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theatre</title> <meta name="description" content="Search results for: political theatre"> <meta name="keywords" content="political 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 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action="https://publications.waset.org/abstracts/search"> <div 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="political 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> 2653</div> </div> </div> </div> <h1 class="mt-3 mb-3 text-center" style="font-size:1.6rem;">Search results for: political theatre</h1> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">2653</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">2652</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">2651</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">2650</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">2649</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">2648</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">2647</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">2646</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">2645</span> Prime Ministers of Malaysia Musicals: Political Performances Trend in Istana Budaya (2007-2012)</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Abdul%20Walid%20Ali">Abdul Walid Ali</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The trend of publishing political musicals in Istana Budaya has been popular since 2007 when Malaysia celebrated its 50th anniversary of independence. Istana Budaya has at least one musical of any politician since then. Normally, the politicians are former Prime Ministers and renowned ministers prior to Malaysia's independence in 1957. The first performance in Istana Budaya which represented a politician as a theme was Muzikal Cheng Lock (2007) followed by Muzikal Tun Abdul Razak (2009), Muzikal Tun Mahathir (2010), and Muzikal Tun Mahathir 2 (2011). In 2012, Lawak Ke Der has changed the trend with comic performance and put an end to politician musical. Tun Siti Hasmah the Musical (2012) is not listed in the research because she did not hold any position as a minister. This qualitative research focuses on musicals of political figures as a theme. Some factors of making this type of performance are analyzed based on Istana Budaya’s decisions during that time in Malaysia between 2007 and 2011. This research aims to document these musical themed performances in Istana Budaya for further research in the future. Political performances are listed and analyzed from 2007 to 2012 based on reports and previous research. The declination of audiences in 2012 and a new theme in theatre performances in Istana Budaya are important factors for the downfall of the political theatres' theme. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=musical" title="musical">musical</a>, <a href="https://publications.waset.org/abstracts/search?q=politician" title=" politician"> politician</a>, <a href="https://publications.waset.org/abstracts/search?q=Istana%20Budaya" title=" Istana Budaya"> Istana Budaya</a>, <a href="https://publications.waset.org/abstracts/search?q=theatre" title=" theatre"> theatre</a> </p> <a href="https://publications.waset.org/abstracts/88993/prime-ministers-of-malaysia-musicals-political-performances-trend-in-istana-budaya-2007-2012" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/88993.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">191</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">2644</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">2643</span> The Shared Breath Project: Inhabiting Each Other’s Words and Being</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Beverly%20Redman">Beverly Redman</a> </p> <p class="card-text"><strong>Abstract:</strong></p> With the Theatre Season of 2020-2021 cancelled due to COVID-19 at Purdue University, Fort Wayne, IN, USA, faculty directors found themselves scrambling to create theatre production opportunities for their students in the Department of Theatre. Redman, Chair of the Department, found her community to be suffering from anxieties brought on by a confluence of issues: the global-scale Covid-19 Pandemic, the United States’ Black Lives Matter protests erupting in cities all across the country and the coming Presidential election, arguably the most important and most contentious in the country’s history. Redman wanted to give her students the opportunity to speak not only on these issues but also to be able to record who they were at this time in their personal lives, as well as in this broad socio-political context. She also wanted to invite them into an experience of feeling empathy, too, at a time when empathy in this world seems to be sorely lacking. Returning to a mode of Devising Theatre she had used with community groups in the past, in which storytelling and re-enactment of participants’ life events combined with oral history documentation practices, Redman planned The Shared Breath Project. The process involved three months of workshops, in which participants alternated between theatre exercises and oral history collection and documentation activities as a way of generating original material for a theatre production. The goal of the first half of the project was for each participant to produce a solo piece in the form of a monologue after many generations of potential material born out of gammes, improvisations, interviews and the like. Along the way, many film and audio clips recorded the process of each person’s