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theatre</title> <meta name="description" content="Search results for: folk theatre"> <meta name="keywords" content="folk theatre"> <meta name="viewport" content="width=device-width, initial-scale=1, minimum-scale=1, maximum-scale=1, user-scalable=no"> <meta charset="utf-8"> <link href="https://cdn.waset.org/favicon.ico" type="image/x-icon" rel="shortcut icon"> <link href="https://cdn.waset.org/static/plugins/bootstrap-4.2.1/css/bootstrap.min.css" rel="stylesheet"> <link href="https://cdn.waset.org/static/plugins/fontawesome/css/all.min.css" rel="stylesheet"> <link href="https://cdn.waset.org/static/css/site.css?v=150220211555" rel="stylesheet"> </head> <body> <header> <div class="container"> <nav class="navbar navbar-expand-lg navbar-light"> <a class="navbar-brand" href="https://waset.org"> <img src="https://cdn.waset.org/static/images/wasetc.png" alt="Open Science Research Excellence" title="Open Science Research Excellence" /> </a> <button class="d-block d-lg-none navbar-toggler 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id="custom-search-input"> <div class="input-group"> <i class="fas fa-search"></i> <input type="text" class="search-query" name="q" placeholder="Author, Title, Abstract, Keywords" value="folk theatre"> <input type="submit" class="btn_search" value="Search"> </div> </div> </form> </div> </div> <div class="row mt-3"> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Commenced</strong> in January 2007</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Frequency:</strong> Monthly</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Edition:</strong> International</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Paper Count:</strong> 278</div> </div> </div> </div> <h1 class="mt-3 mb-3 text-center" style="font-size:1.6rem;">Search results for: folk theatre</h1> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">278</span> Not so Street Theatre: Politics in Theatre of Roots</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Dani%20Karmakar">Dani Karmakar</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In India, the journey of street theatre was started with Indian peoples Theatre Association (IPTA) as a tool for anti-establishment that was categorized as by the people and for the people. It has expressed common people’s feelings, problems, day to day life. It has brought a social change that is downtrodden. By its nature, it is based on communist ideology. Street theatre is a theatre of protest. In India, many folk theatres translate directly ‘Street Theatre’, those are Veedhi Natakam in Andhra Pradesh and Therukoothu in Tamil Nadu. But they do not covey to common definition of street theatre. There are different folk theatres of different regions in India. All folk theatres have individual characteristic, criteria, taste and flavor that can render distinctive each others. In festivals or special occasions, whole communities come together to enjoy collectively and express their feelings. The Veedhi Natakam means 'street theatre'. Theru koothu is a traditional street theatre in the northern districts of Tamilnadu. Folk theatre has potential to deliver strong messages. It has a socially significant role. At Veedhi Natakam, Vidhushaka takes part for social criticism. Gambhira is also a socio-political folk drama presentation in West Bengal. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=folk%20theatre" title="folk theatre">folk theatre</a>, <a href="https://publications.waset.org/abstracts/search?q=Gambhira" title=" Gambhira"> Gambhira</a>, <a href="https://publications.waset.org/abstracts/search?q=politics" title=" politics"> politics</a>, <a href="https://publications.waset.org/abstracts/search?q=street%20theatre" title=" street theatre "> street theatre </a> </p> <a href="https://publications.waset.org/abstracts/25527/not-so-street-theatre-politics-in-theatre-of-roots" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/25527.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">354</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">277</span> Musicals in Film Adaptation in Bollywood with Special Reference to Basu Bhattacharya's Film Teesari Kasam</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Gokul%20G.%20Kshirsagar">Gokul G. Kshirsagar</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Native folk theatre and folk songs have a significant influence on the origin and development of Indian cinema. Therefore, the presence of songs and music has been an integral part and special characteristics of Indian cinema which is popularly known as Bollywood. An Indian cinema without songs, either in Hindi or other regional languages, is simply unimaginable. The present paper, in the first part, attempts to explain the use and need of musical songs and also the psychology of Indian audience in this respect with reference to some of the films which give primary importance to songs. In the second part, the paper tries to situate the present study in the context by referring to the Hindi language drama film Teesari Kasam directed by Basu Bhattacharys. The film is based on the Hindi novelist Phanishwarnath Renu’s short story Teesari Kasam (Mare Gaye Gulfam) in this adapted film, the director has made use of eight songs, but these songs are the extensive versions of the songs as used in the original story. Thus, the main aim of the paper is to underscore the fact that through artistic use of the musical, the director has succeeded in transforming the central feelings conveyed in the original story. Eventually, through the present study of the film adaptation, the relevance of songs in films will be illustrated and understood. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Bollywood" title="Bollywood">Bollywood</a>, <a href="https://publications.waset.org/abstracts/search?q=folk%20theatre" title=" folk theatre"> folk theatre</a>, <a href="https://publications.waset.org/abstracts/search?q=folk%20songs" title=" folk songs"> folk songs</a>, <a href="https://publications.waset.org/abstracts/search?q=film%20adaptation" title=" film adaptation"> film adaptation</a> </p> <a href="https://publications.waset.org/abstracts/82182/musicals-in-film-adaptation-in-bollywood-with-special-reference-to-basu-bhattacharyas-film-teesari-kasam" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/82182.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">219</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">276</span> Performing a Chamber Theatre Adaptation of Nick Joaquin's 'the Summer Solstice'</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Allen%20B.%20Baylosis">Allen B. Baylosis</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Chamber Theatre has been one of the least articulated staging devices in the field of theatre and performance studies. This creative exploratory-descriptive study responds to this gap by employing the staging technique in a Chamber Theatre production based on Nick Joaquin’s The Summer Solstice. Specifically, this study opts to understand three processes involved in the Chamber Theatre creative thesis production of The Summer Solstice as performance: performance of the theatre-maker, performance of the spect-actors, and performance of the spectators. For this purpose, the theatre-maker describes the creative process of transforming The Summer Solstice text to a Chamber Theatre production—from text to staging. The theatre-maker also analyzes the performers’ experiences and the spectators’ responses as they participate in a Chamber Theatre performance. In doing so, the theatre-maker collects qualitative data from seventeen (17) performers and qualitative feedback from twenty (20) spectators. For the mode of data analysis, this study employed Ranciere’s concept on the Emancipated Spectator (2008) and Schechner’s Performance Theory (1988). The study’s findings examine how the theatre-maker, the performers, and the spectators become distant viewers of their respective restored behavior performances. Through these viewed performances, this study implies that it is possible to ascertain a reasonable definition of purpose for Chamber Theatre. Hence, despite the existence of other modern staging devices in the field of theatre and performance studies, this study concludes that Chamber Theatre remains to be a relevant staging technique. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=adaptation%20of%20text" title="adaptation of text">adaptation of text</a>, <a href="https://publications.waset.org/abstracts/search?q=chamber%20theatre" title=" chamber theatre"> chamber theatre</a>, <a href="https://publications.waset.org/abstracts/search?q=experimental%20theater" title=" experimental theater"> experimental theater</a>, <a href="https://publications.waset.org/abstracts/search?q=oral%20interpretation" title=" oral interpretation"> oral interpretation</a> </p> <a href="https://publications.waset.org/abstracts/130931/performing-a-chamber-theatre-adaptation-of-nick-joaquins-the-summer-solstice" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/130931.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">157</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">275</span> Bringing Thai Folk Song "Laos Duang Duen" to Teaching in Western Music</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Wongwarit%20Nipitwittaya">Wongwarit Nipitwittaya</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The objectives of this research is bringing folk song with the teaching of Western music were to examine to investigate, to compare, develop the skill, technique, knowledge of Thai folk song and to preserve folk song of Thailand to be known more widely also learn Thai culture from Thai folk song. Study by bringing Thailand folk song is widely known for learning with Western music in course brass performance. Bringing the melody of Thai folk music and changing patterns to western music notes for appropriate on brass performance. A sample was selected from brass students, using research by assessment of knowledge from test after used Thai folk song lesson. The lesson focus for scales and key signature in western music by divided into two groups, the one study by used research tools and another one used simple lesson and a collection of research until testing. The results of the study were as follows: 1. There are good development skill form research method 2. Sound recognition can be even better. The study was a qualitative research and data collection by observation. