEH, FARAH. "Iranian Theatre Festivalized." Theatre Research International 30, no. 3 (October 2005): 274–83. http://dx.doi.org/10.1017/s0307883305001525.

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This article explores contemporary Iranian theatre festivals and their relation to the whole structure of theatrical playing in the country. It examines in particular the role of the most important decision-making centre for theatre and theatre festivals: the Dramatic Arts Centre (DAC), the theatrical branch of the Ministry of Culture. The main framework of the article is based on Willmar Sauter's model of the theatrical event. Two of his four elements have been selected to develop the concept of festivals as theatrical events. The section titled ‘Organization and cultural context’ will discuss the organizational structure of festivals; and the section ‘Contextual theatricality’ will analyse the framework of the festival culture. Some fifty festivals and mini-festivals are held annually throughout the whole country. They are categorized in the article according to their genre: international, national, regional and community.

9

Biberstein, Sandra. "The Communitas of Mourning: Women in Black and Dah Teatar between War protest and Theater." Pamiętnik Teatralny 70, no. 3 (October 13, 2021): 99–121. http://dx.doi.org/10.36744/pt.838.

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In wartime and post-war situations, the opposition of friend and enemy—based on national divisions—often condemns the dead “enemies” to be ungrievable. To grieve for the excluded others in such times means to break with the friend-enemy opposition. This article examines how the friend-enemy opposition is broken in the case of the actions of Women in Black and Dah Teatar in the context of the civil war in Yugoslavia. By analyzing the vigils of Žene u crnom (Women in Black) in Belgrade and the play Priča o čaju (The Story of Tea) by Dah Teatar, the author discusses the particular strategies through which grief was made possible beyond the friend-enemy opposition and how these strategies open a communitas of mourning. The term “communitas of mourning” refers to the concept of grievability, proposed by Judith Butler in Frames of War.

10

Biberstein, Sandra. "The Communitas of Mourning: Women in Black and Dah Teatar between War protest and Theater." Pamiętnik Teatralny 70, no. 3 (October 13, 2021): 99–121. http://dx.doi.org/10.36744/pt.838.

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In wartime and post-war situations, the opposition of friend and enemy—based on national divisions—often condemns the dead “enemies” to be ungrievable. To grieve for the excluded others in such times means to break with the friend-enemy opposition. This article examines how the friend-enemy opposition is broken in the case of the actions of Women in Black and Dah Teatar in the context of the civil war in Yugoslavia. By analyzing the vigils of Žene u crnom (Women in Black) in Belgrade and the play Priča o čaju (The Story of Tea) by Dah Teatar, the author discusses the particular strategies through which grief was made possible beyond the friend-enemy opposition and how these strategies open a communitas of mourning. The term “communitas of mourning” refers to the concept of grievability, proposed by Judith Butler in Frames of War.

Більше джерел

Дисертації з теми "DAH Theatre":

1

Friedlander, Lauren. ""Spending the day in front of the mirror"." Oberlin College Honors Theses / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1305644057.

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2

Przytulski, Gerhard. ""Die wahre Wiege unseres modernen Theaters" religiöse Elemente im Theater Max Reinhardts /." Trier : WVT, Wissenschaftlicher Verlag Trier, 2004. http://catalogue.bnf.fr/ark:/12148/cb39946364h.

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3

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

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4

Lindenberg, Vita. "Das Repertoire des Rigaer Operntheaters in den 60er Jahren des 19. Jahrhunderts." Universitätsbibliothek Leipzig, 2017. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-220937.

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Als Richard Wagner in Riga an seiner ersten großen Oper Rienzi arbeitete, war er der Ansicht, daß hier keine Möglichkeit bestehe, ein Bühnenwerk von solchen Anforderungen aufzuführen. Das Stadttheater, in dem von 1782 Opern- und Theatervorstellungen stattfanden, war seiner Meinung nach nicht geeignet, die "große tragische Oper", die zweifelsohne entscheidende Anklänge an die Große Oper Spontinis und Meyerbeers aufwies, aufzuführen. Lag es an der Räumlichkeit des Gebäudes oder spielten da andere Tatsachen ihre Rolle?

5

Zurn, Elizabeth. "Celebration and Criticism: The State of Present Day Scholarship on Community-based Performance." Bowling Green, Ohio : Bowling Green State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1241034400.