written documentation—documentation prepared by the subject him or herself but also by others in the group assigned to listen, watch and record. Then, in the second half of the project—and only once each participant had taken their own contributions from raw improvisatory self-presentations and through the stages of composition and performative polish, participants then exchanged their pieces. The second half of the project involved taking on each other’s words, mannerisms, gestures, melodic and rhythmic speech patterns and inhabiting them through the rehearsal process as their own, thus the title, The Shared Breath Project. Here, in stage two the acting challenges evolved to be those of capturing the other and becoming the other through accurate mimicry that embraces Denis Diderot’s concept of the Paradox of Acting, in that the actor is both seeming and being simultaneous. This paper shares the carefully documented process of making the live-streamed theatre production that resulted from these workshops, writing processes and rehearsals, and forming, The Shared Breath Project, which ultimately took the students’ Realist, life-based pieces and edited them into a single unified theatre production. The paper also utilizes research on the Paradox of Acting, putting a Post-Structuralist spin on Diderot’s theory. Here, the paper suggests the limitations of inhabiting the other by allowing that the other is always already a thing impenetrable but nevertheless worthy of unceasing empathetic, striving and delving in an epoch in which slow, careful attention to our fellows is in short supply. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=otherness" title="otherness">otherness</a>, <a href="https://publications.waset.org/abstracts/search?q=paradox%20of%20acting" title=" paradox of acting"> paradox of acting</a>, <a href="https://publications.waset.org/abstracts/search?q=oral%20history%20theatre" title=" oral history theatre"> oral history theatre</a>, <a href="https://publications.waset.org/abstracts/search?q=devised%20theatre" title=" devised theatre"> devised theatre</a>, <a href="https://publications.waset.org/abstracts/search?q=political%20theatre" title=" political theatre"> political theatre</a>, <a href="https://publications.waset.org/abstracts/search?q=community-based%20theatre" title=" community-based theatre"> community-based theatre</a>, <a href="https://publications.waset.org/abstracts/search?q=peoples%E2%80%99%20theatre" title=" peoples’ theatre"> peoples’ theatre</a> </p> <a href="https://publications.waset.org/abstracts/130363/the-shared-breath-project-inhabiting-each-others-words-and-being" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/130363.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">184</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">2642</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">2641</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">2640</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">2639</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">2638</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">2637</span> Greek Tragedy on the American Stage until the First Half of 20ᵗʰ: Identities and Intersections between Greek, Italian and Jewish Community Theatre</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Papazafeiropoulou%20Olga">Papazafeiropoulou Olga</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The purpose of this paper focuses on exploring the emergence of Greek tragedy on the American stage until the first half of the 20th century through the intellectual processes and contributions of Greek, Italian and Jewish community theatre. Drawing on a wide range of sources, we trace Greek tragedy on the American stage, exploring the intricate processes of community’s theatre identities. The announcement aims to analyze the distinct yet related efforts of first Americans to intersect with Greek tragedy, searching simultaneously for the identities of immigrants. Ultimately, ancient drama became a vehicle not only for great developments in the American theater. In 1903, the Greek actor Dionysios Taboularis arrived in America, while the immigrant stream from Greece to America brought his artistic heritage, presenting in “Hall House” of Chicago the play Return. In 1906, in New York, an amateur group presented the play The Alosi of Messolonghi, and the next year in Chicago, an attempt was noted with a dramatic romance. In the decade 1907-1917, Nikolaos Matsoukas founded and directed the “Arbe theater”, while Petros Kotopoulis formed a troupe. In 1930, one of the greatest Greek theatrical events was the arrival of Marika’s Kotopoulis. Also, members of Vrysoula’s Pantopoulos formed the “Athenian Operetta”, with a positive influence on Greek American theatre. Italian immigrant community, located in tenement “Little Italies” throughout the city, and soon amateur theatrical clubs evolved. The earliest was the “Circolo Filodrammatico Italo-Americano” in 1880. Fausto Malzone’s artistic direction paved the way for the professional Italian immigrant theatre. Immigrant audiences heard the plays of their homeland, representing a major transition for this ethnic theatre. In 1900, the community had produced the major forces that created the professional theatre. By l905, the Italian American theatre had become firmly rooted in its professional phase. Yiddish Theater was both an import and a home-grown phenomenon. In 1878, The Sorceress was brought to America by Boris Thomashefsky. Between 1890 and 1940, many Yiddish theater companies appeared in America, presenting adaptations of classical plays. Αmerica’s people's first encounter with ancient texts was mostly academic. The tracing of tragedy as a form and concept that follows the evolutionary course of domestic social, aesthetic, and political ferments according to the international trends and currents draws conclusions about the early Greek, Italian, and Jewish immigrant’s theatre in relationship to the American scene until the first half of 20th century. Presumably, community theater acquired identity by intersecting with the spiritual reception of tragedy in America. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=American" title="American">American</a>, <a href="https://publications.waset.org/abstracts/search?q=community" title=" community"> community</a>, <a href="https://publications.waset.org/abstracts/search?q=Greek" title=" Greek"> Greek</a>, <a href="https://publications.waset.org/abstracts/search?q=Italian" title=" Italian"> Italian</a>, <a href="https://publications.waset.org/abstracts/search?q=identities" title=" identities"> identities</a>, <a href="https://publications.waset.org/abstracts/search?q=intersection" title=" intersection"> intersection</a>, <a href="https://publications.waset.org/abstracts/search?q=Jewish" title=" Jewish"> Jewish</a>, <a href="https://publications.waset.org/abstracts/search?q=theatre" title=" theatre"> theatre</a>, <a href="https://publications.waset.org/abstracts/search?q=tragedy" title=" tragedy"> tragedy</a> </p> <a href="https://publications.waset.org/abstracts/176718/greek-tragedy-on-the-american-stage-until-the-first-half-of-20-identities-and-intersections-between-greek-italian-and-jewish-community-theatre" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/176718.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">73</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">2636</span> Interpreting Possibilities: Teaching Without Borders</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Mira%20Kadric">Mira Kadric</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The proposed paper deals with a new developed approach for interpreting teaching, combining traditional didactics with a new element. The fundamental principle of the approach is taken from the theatre pedagogy (Augusto Boal`s Theatre of the Oppressed) and includes the discussion on social power relations. From the point of view of education sociology this implies strengthening students’ individual potential for self-determination on a number of levels, especially in view of the present increase in social responsibility. This knowledge constitutes a starting point and basis for the process of self-determined action. This takes place in the context of a creative didactic policy which identifies didactic goals, provides clear sequences of content, specifies interdisciplinary methods and examines their practical adequacy and ultimately serves not only individual translators and interpreters, but all parties involved. The goal of the presented didactic model is to promote independent work and problem-solving strategies; this helps to develop creative potential and self-confident behaviour. It also conveys realistic knowledge of professional reality and thus also of the real socio-political and professional parameters involved. As well as providing a discussion of fundamental questions relevant to Translation and Interpreting Studies, this also serves to improve this interdisciplinary didactic approach which simulates interpreting reality and illustrates processes and strategies which (can) take place in real life. This idea is illustrated in more detail with methods taken from the Theatre of the Oppressed created by Augusto Boal. This includes examples from (dialogue) interpreting teaching based on documentation from recordings made in a seminar in the summer term 2014. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=augusto%20boal" title="augusto boal">augusto boal</a>, <a href="https://publications.waset.org/abstracts/search?q=didactic%20model" title=" didactic model"> didactic model</a>, <a href="https://publications.waset.org/abstracts/search?q=interpreting%20teaching" title=" interpreting teaching"> interpreting teaching</a>, <a href="https://publications.waset.org/abstracts/search?q=theatre%20of%20the%20oppressed" title=" theatre of the oppressed "> theatre of the oppressed </a> </p> <a href="https://publications.waset.org/abstracts/30201/interpreting-possibilities-teaching-without-borders" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/30201.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">431</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">2635</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">2634</span> The Impacts of Foreign Culture on Yoruba Crime Films</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Alonge%20Isaac%20Olusola">Alonge Isaac Olusola</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper focuses on the evolution and development of Yoruba theatre during the pre-colonial, colonial and post-colonial years and how Yoruba crime films have been influenced by foreign culture. It emphasizes on the transition of theatre from the ground to the stage and from the stage to the screen with emphasis on the contribution of late Chief Hubert Ogunde who is regarded as the doyen of Yoruba and the entire Nigerian theatre. Using the Theory of Post-colonialism, two modern Yoruba crime films are carefully selected from the numerous available ones to highlight and explain the various aspects of Yoruba films that have been greatly influenced by the foreign cultural practices. The questions to be answered here include 'Which attitudes or cultural practices are widely believed to be that of Yoruba?', 'To what extent are they projected in the selected Yoruba crime films?', 'Which attitudes or cultural practices are widely believed to be foreign among the Yoruba people?', 'To what extent are they projected in the selected Yoruba crime films?'