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Thai%20folk%20song" title="Thai folk song">Thai folk song</a>, <a href="https://publications.waset.org/abstracts/search?q=brass%20instrument" title=" brass instrument"> brass instrument</a>, <a href="https://publications.waset.org/abstracts/search?q=key%20signature" title=" key signature"> key signature</a>, <a href="https://publications.waset.org/abstracts/search?q=western%20music" title=" western music"> western music</a> </p> <a href="https://publications.waset.org/abstracts/47878/bringing-thai-folk-song-laos-duang-duen-to-teaching-in-western-music" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/47878.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">677</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">274</span> The Stage as Pulpit; Contemporary Practice of Theatre for Religion in Kenya</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Shikuku%20Emmanuel%20Tsikhungu">Shikuku Emmanuel Tsikhungu</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Theatre and religion have enjoyed a symbiotic relationship from time immemorial, each transforming in different epochs and into different forms of practice but gaining from each other’s growth. Despite the fact that religion has more or less looked at the theatre and its dramatic rituals with distaste, the two human engagements have had dynamic and reciprocal relationships. In Kenya, there is an emerging innovation and transformation of theatre for religion in which churches and sects are consciously developing a youth wing that is vibrant in theatre practice. The imagination that youth and children derive pleasure and vibrancy in theatre has led to a lively competition among churches that is now creating a new form of theatre in Kenya. This has given rise to a practice in which art engages the religious not at the spiritual level but at the social-cultural level. Thus theatre is finding itself in sanctums that it had been banished; not for its own sake but as a tool for keeping the youth nearer the church if not the church This article analyses findings of a study carried out in December of 2017 among theatre festivals for the Catholic Church held in Kitui School, KituiCounty, and the Methodist Church of Kenya festival held in Ntemwene Church, Nkubu, Meru County, Kenya. One of the findings of interest was that while they were not theatres of religion nor religious theatres since they did not fuse the religious rituals with the dramatic rituals, the festivals never the less qualify as theatres for religion for they link the former to the latter. Secondly, while they claimed to be youth or children theatre festivals, they lacked youth-centredness nor child-centredness associated with such. Thirdly and most importantly the style of dramatic execution ranged from bibliodramatic to secular drama with Christian messages. Fourthly, by this stroke of acceptance in formerly forbidden sanctums, theatre is re-inventing itself back to its ‘old’ nature and function. It may be argued conclusively that this sprouting movement of theatre for religion may be comparable to the Jesuit Theatre fronted by Ignatius Loyola but clothed in modern African theatre practice. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=theatre" title="theatre">theatre</a>, <a href="https://publications.waset.org/abstracts/search?q=religion" title=" religion"> religion</a>, <a href="https://publications.waset.org/abstracts/search?q=theatre%20for%20religion" title=" theatre for religion"> theatre for religion</a>, <a href="https://publications.waset.org/abstracts/search?q=social%20constructs" title=" social constructs"> social constructs</a>, <a href="https://publications.waset.org/abstracts/search?q=socio-cultural" title=" socio-cultural"> socio-cultural</a> </p> <a href="https://publications.waset.org/abstracts/143465/the-stage-as-pulpit-contemporary-practice-of-theatre-for-religion-in-kenya" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/143465.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">209</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">273</span> King versus God: An Introduction to Dhanujatra of Odisha </h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Kailash%20Pattanaik">Kailash Pattanaik</a>, <a href="https://publications.waset.org/abstracts/search?q=Giribala%20Mohanty"> Giribala Mohanty</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Dhanujatra is a folk performance of ODISHA, India, that transports the participants, on lookers and all alike into a mythical atmosphere for eleven days and nights as well. In this performance the whole town becomes stage. The uniqueness of the festival lies in the fact that all the episodes of this Jatra enacted in different parts of the town making it the largest open air theatre in the world. The paper would emphasize on the uniqueness and the impact of this performance.Different episodes are enacted at different places in the regime. So, Dhanujatra does not confine itself to a fixed static or dead stage, as in case of other Jatra’s; it rather becomes the stage for the world at large. For that, it is said that, Worlds biggest open air theatre held in the tiny town called Bargarh in the western part of Orissa. The play moves sequentially day after day and the audience moves from locale to locale. Here it is analogues to the Ramleela of Ramnagar of Benars. Parallal enactment is a significant feature of this Jatra. From the second day, parallal performances take place in both Bargarh town and Ambapalli epitomising ‘Mathura’ and ‘Gokul’ respectively. Krishna is born in the prison on the second day of the jatra. Basudeb exchanges the child with the Nanda’s newborn baby in Gokul. In this way, parallal performances go on both in Mathura and Gokul. The ordinary persons who act as the mythological characters, or become historical heroes or the legendary Saints or Bhaktas in a Jatra in the evening, lead the lives of ordinary persons during day time. The dramatic personas of those individuals are shed with the end of the Jatra. On the contrary, the persons who act as the main characters of Dhanujatra are exceptions in this regard. They are identified as the characters they enact for the whole period of performance, both in the evenings and during daytime. It is worth mentioning that generally in the folk performances there is an ample scope to touch upon or interpret or comment or satirize the issues of contemporary relevance with the sole purpose to convey some specific message. Dhanujatra is no exception to that. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=folk%20performance" title="folk performance">folk performance</a>, <a href="https://publications.waset.org/abstracts/search?q=Jatra" title=" Jatra"> Jatra</a>, <a href="https://publications.waset.org/abstracts/search?q=parallel%20enactment" title=" parallel enactment"> parallel enactment</a>, <a href="https://publications.waset.org/abstracts/search?q=open-air%20stage" title=" open-air stage"> open-air stage</a>, <a href="https://publications.waset.org/abstracts/search?q=Odisha" title=" Odisha"> Odisha</a> </p> <a href="https://publications.waset.org/abstracts/18307/king-versus-god-an-introduction-to-dhanujatra-of-odisha" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/18307.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">286</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">272</span> Research Analysis in Eclectic Theory (Kaboudan and Sfandiar)</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Farideh%20Alizadeh">Farideh Alizadeh</a>, <a href="https://publications.waset.org/abstracts/search?q=Mohd%20Nasir%20Hashi"> Mohd Nasir Hashi</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Present research investigates eclecticism in Iranian theatre on the basis of eclectic theory. Eclectic theatre is a new theory in postmodernism. The theory appeared during 60th – 70th century in some theatres such as “Conference of the Birds”. Special theatrical forms have been developed in many geographical- cultural areas of the world and are indigenous to that area. These forms, as compared with original forms, are considered to be traditional while being comprehensive, the form is considered to be national. Kaboudan and Sfandiar theatre has been influenced by elements of traditional form of Iran. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=eclectic%20theatre" title="eclectic theatre">eclectic theatre</a>, <a href="https://publications.waset.org/abstracts/search?q=theatrical%20forms" title=" theatrical forms"> theatrical forms</a>, <a href="https://publications.waset.org/abstracts/search?q=tradition" title=" tradition"> tradition</a>, <a href="https://publications.waset.org/abstracts/search?q=play" title=" play"> play</a> </p> <a href="https://publications.waset.org/abstracts/11137/research-analysis-in-eclectic-theory-kaboudan-and-sfandiar" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/11137.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">390</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">271</span> From Colonial Outpost to Cultural India: Folk Epics of India</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Jyoti%20Brahma">Jyoti Brahma</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Folk epics of India are found in various Indian languages. The study of folk epics and its importance in folkloristic study in India came into prominence only during the nineteenth century. The British administrators and missionaries collected and documented folk epics from various parts of the country. The paper is an attempt to investigate how colonial outpost appears to penetrate the interiors of Indian land and society and triggered off the Indian Renaissance. It takes into account the compositions of the epics of India and the attention it received during the nineteenth century, which in turn gave, rise to the national consciousness shaping the culture of India. Composed as oral traditions these folk epics are now seen as repositories of historical consciousness whereas in earlier times societies without literacy were said to be without history. So, there is an urgent need to re-examine the British impact on Indian literary traditions. The Bhakti poets through their nuanced responses in their efforts to change the behavior of Indian society gives us the perfect example of deferment in the clear cut distinction between the folk and the classical in the context of India. It evades a pure categorization and classification of the classical and constitutes part of the folk traditions of the cultural heritage of India. Therefore, the ethical question of what is ontologically known as ordinary discourse in the case of the “folk” forms metaphors and folk language gains importance once more. The paper also thus seeks simultaneously to outline the significant factors responsible for shaping the destiny of folklore in South India particularly the four political states of the Indian Union: Andhra Pradesh, Karnataka, Kerala and Tamil Nadu, what could be termed as South Indian “cultural zones”. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=colonial" title="colonial">colonial</a>, <a href="https://publications.waset.org/abstracts/search?q=folk" title=" folk"> folk</a>, <a href="https://publications.waset.org/abstracts/search?q=folklore" title=" folklore"> folklore</a>, <a href="https://publications.waset.org/abstracts/search?q=tradition" title=" tradition"> tradition</a> </p> <a href="https://publications.waset.org/abstracts/53888/from-colonial-outpost-to-cultural-india-folk-epics-of-india" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/53888.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">310</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">270</span> From Indigeneity to Urbanity: A Performative Study of Indian Saang (Folk Play) Tradition</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Shiv%20Kumar">Shiv Kumar</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In the shifting scenario of postmodern age that foregrounds the multiplicity of meanings and discourses, the present research article seeks to investigate various paradigm shift of contemporary performances concerning Haryanvi Saangs, so-called folk plays, which are being performed widely in the regional territory of Haryana, a northern state of India. Folk arts cannot be studied efficiently by using the tools of literary criticism because it differs from the literature in many aspects. One of the most essential differences is that literary works invariably have an author. Folk works, on the contrary, never have an author. The situation is quite clear: either we acknowledge the presence of folk art as a phenomenon in the social and cultural history of people, or we do not acknowledge it and argue it is a poetical or art of fiction. This paper is an effort to understand the performative tradition of Saang which is traditionally known as Saang, Swang or Svang became a popular source for instruction and entertainment in the region and neighbouring states. Scholars and critics have long been debating about the origin of the word swang/svang/saang and their relationship to the Sanskrit word –Sangit, which means singing and music. But in the cultural context of Haryana, the word Saang means ‘to impersonate’ or ‘to imitate’ or ‘to copy someone or something’. The stories they portray are derived for the most part from the same myths, tales, epics and from the lives of Indian religious and folk heroes. Literally, the use of poetic sense, the implication of prose style and elaborate figurative technique are worthwhile to compile the productivity of a performance. All use music and song as an integral part of the performance so that it is also appropriate to call them folk opera. These folk plays are performed strictly by aboriginal people in the state. These people, sometimes denominated as Saangi, possess a culture distinct from the rest of Indian folk performances. The concerned form is also known with various other names like Manch, Khayal, Opera, Nautanki. The group of such folk plays can be seen as a dynamic activity and performed in the open space of the theatre. Nowadays, producers contributed greatly in order to create a rapidly growing musical outlet for budding new style of folk presentation and give rise to the electronic focus genre utilizing many musicians and performers who had to become precursors of the folk tradition in the region. Moreover, the paper proposes to examine available sources relative to this article, and it is believed to draw some different conclusions. For instance, to be a spectator of ongoing performances will contribute to providing enough guidance to move forward on this root. In this connection, the paper focuses critically upon the major performative aspects of Haryanvi Saang in relation to several inquiries such as the study of these plays in the context of Indian literary scenario, gender visualization and their dramatic representation, a song-music tradition in folk creativity and development of Haryanvi dramatic art in the contemporary socio-political background. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=folk%20play" title="folk play">folk play</a>, <a href="https://publications.waset.org/abstracts/search?q=indigenous" title=" indigenous"> indigenous</a>, <a href="https://publications.waset.org/abstracts/search?q=performance" title=" performance"> performance</a>, <a href="https://publications.waset.org/abstracts/search?q=Saang" title=" Saang"> Saang</a>, <a href="https://publications.waset.org/abstracts/search?q=tradition" title=" tradition"> tradition</a> </p> <a href="https://publications.waset.org/abstracts/107966/from-indigeneity-to-urbanity-a-performative-study-of-indian-saang-folk-play-tradition" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/107966.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">156</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">269</span> Revitalization of Sign Language through Deaf Theatre: A Linguistic Analysis of an Art Form Which Combines Physical Theatre, Poetry, and Sign Language</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Gal%20Belsitzman">Gal Belsitzman</a>, <a href="https://publications.waset.org/abstracts/search?q=Rose%20Stamp"> Rose Stamp</a>, <a href="https://publications.waset.org/abstracts/search?q=Atay%20Citron"> Atay Citron</a>, <a href="https://publications.waset.org/abstracts/search?q=Wendy%20Sandler"> Wendy Sandler</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Sign languages are considered endangered. The vitality of sign languages is compromised by its unique sociolinguistic situation, in which hearing parents that give birth to deaf children usually decide to cochlear implant their child. Therefore, these children don’t acquire their natural language – Sign Language. Despite this, many sign languages, such as Israeli Sign Language (ISL) are thriving. The continued survival of similar languages under threat has been associated with the remarkable resilience of the language community. In particular, deaf literary traditions are central in reminding the community of the importance of the language. One example of a deaf literary tradition which has received increased popularity in recent years is deaf theatre. The Ebisu Sign Language Theatre Laboratory, developed as part of the multidisciplinary Grammar of the Body Research Project, is the first deaf theatre company in Israel. Ebisu Theatre combines physical theatre and sign language research, to allow for a natural laboratory to analyze the creative use of the body. In this presentation, we focus on the recent theatre production called ‘Their language’ which tells of the struggle faced by the deaf community to use their own natural language in the education system. A thorough analysis unravels how linguistic properties are integrated with the use of poetic devices and physical theatre techniques in this performance, enabling wider access by both deaf and hearing audiences, without interpretation. Interviews with the audience illustrate the significance of this art form which serves a dual purpose, both as empowering for the deaf community and educational for the hearing and deaf audiences, by raising awareness of community-related issues. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=deaf%20theatre" title="deaf theatre">deaf theatre</a>, <a href="https://publications.waset.org/abstracts/search?q=empowerment" title=" empowerment"> empowerment</a>, <a href="https://publications.waset.org/abstracts/search?q=language%20revitalization" title=" language revitalization"> language revitalization</a>, <a href="https://publications.waset.org/abstracts/search?q=sign%20language" title=" sign language"> sign language</a> </p> <a href="https://publications.waset.org/abstracts/99226/revitalization-of-sign-language-through-deaf-theatre-a-linguistic-analysis-of-an-art-form-which-combines-physical-theatre-poetry-and-sign-language" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/99226.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">167</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">268</span> Trauma-Informed Applied Theatre: Using Performance to Connect with Mental Dysfunction Using Physical Embodiment Begins with Ancient Civilizations</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Stephanie%20Elizabeth%20Talder">Stephanie Elizabeth Talder</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Art therapy is a field that is growing exponentially with new groundbreaking discoveries that allow for embodying trauma and mental healing. Applied theatre and performance is a continuously growing and developing field that can help people who are struggling to work through traumatic experiences plaguing their life. By using performance, there is an ability to target sensitive topics in a manner that does not lead to re-traumatization. The use of theatre as a healing agent has been going on for centuries, with clear applications beginning in Greek theatre and tragedy. When working with complex mental illness, issues such as PTSD, anxiety, and depression can be managed and worked through. A central component of drama therapy is the connection to community and self. The ability to connect mind-body to stories as well as to other people allows for healing to occur. There is the opportunity for healing through emotional catharsis and community building. Applied theatre in connection to the medical field can allow for there to be a meaningful impact made on mental health. Though there is still a significant amount of progress to be made within the stigmatization of mental health problems, bringing in a varying option that allows for there to be movement and community building possesses a strong ability to impact people in a positive way. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=applied%20theatre" title="applied theatre">applied theatre</a>, <a href="https://publications.waset.org/abstracts/search?q=drama%20therapy" title=" drama therapy"> drama therapy</a>, <a href="https://publications.waset.org/abstracts/search?q=art%20therapy" title=" art therapy"> art therapy</a>, <a href="https://publications.waset.org/abstracts/search?q=performance" title=" performance"> performance</a>, <a href="https://publications.waset.org/abstracts/search?q=theatre" title=" theatre"> theatre</a> </p> <a href="https://publications.waset.org/abstracts/160470/trauma-informed-applied-theatre-using-performance-to-connect-with-mental-dysfunction-using-physical-embodiment-begins-with-ancient-civilizations" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/160470.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">86</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">267</span> Presentation of Transgender identities</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Tony%20Chapman-Wilson">Tony Chapman-Wilson</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Applied theatre is not an ultimate vehicle to create social change; but is more an opportunity of hope that the production material might affect this. Theatre-makers are able to deconstruct socially and politically challenging themes to encourage their audience to witness lived experiences as they consider themes of concern and injustice. This allows writers to (re) present the lived experiences of trans people, and for social injustice, continued transphobia, and lack of equity to be presented to an audience for debate. There needs to be a stronger position and presence of trans voices and active participation presented of these rather than just that of the cisgender-lens and standpoint. This research examines the relationship between human rights and theatre and considers global examples of this practice, as well as exploring the negatives formed from this relationship, and how this may be developed in the future. This focusses on the ability of theatre to denounce the violations of human rights and considers the power of theatre to support the importance of the awareness of violations to human rights for the raised awareness and potential for action of the audience – who may themselves be part of the oppressed, or indeed an oppressor. The fundamental assertion here is not one of evidenced social change, but of awareness raising of the audience and the potential for social activism and action. The practice of applied theatre is one that is experienced by the audience and the project participants alike, with the intention that theatre may consider how people interact with one another. This paper examines the opportunity of verbatim theatre techniques to allow for a cis-led trans-collaborative research project to (re) present intergenerational trans identities. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=applied%20theatre" title="applied theatre">applied theatre</a>, <a href="https://publications.waset.org/abstracts/search?q=verbatim" title=" verbatim"> verbatim</a>, <a href="https://publications.waset.org/abstracts/search?q=transgender" title=" transgender"> transgender</a>, <a href="https://publications.waset.org/abstracts/search?q=social%20justice" title=" social justice"> social justice</a> </p> <a href="https://publications.waset.org/abstracts/186768/presentation-of-transgender-identities" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/186768.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">42</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">266</span> Crossing Boundaries: Emerging Identities from Folk Theatre</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Sonia%20Wahengbam">Sonia Wahengbam</a>, <a href="https://publications.waset.org/abstracts/search?q=Natasha%20Elangbam"> Natasha Elangbam</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Female impersonation has existed through the length of human civilization and the breadth of its cultures. Transvestism and drag queen cultures have created multi-sited spaces where in the shadow of art, one can cross the gender barrier and express one’s hidden identity. This paper will explore a dynamic cultural space that exists in Manipur, a state in the northeastern region of India, where the female impersonators (nupi shabis) of a folk theater (Shumang Leela) are using this traditional and popular art form to claim social acceptance of their homosexual identities through the medium of entertainment. It will highlight how by crossing the gender boundary, this third gender group has carved out a unique socio-economic niche where they have exploited their sexual identities to their advantage. The paper will trace the expanding cultural ‘’borderland’’ of Manipur where there is an increasing sense of ‘becoming’, belonging and sharing” of identities through the interweaving of old and new media. The research will be based on interviews with the nupi shabis, cultural critics and other experts. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=transvestism" title="transvestism">transvestism</a>, <a href="https://publications.waset.org/abstracts/search?q=Manipur" title=" Manipur"> Manipur</a>, <a href="https://publications.waset.org/abstracts/search?q=female%20impersonators%20%28nupi%20shabis%29" title=" female impersonators (nupi shabis)"> female impersonators (nupi shabis)</a>, <a href="https://publications.waset.org/abstracts/search?q=Shumang%20Leela" title=" Shumang Leela"> Shumang Leela</a>, <a href="https://publications.waset.org/abstracts/search?q=gender" title=" gender"> gender</a> </p> <a href="https://publications.waset.org/abstracts/15684/crossing-boundaries-emerging-identities-from-folk-theatre" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/15684.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">440</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">265</span> Folk Dance in Asterio Festivals in Ethiopia: Exploration of Performance, Variants, Symbols, and Therapeutic Role</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Meseret%20Berhanie%20Menkir">Meseret Berhanie Menkir</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The present study explores folk dance, one of the folklore texts, its symbols, and its therapeutic role. As a case, the study concentrates on Astrio-Mariam and Merkorios Bera, celebrated on January 30 and February 3 at Deresgie-Mariam Church in Ethiopia. By taking a qualitative stance, the study analyses the meaning of folk dance, explains its role, and describes its types. The data gathered through observation, interview, and focus group discussion techniques are documented in field notes, audio, and video. The data obtained is analyzed using structural-functionalism, psychoanalysis, and semiotics. Accordingly, community members of all ages (mainly the Ethiopian Orthodox Tewahedo Church followers) participate in the performance. While the folk dance is a type of small group dance and group dance, the group has no feature of using men and women performing together. The folk dance's role is a form of healing and spiritual fulfilment besides entertainment. The folk dance also has sword dance characteristics; the study confirmed this feature in content and form. Moreover, the folk dance characterized by frequent shoulder and hand movements Wancha likleka (Horn-mug spin), Doro metet (Chicken drink), and sword dance depict wealth, heroism, and warfare. The instruments used in the performances are also alive, with religious symbols reaching from the drum, incense, and cross to the suffering of Jesus Christ from Hanna to Qeyafa, and references to the 12 Apostles. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=folk%20dance" title="folk dance">folk dance</a>, <a href="https://publications.waset.org/abstracts/search?q=festival" title=" festival"> festival</a>, <a href="https://publications.waset.org/abstracts/search?q=ritual" title=" ritual"> ritual</a>, <a href="https://publications.waset.org/abstracts/search?q=symbol" title=" symbol"> symbol</a>, <a href="https://publications.waset.org/abstracts/search?q=therapeutic" title=" therapeutic"> therapeutic</a> </p> <a href="https://publications.waset.org/abstracts/185157/folk-dance-in-asterio-festivals-in-ethiopia-exploration-of-performance-variants-symbols-and-therapeutic-role" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/185157.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">67</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">264</span> 'Utopian Performatives' for Peace: A Radical Approach to Evaluating the Value of Documentary Theatre in Northern Ireland</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Harry%20Mccallum">Harry Mccallum</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In the last decade, there has been an upsurge in documentary theatre projects that seek to address issues arising from ‘the Troubles’ by theatre and community organisations such as The Playhouse, Kabosh, and The Verbal Arts Centre. This movement has been supported by a variety of funding agencies who have identified the importance of the instrumental use of theatre for generating societal development. However, with this upsurge in interest comes complications surrounding the subjectivity of evaluations and an understanding of their empirical impact on society. This largely theoretical led-discussion promotes the engagement of Jill Dolan’s ‘utopian performatives’ (2005) within the remit of documentary theatre for peacebuilding practices in Northern Ireland.‘Utopian Performatives’ are described as being profound moments in a theatre production that transforms audience members into a state of ‘hopeful feeling’.As a concept, they are situated within the discourse surrounding audience reception and the ‘affective turn’ (Brennan, 2004; Clough and Halley, 2007; Ahmed, 2014), which indicates its persistence on a short-term ephemeral outlook. It is therefore important to understand how this short-term ‘affect’ can expand into a longer-term ‘effect.’ Through this interdisciplinary study between ‘peace’ and ‘theatre’ studies, I am proposinga theoretical framework that examines how these individual ‘utopian performatives’ at the personal level can lead to a change at the societal level. The framework understands that ‘utopian performatives’ have the capacity to generate discussion and empower audience members to actively strive for a ‘positive peace’; something which is evidently absent in a contemporary Northern Ireland. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=theatre" title="theatre">theatre</a>, <a href="https://publications.waset.org/abstracts/search?q=peacebuilding" title=" peacebuilding"> peacebuilding</a>, <a href="https://publications.waset.org/abstracts/search?q=conflict%20transformation" title=" conflict transformation"> conflict transformation</a>, <a href="https://publications.waset.org/abstracts/search?q=northern%20Ireland" title=" northern Ireland"> northern Ireland</a> </p> <a href="https://publications.waset.org/abstracts/144391/utopian-performatives-for-peace-a-radical-approach-to-evaluating-the-value-of-documentary-theatre-in-northern-ireland" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/144391.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">131</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">263</span> Innovative Approaches to Integrating the Bulgarian Folklore</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Violeta%20Kostadinova">Violeta Kostadinova</a>, <a href="https://publications.waset.org/abstracts/search?q=Emilia%20Tsankova"> Emilia Tsankova</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The purpose of this research is to explore and analyze the integration of the younger generation with Bulgarian folklore through various innovative forms, methods and approaches. A survey was conducted among students to evaluate its success. The results prove the relevance of the problem as well and the necessity of innovation to keep the national and promotion of Bulgarian folklore. Innovation in music education is a good way to create positive motivation and raise interest in folk art, which is especially pronounced when the folk songs have contemporary arrangement. Modern interpretation of Bulgarian folk music makes the music more approachable to young people and makes it more likely that folk music will become an integral part of our modern culture. The research would help the implementation of appropriate innovations for more effective training and upgrading for music students in all middle and high schools in the country. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Bulgarian%20folklore" title="Bulgarian folklore">Bulgarian folklore</a>, <a href="https://publications.waset.org/abstracts/search?q=innovative%20forms" title=" innovative forms"> innovative forms</a>, <a href="https://publications.waset.org/abstracts/search?q=methods%20and%20approaches" title=" methods and approaches"> methods and approaches</a>, <a href="https://publications.waset.org/abstracts/search?q=motivation" title=" motivation"> motivation</a>, <a href="https://publications.waset.org/abstracts/search?q=music%20education" title=" music education"> music education</a> </p> <a href="https://publications.waset.org/abstracts/32702/innovative-approaches-to-integrating-the-bulgarian-folklore" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/32702.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">496</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">262</span> The Development of Speaking Using Folk Tales Based on Performance Activities for Early-Childhood Students</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ms%20Yaowaluck%20Ruampol">Ms Yaowaluck Ruampol</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The research on the development of using folk tales based on performance activities aimed to (1) study the development of speaking skill for early-childhood students, (2) evaluate the development of speaking skill before and after speaking activities. Ten students of Kindergarten level 2, who have enrolled in the subject of the research for speaking development of semester 2 in 2013, were purposively selected as the research cohort. The research tools were lesson plans for speaking activities and pre-posttest for speaking development that were approved for content validity and reliability (IOC=.66-1.00,0.967). The research found that the development of speaking skill of the research samples before using performance activities on folk tales in developing speaking skill was in the normal high level. Additionally, the results revealed that the preschoolers after applying speaking skill on performance activities also imaginatively created their speaking skill. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=speaking%20development" title="speaking development">speaking development</a>, <a href="https://publications.waset.org/abstracts/search?q=folk%20tales" title=" folk tales"> folk tales</a>, <a href="https://publications.waset.org/abstracts/search?q=performance%20activities" title=" performance activities"> performance activities</a>, <a href="https://publications.waset.org/abstracts/search?q=communication%20engineering" title=" communication engineering"> communication engineering</a> </p> <a href="https://publications.waset.org/abstracts/11027/the-development-of-speaking-using-folk-tales-based-on-performance-activities-for-early-childhood-students" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/11027.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">290</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">261</span> Planning and Strategies for Risks Prevention, Mitigating, and Recovery of Ancient Theatres Heritage: Investigation and Recommendations</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Naif%20A.%20Haddad">Naif A. Haddad</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Greek, Hellenistic and Roman theatre heritage are exposed to multiple risks at varied times or simultaneously. There is no single reason why a theatre building becomes ‘at risk’, as each case has different circumstances which have led to the theatre building decay. There are complicated processes of destruction and distress that show divergence in theatre building materials' decay. Theatre modern use for cultural performances causes much of the risks concerning the physical structure and authenticity of theatre sites. In addition, there are some deterioration and deformations due to previous poor quality restorations and interventions through related excavation and conservation programmes as also risks to authenticity due to new additions. For preventive conservation, theatre natural and anthropogenic risks management can provide a framework for decision making. These risks to ancient theatre heritage may stem from exposure to one or more risk or synergy of many factors. We, therefore, need to link the theatre natural risks to the risks that come from anthropogenic factors associated with social and economic development. However, this requires a holistic approach, and systematic methodology for understanding these risks from various sources while incorporating specific actions, planning and strategies for each specific risk. Elaborating on recent relevant studies, and ERATO and ATHENA EU projects for ancient theaters and odea and general surveys, this paper attempts to discuss the main aspects of the ancient Greek, Hellenistic and Roman theatres risk related issues. Relevant case studies shall also be discussed and investigated to examine frameworks for risk mitigation, and related guidelines and recommendations that provide a systematic approach for sustainable management and planning in relation mainly to ‘compatible use’ of theatre sites. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=cultural%20heritage%20management" title="cultural heritage management">cultural heritage management</a>, <a href="https://publications.waset.org/abstracts/search?q=European%20ancient%20theatres%20projects" title=" European ancient theatres projects"> European ancient theatres projects</a>, <a href="https://publications.waset.org/abstracts/search?q=Anthropogenic%20risks%20mitigation" title=" Anthropogenic risks mitigation"> Anthropogenic risks mitigation</a>, <a href="https://publications.waset.org/abstracts/search?q=sustainable%20management%20and%20planning" title=" sustainable management and planning"> sustainable management and planning</a>, <a href="https://publications.waset.org/abstracts/search?q=preventive%20conservation" title=" preventive conservation"> preventive conservation</a>, <a href="https://publications.waset.org/abstracts/search?q=modern%20use" title=" modern use"> modern use</a>, <a href="https://publications.waset.org/abstracts/search?q=compatible%20use" title=" compatible use"> compatible use</a> </p> <a href="https://publications.waset.org/abstracts/45171/planning-and-strategies-for-risks-prevention-mitigating-and-recovery-of-ancient-theatres-heritage-investigation-and-recommendations" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/45171.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">298</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">260</span> Net Folklore as a Part of Kazakhstani Internet Literature</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Dina%20Sabirova">Dina Sabirova</a>, <a href="https://publications.waset.org/abstracts/search?q=Madina%20Moldagali"> Madina Moldagali</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The rapid development of new media, especially the Internet, has led to major changes in folk culture. The net space is increasingly becoming a creation of the ‘folk’ imagination, saturated with multimedia stories with collective authorship, like traditional folklore. Moreover, the Internet picks up and changes old folklore traditions, such as the form of publication, the way of storytelling, or gave a new morality to the ‘old tales’. In this article, the similarities and differences between Internet folklore/ cyber-folklore/ digital folklore and oral folk art were examined by using the material of modern Kazakh authors. The relationship between tradition and innovation was studied in order to interpret the sequence of the authors' research taking into account the realities. The material of the article was the prose texts of Kazakh writers published in internet magazines and social networks. An immanent and intertextual analysis of the text was carried out. Thus, the new forms of Internet folklore lead to new forms of expression and social morality in society <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=internet%20literature" title="internet literature">internet literature</a>, <a href="https://publications.waset.org/abstracts/search?q=modern%20Kazakhstani%20authors" title=" modern Kazakhstani authors"> modern Kazakhstani authors</a>, <a href="https://publications.waset.org/abstracts/search?q=net%20folklore" title=" net folklore"> net folklore</a>, <a href="https://publications.waset.org/abstracts/search?q=oral%20folk%20art" title=" oral folk art"> oral folk art</a> </p> <a href="https://publications.waset.org/abstracts/160520/net-folklore-as-a-part-of-kazakhstani-internet-literature" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/160520.