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6

Bauer-Hsieh, Li-yun. "Das Theater auf dem Dach : figuraler Dachschmuck in der südchinesischen Tempelbaukunst /." Köln : [s.n.], 2003. http://catalogue.bnf.fr/ark:/12148/cb39911916g.

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7

Andraschke, Peter. "Das Theaterleben in Bielitz in der Zeit der Habsburger Monarchie." Universitätsbibliothek Leipzig, 2017. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-222065.

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8

Jaeger, Dagmar. "Theater im Medienzeitalter : das postdramatische Theater von Elfriede Jelinek und Heiner Müller." Bielefeld Aisthesis-Verl, 2007. http://bvbr.bib-bvb.de:8991/F?func=service&docl̲ibrary=BVB01&docn̲umber=015646186&linen̲umber=0002&funcc̲ode=DBR̲ECORDS&servicet̲ype=MEDIA.

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9

Kuret, Primož. "Das Ständische Theater in Ljubljana / Laibach." Universitätsbibliothek Leipzig, 2017. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-222196.

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In meinem Beitrag werde ich mich hauptsächlich auf die italienische Oper in Ljubljana konzentrieren, obwohl auch deutsche Theatergruppen, die ich am Rande erwähnen werde, ebenfalls interessante Opernvorstellungen in dieser Zeit nach Ljubljana gebracht haben.

10

Radcliffe, Caroline. "Dan Leno : cultural hegemony in the Victorian popular theatre." Thesis, Royal Holloway, University of London, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.423154.

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Книги з теми "DAH Theatre":

1

Ke, Xiaowei. Dang dai Beijing ju chang ying yuan shi hua. 8th ed. Beijing: Dang dai Zhongguo chu ban she, 2010.

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2

Sordini, Tina. La storia del teatro a Campello sul Clitunno: Dal "Teatrino della contessa" all'Auditorium. Perugia: Edizioni Era nuova, 2015.

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3

Barbaranelli, Fabrizio. Civitavecchia e il teatro: Rappresentazioni e teatri dal XVIII secolo ad oggi. Roma: Gangemi editore SpA international publishing, 2015.

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4

italiano, Ente teatrale. Minima theatralia: Dai piccoli teatri storici nell'Italia centrale : prospettive e strategie per una politica culturale nazionale. Corazzano (Pisa): Titivillus, 2000.

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5

Barba, Eugenio. Prediche dal giardino. Mondaino: L'arboreto, 2010.

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6

Duibhne, Cormac Ó. The Field Day archive. Dublin: Field Day Publications, 2007.

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7

Richtarik, Marilynn J. Acting between the lines: The Field Day Theatre Company and Irish cultural politics, 1980-1984. Washington, D.C: Catholic University of America Press, 2001.

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8

Richtarik, Marilynn J. Acting between the lines: The Field Day Theatre Company and Irish cultural politics, 1980-1984. Oxford: Clarendon Press, 1994.

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9

Lü, Lizheng. Bu dai xi bi ji. Taibei Xian Banqiao Shi: Taiwan feng wu za zhi she, 1991.

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10

Yang, Sihao. Cangnan dan dang bu dai xi. 8th ed. Hangzhou Shi: Zhejiang she ying chu ban she, 2014.

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Частини книг з теми "DAH Theatre":

1

Milošević, Dijana. "Dah Theatre." In The Twenty-First Century Performance Reader, 160–65. Abingdon, Oxon; NewYork, NY: Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9780429283956-21.

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2

Barnett, Dennis. "Racial Nationalism and the Serbian Theatre: From Radovan III to DAH." In The Palgrave Handbook of Theatre and Race, 159–76. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-43957-6_9.

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3

Simić, Olivera, and Dijana Milošević. "Enacting Justice: The Role of Dah Theatre Company in Transitional Justice Processes in Serbia and Beyond." In The Arts of Transitional Justice, 99–112. New York, NY: Springer New York, 2013. http://dx.doi.org/10.1007/978-1-4614-8385-4_6.

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4

Meyer, Rainer-Peter, and Bruno Brantschen. "„Operating theatre“ – Das „Theater“ rund um den Operationssaal." In 50 Jahre Orthopädisch-Traumatologische Chirurgie, 61–79. Berlin, Heidelberg: Springer Berlin Heidelberg, 2018. http://dx.doi.org/10.1007/978-3-662-57735-6_5.

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5

Burghardt, Charlotte. "Stadt- und Staatstheater in Bewegung? Zur Rolle von öffentlich subventionierten Theatern in der Stadtgesellschaft und den veränderten Erwartungen des Publikums." In Cultural Governance, 261–77. Wiesbaden: Springer Fachmedien Wiesbaden, 2021. http://dx.doi.org/10.1007/978-3-658-32159-8_19.

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Анотація:

ZusammenfassungAngesichts einer vielfältiger werdenden Gesellschaft und gleichzeitig stetig rückläufiger Besuchszahlen stellt sich die Frage, welche Bedeutung Theater in der Stadtgesellschaft haben. Wer ist der Motor für mögliche Veränderungen in den Häusern und welche Erwartungen und Wünsche richtet das Publikum an seine Theater? Anhand von qualitativen Interviews mit Mitarbeitenden aus denStädtischen Theatern Chemnitz,demTheater für Niedersachsenin Hildesheim und demMaxim Gorki Theaterin Berlin und unterstützt durch eine Spielzeitanalyse, beleuchtet dieser Beitrag die Binnenperspektive der Theater.

6

White, Lydia J. "Der Abbau des Theaters/das Theater des Abbaus." In Theater des Exils: Bertolt Brechts „Der Messingkauf“, 199–220. Stuttgart: J.B. Metzler, 2019. http://dx.doi.org/10.1007/978-3-476-04989-6_7.

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7

Kalu, Joy Kristin. "Das implizite Publikum." In Theater, 77–86. Bielefeld, Germany: transcript Verlag, 2022. http://dx.doi.org/10.14361/9783839455531-005.

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8

Abfalter, Dagmar. "Das (Musik)-Theater." In Das Unmessbare messen?, 91–125. Wiesbaden: VS Verlag für Sozialwissenschaften, 2010. http://dx.doi.org/10.1007/978-3-531-92163-1_3.

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9

Koopmann, Helmut. "Deutsches Theater / Über das deutsche Theater." In Goethe Handbuch, 541–43. Stuttgart: J.B. Metzler, 1997. http://dx.doi.org/10.1007/978-3-476-03654-4_29.

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10

Kappeler, Annette, and Raphaël Bortolotti. "Machinati Progetti. Das Theater Feltre im Risorgimento." In Theater, 57–78. Bielefeld, Germany: transcript Verlag, 2022. http://dx.doi.org/10.14361/9783839453148-004.

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Тези доповідей конференцій з теми "DAH Theatre":

1

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

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

2

Novello, Giuseppa, and Maurizio Marco Bocconcino. "Dal Theatrum Sabaudiae: disegni di fortificazioni nelle raffigurazioni celebrative di una dinastia." In FORTMED2020 - Defensive Architecture of the Mediterranean. Valencia: Universitat Politàcnica de València, 2020. http://dx.doi.org/10.4995/fortmed2020.2020.11522.

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From the Theatrum Sabaudiae: drawings of fortifications in celebratory representations of a dynastyIn order to make the lands and places of their possessions known to European courts and communities, first Duke Carlo Emanuele II of Savoy (1634-1675) and then the Duchess Regent Maria Giovanna Battista of Savoy Nemours (1644-1724) published in 1682, in Amsterdam, at the printing works founded by the publisher and cartographer Joan Blaeu (1596-1673), the publication Theatrum Statuum Regiae Celsitudinis Sabaudiae Ducis, Pedemontii Principis, Cypri Regis. The contribution extracts and comments the graphic transcription made to represent the fortifications depicted in the views, comparing within synoptic paintings divided by theme or components, the recurrent codes of an iconographic nature contained in the one hundred and forty-five plates.

3

Creger, C. Cliff. "THE ENVIRONMENTAL THEATER AND THE HUMBOLDT RIVER SEDIMENTS AT THE IRISH-AMERICAN DAM." In GSA 2020 Connects Online. Geological Society of America, 2020. http://dx.doi.org/10.1130/abs/2020am-357599.

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4

Fernando Lopes Vieira Pinto, Levi. "O Cine-Theatro Educativo na Academia de Comércio Saldanha Marinho." In 30º Encontro Nacional da ANPAP - (RE)EXISTÊNCIAS. ,: Even3, 2022. http://dx.doi.org/10.29327/30enanpap2021.382581.