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">98</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">259</span> Communication Aesthetics of Techno-Scenery and Lighting in Bolanle Austen-Peters Queen Moremi the Musical</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Badeji%20Adebayo%20John">Badeji Adebayo John</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Technology has immense contribution in every aspect of human endeavor; it has not only made work easier but also provided exhilarating impression in the mind of the people. Theatre is not exempted from the multifaceted influence of technology on phenomenon. Therefore, theatre performances have experienced the excellence of technology in the contemporary era such that audiences have unforgettable experiences after seeing theatre performances. Some of these technological advancements that have amplified the aesthetics of performances in the theatre are techno-scenery (3D mapping) and lighting. In view of this, the objective of this study is to explore how techno-scenery and lighting technologies were used to communicate messages in the performance of Queen Moremi the Musical. In so doing, Participant-Observation Method and Content Analysis are adopted. Berlo’s model of communication is also employed to explain the communicative aesthetics of these theatre technologies in the performance. Techno-scenery and lighting are communication media modifier that facilitates audiences’ comprehension of the messages in the performance of Queen Moremi the Musical. They also create clear motion pictures of the setting which the performers cannot communicate in their acting, dances and singing, to ease the audiences’ decoding of messages that the performers are sending to the audience. Therefore, consistent incorporation of these technologies to theatre performances will facilitate easy flow of communication in-between the performers who are the sender, the message which is the performance and the audience who are the receiver. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=communication" title="communication">communication</a>, <a href="https://publications.waset.org/abstracts/search?q=aesthetics" title=" aesthetics"> aesthetics</a>, <a href="https://publications.waset.org/abstracts/search?q=techno-scenery" title=" techno-scenery"> techno-scenery</a>, <a href="https://publications.waset.org/abstracts/search?q=lighting" title=" lighting"> lighting</a>, <a href="https://publications.waset.org/abstracts/search?q=musical" title=" musical"> musical</a> </p> <a href="https://publications.waset.org/abstracts/161566/communication-aesthetics-of-techno-scenery-and-lighting-in-bolanle-austen-peters-queen-moremi-the-musical" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/161566.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">85</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">258</span> The Development of Speaking Using Folk Tales Based on Performance Activities for Early Childhood Student</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Yaowaluck%20Ruampol">Yaowaluck Ruampol</a>, <a href="https://publications.waset.org/abstracts/search?q=Suthakorn%20Wasupokin"> Suthakorn Wasupokin</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The research on the development of speaking using folk tales based on performance activities aimed to (1) study the development of speaking skill for early- childhood students, and (2) evaluate the development of speaking skill before and after speaking activities. Ten students of Kindergarten level 2, who have enrolled in the subject of the research for speaking development of semester 2 in 2013 were purposively selected as the research cohort. The research tools were lesson plans for speaking activities and pre-post test for speaking development that were approved as content validity and reliability (IOC=.66-1.00,α=0.967). The research found that the development of speaking skill of the research samples before using performance activities on folk tales in developing speaking skill was in the normal high level. Additionally, the results appeared that the preschoolers after applying speaking skill on performance activities also imaginatively created their speaking skill. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=speaking%20development" title="speaking development">speaking development</a>, <a href="https://publications.waset.org/abstracts/search?q=folk%20tales" title=" folk tales"> folk tales</a>, <a href="https://publications.waset.org/abstracts/search?q=performance%20activities" title=" performance activities"> performance activities</a>, <a href="https://publications.waset.org/abstracts/search?q=early-childhood%20students" title=" early-childhood students"> early-childhood students</a> </p> <a href="https://publications.waset.org/abstracts/11065/the-development-of-speaking-using-folk-tales-based-on-performance-activities-for-early-childhood-student" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/11065.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">341</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">257</span> An Ontological Approach to Existentialist Theatre and Theatre of the Absurd in the Works of Jean-Paul Sartre and Samuel Beckett</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=G%C3%BClten%20Silindir%20Keretli">Gülten Silindir Keretli</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The aim of this study is to analyse the works of playwrights within the framework of existential philosophy. It is to observe the ontological existence in the plays of <em>No Exit</em> and <em>Endgame. </em>Literary works will be discussed separately in each section of this study. The despair of post-war generation of Europe problematized the ‘human condition’ in every field of literature which is the very product of social upheaval. With this concern in his mind, Sartre’s creative works portrayed man as a lonely being, burdened with terrifying freedom to choose and create his own meaning in an apparently meaningless world. The traces of the existential thought are to be found throughout the history of philosophy and literature. On the other hand, the theatre of the absurd is a form of drama showing the absurdity of the human condition and it is heavily influenced by the existential philosophy. Beckett is the most influential playwright of the theatre of the absurd. The themes and thoughts in his plays share many tenets of the existential philosophy. The existential philosophy posits the meaninglessness of existence and it regards man as being thrown into the universe and into desolate isolation. To overcome loneliness and isolation, the human ego needs recognition from the other people. Sartre calls this need of recognition as the need for ‘the Look’ (<em>Le regard</em>) from the Other. In this paper, existentialist philosophy and existentialist angst will be elaborated and then the works of existentialist theatre and theatre of absurd will be discussed within the framework of existential philosophy. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=consciousness" title="consciousness">consciousness</a>, <a href="https://publications.waset.org/abstracts/search?q=existentialism" title=" existentialism"> existentialism</a>, <a href="https://publications.waset.org/abstracts/search?q=the%20notion%20of%20the%20absurd" title=" the notion of the absurd"> the notion of the absurd</a>, <a href="https://publications.waset.org/abstracts/search?q=the%20other" title=" the other"> the other</a> </p> <a href="https://publications.waset.org/abstracts/93539/an-ontological-approach-to-existentialist-theatre-and-theatre-of-the-absurd-in-the-works-of-jean-paul-sartre-and-samuel-beckett" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/93539.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">158</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">256</span> Analyzing Use of Figurativeness, Visual Elements, Allegory, Scenic Imagery as Support System in Punjabi Contemporary Theatre for Escaping Censorship</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Shazia%20Anwer">Shazia Anwer</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper has discussed the unusual form of resistance in theatre against censorship board in Pakistan. The atypical approach of dramaturgy created massive space for performers and audiences to integrate and communicate. The social and religious absolutes creates suffocation in Pakistani society, strict control over all Fine and Performing Art has made art political, contemporary dramatics has started an amalgamated theatre to avoid censorship. Contemporary Punjabi theatre techniques are directly dependent on human cognition. The idea of indirect thought processing is not unique but dependent on spectators. The paper has provided an account of these techniques and their specific use for conveying specific messages across the audiences. For the Dramaturge of today, theatre space is an expression representing a linguistic formulation that includes qualities of experimental and non-traditional use of classical theatrical space in the context of fulfilling the concept of open theatre. Paper has explained the transformation of the theatrical experience into an event where the actor and the audience are co-existing and co-experiencing the dramatical experience. The denial of the existence of the 4th -Wall made two-way communication possible. This paper has elaborated that the previously marginalized genres such as naach, jugat, miras, are extensively included to counter the censorship board. Figurativeness, visual elements, allegory, scenic imagery are basic support system for contemporary Punjabi theatre. The body of the actor is used as a source for non-verbal communication, and for an escape from traditional theatrical space which by every means has every element that could be controlled and reprimanded by the controlling authority. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=communication" title="communication">communication</a>, <a href="https://publications.waset.org/abstracts/search?q=Punjabi%20theatre" title=" Punjabi theatre"> Punjabi theatre</a>, <a href="https://publications.waset.org/abstracts/search?q=figurativeness" title=" figurativeness"> figurativeness</a>, <a href="https://publications.waset.org/abstracts/search?q=censorship" title=" censorship"> censorship</a> </p> <a href="https://publications.waset.org/abstracts/138497/analyzing-use-of-figurativeness-visual-elements-allegory-scenic-imagery-as-support-system-in-punjabi-contemporary-theatre-for-escaping-censorship" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/138497.