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Carpenter, Ciara, Ian Parkinson, Liz Brewster, and Gill Vince. "SC14 ‘human factors day’: ward simulation for developing medical students’ non-technical skills." In Abstracts of the Association for Simulated Practice in Healthcare 9th Annual Conference, 13th to 15th November 2018, Southport Theatre and Convention Centre, UK. The Association for Simulated Practice in Healthcare, 2018. http://dx.doi.org/10.1136/bmjstel-2018-aspihconf.38.

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Chandnasaro, Dharakorn. "The Series of Archaeological Dance: A Historical Study and Dance Move Recording with Labanotation | ระบำ􀄕ชุดโบร􀄕ณคดี: ก􀄕รศึกษ􀄕เชิงประวัติศ􀄕สตร์ และก􀄕รบันทึกท่􀄕ร 􀄕ด้วยล􀄕บ􀄕นโนเทชัน". У The SEAMEO SPAFA International Conference on Southeast Asian Archaeology and Fine Arts (SPAFACON2021). SEAMEO SPAFA, 2021. http://dx.doi.org/10.26721/spafa.pqcnu8815a-26.

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The Series of Archaeological Dances is a creative work of Thai dance inspired by information and evidence of ancient antiquities and sites discovered in Thailand to make the archaeological evidence found to be alive again in the form of Thai theatre and dance. The name of the historical period of art identified by the scholars are used to define the names of five performance of the Archaeological Dances, namely, Dvāravatī Dance, Srīvijaya Dance, Lopburi Dance, Chiang Saen Dance, and Sukhothai Dance. Each performance has its own unique style with no related content to each other. This series of dances were premiered on 25 May 1967, in front of King Rama IX and Queen Sirikit. Regarding to the movement of the body, there is unique identity that reflects the ethnicity of the area and the civilization from the land where the archaeological evidence of each era was discovered. They were created according to the imagination of the choreographers of the dance posture. In addition, The Series of Archaeological Dances are popularly performed on various occasions continuously until present day. ระบ􀄬ำชุดโบรำณคดี เป็นผลงำนสร้ำงสรรค์ด้ำนนำฏศิลป์ของประเทศไทยที่ได้รับแรงบันดำลใจจำกข้อมูลและหลัก ฐำนด้ำนศิลปะโบรำณวัตถุสถำนที่ถูกค้นพบได้ในพื้นที่ประเทศไทย เพื่อต้องกำรให้หลักฐำนโบรำณคดีที่ค้นพบได้ กลับมำมีชีวิตชีวำอีกครั้งในรูปแบบของนำฏศิลป์ โดยใช้ชื่อยุคสมัยทำงศิลปะที่นักวิชำกำรประวัติศำสตร์ระบุไว้ มำ ก􀄬ำหนดเป็นชื่อของกำรแสดงจ􀄬ำนวน 5 ชุด คือ ระบ􀄬ำทวำรวดี ระบ􀄬ำศรีวิชัย ระบ􀄬ำลพบุรี ระบ􀄬ำเชียงแสน และระบ􀄬ำ สุโขทัย กำรแสดงแต่ละชุดเป็นลักษณะแบบเอกเทศ ไม่มีเนื้อหำเกี่ยวข้องกัน จัดแสดงรอบปฐมทัศน์เมื่อวันที่ 25 พฤษภำคม พ.ศ. 2510 ต่อหน้ำพระที่นั่งของในหลวงรัชกำลที่ 9 และพระรำชินีในรัชกำลที่ 9 ในด้ำนกำรเคลื่อนไหว ร่ำงกำยมีเอกลักษณ์ที่สะท้อนควำมเป็นชำติพันธุ์ของพื้นที่และอำรยธรรมดินแดนที่ค้นพบหลักฐำนโบรำณคดีแต่ละ ยุคสมัย ซึ่งใช้รูปแบบกำรสร้ำงสรรค์ของนำฏศิลป์ไทยตำมจินตนำกำรของผู้ประดิษฐ์ท่ำร􀄬ำ นอกจำกนี้ระบ􀄬ำชุด โบรำณคดีได้รับควำมนิยมในกำรจัดแสดงอย่ำงต่อเนื่องในวำระต่ำง ๆ มำจนถึงปัจจุบัน

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Araripe, Celso, Eliane Hocayen de Paula, and Cla´udio Serricchio. "A New Approach to Work Safety Awareness for Pipeline Construction Workers." In 2008 7th International Pipeline Conference. ASMEDC, 2008. http://dx.doi.org/10.1115/ipc2008-64132.

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One of the greatest difficulties faced by Work Safety teams is keeping workers committed to and focused on safety practices in their day-to-day work. With time, the worker tends to become accustomed to the way safety information is fed to him and he becomes indifferent, allowing lapses that can result in incidents and/or accidents. In order to break the routine that provokes such lapses, PETROBRAS/ENGENHARIA/IEDT developed the HSE (Health, Safety and Environment) MOBILE project, using educational-and-artistic tools for training in the field; a much more enticing method than conventional presentations in training rooms. The dynamic approach includes 15-minute theater-and-video presentations at the worksite and conveys messages of awareness and prevention related to Health, Safety and Environment – HSE. The goal: encouraging workers’ attentiveness and commitment to safety practices. The HSE MOBILE project aims to prevent lapses of safety practices and to reduce the number of incidents and accidents through the use of HSE points considered priority for the construction of pipelines. An analysis of the performance record in HSE shows that the Mobile HSE project has two distinct benefits. It improves behavior and attitude in the field, by increasing the perception of risk and recognizing work safety. It also produces positive results in audits by reducing the number of accidents.

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Panaita, Elena. "Realidade atípica: Explorando os potenciais narrativos de um ambiente envolvente." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.169.g245.

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Esta pesquisa considera como um contador de histórias pode empregar a realidade virtual (RV) na criação de uma narrativa imersiva que comunica uma experiência de consciência tanto consciente quanto atípica (experiência de quase morte). Como foi demonstrado que a RV aumenta os níveis de empatia no jornalismo, o estudo visa aproveitar seu potencial na criação de uma nova forma de narrativa em quadrinhos. O romance orquestra imagens, palavras, espaço, tempo, som, imersão e interação dentro do espaço tridimensional de 360 graus para atingir um nível aprimorado de empatia com o leitor. Como uma investigação artística, o estudo emana de um paradigma pós-positivista e o projeto de pesquisa emprega uma autoetnografia apoiada em uma investigação heurística. A autoetnografia combina diferentes aspectos da etnografia e autobiografia e explora experiências pessoais em conexão com outras pessoas. Ele usa a autorreflexão como um meio de compreender uma gama mais ampla de condições sociais, históricas, culturais e políticas. Atualmente, a RV está mudando a maneira como contamos e “lemos” histórias. Nesse reino, um espectador pode se tornar uma testemunha “dentro” de uma história e obter uma perspectiva especial e subjetiva de primeira mão, em vez de uma visão de terceira pessoa. Para transmitir a experiência de quase-morte, este projeto usa a desvantagem inerente da realidade virtual como uma vantagem, permitindo ao espectador estar presente em uma cena e ao mesmo tempo não ter um corpo físico, para mostrar como seria a sensação de ter uma experiência corporal exterior. O estudo utiliza uma nova forma de contar histórias, em que a tecnologia RV é usada para aumentar a sensação de imersão e resposta empática. Busca criar um ambiente imersivo e detalhado, que permite ao leitor estar tanto dentro do pensamento quanto do mundo de um personagem. Usando o Oculus Quill para produzir as imagens, fui capaz de ilustrar e animar o material dentro do espaço virtual. Esta abordagem difere das experiências 3D convencionais porque o trabalho é completamente renderizado dentro da RV. Desenhar em RV pode ser relativamente desafiador, porque o processo induz enjoo de movimento (ou ciberenjoo) e fadiga ocular, dores de cabeça, tontura, desorientação, desconforto oculomotor e náusea (variando de níveis baixos a graves). Considerando que desenhar dentro da RV geralmente requer dimensionar imagens para cima ou para baixo, passando por paredes e pisos ou invertendo o ambiente, a recuperação de períodos de imersão pode variar de horas a dias. Somente com o tempo ocorre a adaptação ao meio ambiente. O design enfrentou um desafio adicional relacionado à otimização do tamanho do arquivo e sua complexidade. Isto ocorre porque a tecnologia ainda está em desenvolvimento, e para que o trabalho seja carregado no Quill Theatre, o arquivo só pode ter um número limitado de triângulos e desenhar chamadas. Esta limitação restringe o visual RV porque o design requer formas simplificadas e animação.