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">134</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">255</span> Literary Theatre and Embodied Theatre: A Practice-Based Research in Exploring the Authorship of a Performance</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Rahul%20Bishnoi">Rahul Bishnoi</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Theatre, as Ann Ubersfld calls it, is a paradox. At once, it is both a literary work and a physical representation. Theatre as a text is eternal, reproducible, and identical while as a performance, theatre is momentary and never identical to the previous performances. In this dual existence of theatre, who is the author? Is the author the playwright who writes the dramatic text, or the director who orchestrates the performance, or the actor who embodies the text? From the poststructuralist lens of Barthes, the author is dead. Barthes’ argument of discrete temporality, i.e. the author is the before, and the text is the after, does not hold true for theatre. A published literary work is written, edited, printed, distributed and then gets consumed by the reader. On the other hand, theatrical production is immediate; an actor performs and the audience witnesses it instantaneously. Time, so to speak, does not separate the author, the text, and the reader anymore. The question of authorship gets further complicated in Augusto Boal’s “Theatre of the Oppressed” movement where the audience is a direct participant like the actors in the performance. In this research, through an experimental performance, the duality of theatre is explored with the authorship discourse. And the conventional definition of authorship is subjected to additional complexity by erasing the distinction between an actor and the audience. The design/methodology of the experimental performance is as follows: The audience will be asked to produce a text under an anonymous virtual alias. The text, as it is being produced, will be read and performed by the actor. The audience who are also collectively “authoring” the text, will watch this performance and write further until everyone has contributed with one input each. The cycle of writing, reading, performing, witnessing, and writing will continue until the end. The intention is to create a dynamic system of writing/reading with the embodiment of the text through the actor. The actor is giving up the power to the audience to write the spoken word, stage instruction and direction while still keeping the agency of interpreting that input and performing in the chosen manner. This rapid conversation between the actor and the audience also creates a conversion of authorship. The main conclusion of this study is a perspective on the nature of dynamic authorship of theatre containing a critical enquiry of the collaboratively produced text, an individually performed act, and a collectively witnessed event. Using practice as a methodology, this paper contests the poststructuralist notion of the author as merely a ‘scriptor’ and breaks it further by involving the audience in the authorship as well. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=practice%20based%20research" title="practice based research">practice based research</a>, <a href="https://publications.waset.org/abstracts/search?q=performance%20studies" title=" performance studies"> performance studies</a>, <a href="https://publications.waset.org/abstracts/search?q=post-humanism" title=" post-humanism"> post-humanism</a>, <a href="https://publications.waset.org/abstracts/search?q=Avant-garde%20art" title=" Avant-garde art"> Avant-garde art</a>, <a href="https://publications.waset.org/abstracts/search?q=theatre" title=" theatre"> theatre</a> </p> <a href="https://publications.waset.org/abstracts/157537/literary-theatre-and-embodied-theatre-a-practice-based-research-in-exploring-the-authorship-of-a-performance" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/157537.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">110</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">254</span> Management of Theatre with Social and Culture</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Chitsuphang%20Ungsvanonda">Chitsuphang Ungsvanonda</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Objective of this research is to study the government’s theater management system regarding planning and operation. Also studying how the management associate with the change of an environment. This is to gather an appropriate model to develop a theater management system especially regarding all show performance. The research will be done by a Qualitative Research with an interview of 35 person by specify and unexpectedly group. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=management" title="management">management</a>, <a href="https://publications.waset.org/abstracts/search?q=theatre" title=" theatre"> theatre</a>, <a href="https://publications.waset.org/abstracts/search?q=social" title=" social"> social</a>, <a href="https://publications.waset.org/abstracts/search?q=culture" title=" culture "> culture </a> </p> <a href="https://publications.waset.org/abstracts/23957/management-of-theatre-with-social-and-culture" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/23957.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">468</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">253</span> The Application of Local Wisdom in Health Care of Early Childhood at Ban Nam Chieo Community, Laem Ngop, Trat Province</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Supalak%20Fakkhum">Supalak Fakkhum</a>, <a href="https://publications.waset.org/abstracts/search?q=Wannita%20Pochanakul"> Wannita Pochanakul</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This research is qualitative research that aims to study the application of local wisdom in health care of early childhood at Ban Nam Chieo Community, Laem Ngop, Trat Province. The target is one folk medicine healer and 45 parents who have children or grandchildren aged between 0-5 years. The folk medicine healer was interviewed and observed during early childhood health care practice. Parents were interviewed. The results showed that local wisdom in health care of early childhood are as follows: 1. Local wisdom about early childhood diseases: It is believed that the disease was determined while the child was still in the womb, in the third month of pregnancy. When a child is born, they will have La, La-ong and Saang diseases, which are URI (upper respiratory infection) and DI (diarrhea) diseases. Supernatural aspect is also considered. 2. The treatment is chosen to match the symptoms of the disease. Caring for early childhood includes psychological therapy by rituals and spells. 3. For local wisdom concerning prevention and health promotion, parents normally bring their child to folk medicine healers for “throat paint” as an act of protection and health promotion. Folk healers often prescribe food according to belief and local wisdom. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=local%20wisdom" title="local wisdom">local wisdom</a>, <a href="https://publications.waset.org/abstracts/search?q=early%20childhood" title=" early childhood"> early childhood</a>, <a href="https://publications.waset.org/abstracts/search?q=folk%20medicine" title=" folk medicine"> folk medicine</a>, <a href="https://publications.waset.org/abstracts/search?q=healer" title=" healer"> healer</a> </p> <a href="https://publications.waset.org/abstracts/11736/the-application-of-local-wisdom-in-health-care-of-early-childhood-at-ban-nam-chieo-community-laem-ngop-trat-province" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/11736.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">480</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">252</span> Educational Theatre Making Project: Prior Conditions</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Larisa%20Akhmylovskaia">Larisa Akhmylovskaia</a>, <a href="https://publications.waset.org/abstracts/search?q=Andriana%20Barysh"> Andriana Barysh</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The present paper is introducing the translation score developing methodology and methods in the cross-cultural communication. The ideas and examples presented by the authors illustrate the universal character of translation score developing methods under analysis. Personal experience in the international theatre-making projects, opera laboratories, cross-cultural master-classes give more opportunities to single out the conditions, forms, means and principles of translation score developing as well as the translator/interpreter’s functions as cultural liaison for multiethnic collaboration. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=methodology%20of%20translation%20score%20developing" title="methodology of translation score developing">methodology of translation score developing</a>, <a href="https://publications.waset.org/abstracts/search?q=pre-production" title=" pre-production"> pre-production</a>, <a href="https://publications.waset.org/abstracts/search?q=analysis" title=" analysis"> analysis</a>, <a href="https://publications.waset.org/abstracts/search?q=production" title=" production"> production</a>, <a href="https://publications.waset.org/abstracts/search?q=post-production" title=" post-production"> post-production</a>, <a href="https://publications.waset.org/abstracts/search?q=ethnic%20scene%20theory" title=" ethnic scene theory"> ethnic scene theory</a>, <a href="https://publications.waset.org/abstracts/search?q=theatre%20anthropology" title=" theatre anthropology"> theatre anthropology</a>, <a href="https://publications.waset.org/abstracts/search?q=laboratory" title=" laboratory"> laboratory</a>, <a href="https://publications.waset.org/abstracts/search?q=master-class" title=" master-class"> master-class</a>, <a href="https://publications.waset.org/abstracts/search?q=educational%20project" title=" educational project"> educational project</a>, <a href="https://publications.waset.org/abstracts/search?q=academic%20project" title=" academic project"> academic project</a>, <a href="https://publications.waset.org/abstracts/search?q=participant%20observation" title=" participant observation"> participant observation</a>, <a href="https://publications.waset.org/abstracts/search?q=super-objective" title=" super-objective"> super-objective</a> </p> <a href="https://publications.waset.org/abstracts/12424/educational-theatre-making-project-prior-conditions" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/12424.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">514</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">251</span> The Use of Technology in Theatrical Performances as a Tool of Audience’S Engagement</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Chrysoula%20Bousiouta">Chrysoula Bousiouta</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Throughout the history of theatre, technology has played an important role both in influencing the relationship between performance and audience and offering different kinds of experiences. The use of technology dates back in ancient times, when the introduction of artifacts, such as “Deus ex machine” in ancient Greek theatre, started. Taking into account the key techniques and experiences used throughout history, this paper investigates how technology, through new media, influences contemporary theatre. In the context of this research, technology is defined as projections, audio environments, video-projections, sensors, tele-connections, all alongside with the performance, challenging audience’s participation. The theoretical framework of the research covers, except for the history of theatre, the theory of “experience economy” that took over the service and goods economy. The research is based on the qualitative and comparative analysis of two case studies, Contact Theatre in Manchester (United Kingdom) and Bios in Athens (Greece). The data selection includes desk research and is complemented with semi structured interviews. Building on the results of the research one could claim that the intended experience of modern/contemporary theatre is that of engagement. In this context, technology -as defined above- plays a leading role in creating it. This experience passes through and exists in the middle of the realms of entertainment, education, estheticism and escapism. Furthermore, it is observed that nowadays, theatre is not only about acting but also about performing; it is that one where the performances are unfinished without the participation of the audience. Both case studies try to achieve the experience of engagement through practices that promote the attraction of attention, the increase of imagination, the interaction, the intimacy and the true activity. These practices are achieved through the script, the scenery, the language and the environment of a performance. Contact and Bios consider technology as an intimate tool in order to accomplish the above, and they make an extended use of it. The research completes a notable record of technological techniques that modern theatres use. The use of technology, inside or outside the limits of film technique’s, helps to rivet the attention of the audience, to make performances enjoyable, to give the sense of the “unfinished” or to be used for things that take place around the spectators and force them to take action, being spect-actors. The advantage of technology is that it can be used as a hook for interaction in all stages of a performance. Further research on the field could involve exploring alternative ways of binding technology and theatre or analyzing how the performance is perceived through the use of technological artifacts. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=experience%20of%20engagement" title="experience of engagement">experience of engagement</a>, <a href="https://publications.waset.org/abstracts/search?q=interactive%20theatre" title=" interactive theatre"> interactive theatre</a>, <a href="https://publications.waset.org/abstracts/search?q=modern%20theatre" title=" modern theatre"> modern theatre</a>, <a href="https://publications.waset.org/abstracts/search?q=performance" title=" performance"> performance</a>, <a href="https://publications.waset.org/abstracts/search?q=technology" title=" technology"> technology</a> </p> <a href="https://publications.waset.org/abstracts/53252/the-use-of-technology-in-theatrical-performances-as-a-tool-of-audiences-engagement" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/53252.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">250</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">250</span> The Effectiveness of a Program Based on the Employment of the Proposed Folk Songs to Enrich the Visual Expressive Drawings with the Artistic Connotations for the Early Stage Childhood </h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ahmed%20Mousa">Ahmed Mousa</a>, <a href="https://publications.waset.org/abstracts/search?q=Huda%20Mazeed"> Huda Mazeed</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The research aims to determine the appropriate songs and artistic indications for the kindergarten child. In addition, it aims to use the songs of folk to develop expressive visual drawings with artistic connotations for the kindergarten child. The current research used a one group semi-experimental approach to identify the impact of songs on expressive children's drawings. The research community is represented in the educational administration in Giza Governorate for the academic year (2018 - 2019). The sample was taken from the kindergarten of Gamal Abdel Nasser School of Dokki Educational Administration in Giza Governorate. The study was applied to the second level children sample (5-6 years), where they numbered 20 children, males and females. The research results show that there are statistically significant differences between the average scores of the children of the experimental group in the pre and post-measurements on the observation card for children after hearing the songs of social and national folk in favor of post measurement. Moreover, the results demonstrate that there are no statistically significant differences between the average scores of children in the experimental group in the measurements, the post and follow-up, on the observation card of children's drawings for social and national folk. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=folk%20songs" title="folk songs">folk songs</a>, <a href="https://publications.waset.org/abstracts/search?q=visual%20expressive" title=" visual expressive"> visual expressive</a>, <a href="https://publications.waset.org/abstracts/search?q=artistic%20connotations" title=" artistic connotations"> artistic connotations</a>, <a href="https://publications.waset.org/abstracts/search?q=early%20childhood" title=" early childhood"> early childhood</a> </p> <a href="https://publications.waset.org/abstracts/138303/the-effectiveness-of-a-program-based-on-the-employment-of-the-proposed-folk-songs-to-enrich-the-visual-expressive-drawings-with-the-artistic-connotations-for-the-early-stage-childhood" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/138303.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">176</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">249</span> The Play Translator’s Score Developing: Methodology for Intercultural Communication</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Akhmylovskaia%20Larisa">Akhmylovskaia Larisa</a>, <a href="https://publications.waset.org/abstracts/search?q=Barysh%20Andriana"> Barysh Andriana</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The present paper is introducing the translation score developing methodology and methods in the cross-cultural communication. The ideas and examples presented by the authors illustrate the universal character of translation score developing methods under analysis. Personal experience in the international theatre-making projects, opera laboratories, cross-cultural master-classes, movie and theatre festivals give more opportunities to single out the conditions, forms, means and principles of translation score developing as well as the translator/interpreter’s functions as cultural liaison for multiethnic collaboration. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=methodology%20of%20translation%20score%20developing" title="methodology of translation score developing">methodology of translation score developing</a>, <a href="https://publications.waset.org/abstracts/search?q=pre-production" title=" pre-production"> pre-production</a>, <a href="https://publications.waset.org/abstracts/search?q=analysis" title=" analysis"> analysis</a>, <a href="https://publications.waset.org/abstracts/search?q=production" title=" production"> production</a>, <a href="https://publications.waset.org/abstracts/search?q=post-production" title=" post-production"> post-production</a>, <a href="https://publications.waset.org/abstracts/search?q=ethnic%20scene%20theory" title=" ethnic scene theory"> ethnic scene theory</a>, <a href="https://publications.waset.org/abstracts/search?q=theatre%20anthropology" title=" theatre anthropology"> theatre anthropology</a>, <a href="https://publications.waset.org/abstracts/search?q=laboratory" title=" laboratory"> laboratory</a>, <a href="https://publications.waset.org/abstracts/search?q=master-class" title=" master-class"> master-class</a>, <a href="https://publications.waset.org/abstracts/search?q=educational%20project" title=" educational project"> educational project</a>, <a href="https://publications.waset.org/abstracts/search?q=academic%20project" title=" academic project"> academic project</a>, <a href="https://publications.waset.org/abstracts/search?q=Stanislavski%20terminology%20meta-language" title=" Stanislavski terminology meta-language"> Stanislavski terminology meta-language</a>, <a href="https://publications.waset.org/abstracts/search?q=super-objective" title=" super-objective"> super-objective</a>, <a href="https://publications.waset.org/abstracts/search?q=participant%20observation" title=" participant observation"> participant observation</a> </p> <a href="https://publications.waset.org/abstracts/6580/the-play-translators-score-developing-methodology-for-intercultural-communication" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/6580.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">325</span> </span> </div> </div> <ul class="pagination"> <li class="page-item disabled"><span class="page-link">&lsaquo;</span></li> <li class="page-item active"><span class="page-link">1</span></li> <li class="page-item"><a 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