. Although, the British colonial masters granted political independence to Nigeria on October 1, 1960, but a seed of multi-culture and counterculture had been sown into the lives of the Yoruba people. Under the literature review, there is an intensive illumination on some scholars’ ideas and views on what constitutes Yoruba culture, the evolution and development of drama, theatre and films in the Yoruba society and the nature of criminals and criminalities in the Yoruba society and the western world in the pre-colonial and post-colonial times. Furthermore, the processes of interaction between man, his values and his thoughts are also highlighted – a situation that procreates criminal or benevolent acts. Consequently, the paper dwells on how colonialism, despite its so-called merits put the gradual process of urbanization and civilization among the originally rustic, cohesive and moralistic Yoruba society on a supersonic speed that culminated in acquisition of attitudes that are alien to the Yoruba culture. Since a drama is nothing but the theatrical replication of what occurs in the real life, the paper then focuses on the submission that Yoruba crime films have experienced a serious foreign influence in form and content as a result of this encounter. In conclusion, the findings of the impact of foreign cultural practices on Yoruba crime films are highlighted and expatiated with a view to recommending a few steps that could be taken to retain the projection of the original Yoruba cultural practices in Yoruba films, especially the ones that have crime as a theme. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=culture" title="culture">culture</a>, <a href="https://publications.waset.org/abstracts/search?q=films" title=" films"> films</a>, <a href="https://publications.waset.org/abstracts/search?q=theatre" title=" theatre"> theatre</a>, <a href="https://publications.waset.org/abstracts/search?q=Yoruba" title=" Yoruba"> Yoruba</a> </p> <a href="https://publications.waset.org/abstracts/34174/the-impacts-of-foreign-culture-on-yoruba-crime-films" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/34174.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">303</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">2633</span> Theatre, Tea-Time and Harpsichords: Women’s Entertainment and Sensibility in Eighteenth-Century England </h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ayako%20Otomo">Ayako Otomo</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper will examines the rise of a feminine orientation regarding arts and culture associated with the notion of Sensibility during the early part of the English long eighteenth century. As is widely known, the prosperous modernisation that occurred in this period was a significant factor in the nation taking a leading role in the emergent Enlightenment via the social, political and scientific advancement of Britain. As a result, this prompted the relaxing of the strictures of class and gender hierarchies in line with the new consumerism and cosmopolitanism of the nation. Accordingly, there was a significant increase of female involvement in artistic and cultural consumption. This can be understood in terms of the notion of Sensibility, associating it further with the fields of physiology, psychology and aesthetics, indebted in their turn to British Empiricism. This paper first traces the background of how women were recognisably involved in artistic and cultural circulation within an historical perspective that is articulated by the notion of Sensibility. Then, the discussion turns to the confluence of the issues of female association, creativity and the feminisation of the aesthetic of the arts and culture employing an interdisciplinary perspective. Arts and culture can also classified by public and private social spheres and gender according to Jürgen Habermas. The relationship between women and the theatre became a public issue. Music-making such as playing the harpsichord, reading, and conversation within the ritualistic teatime space dominated many of the artistic and cultural activities within the domestic private sphere. <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=arts" title=" arts"> arts</a>, <a href="https://publications.waset.org/abstracts/search?q=sensibility" title=" sensibility"> sensibility</a>, <a href="https://publications.waset.org/abstracts/search?q=18th%20century%20England" title=" 18th century England "> 18th century England </a> </p> <a href="https://publications.waset.org/abstracts/22582/theatre-tea-time-and-harpsichords-womens-entertainment-and-sensibility-in-eighteenth-century-england" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/22582.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">363</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">2632</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">2631</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> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">2630</span> A Survey and Theory of the Effects of Various Hamlet Videos on Viewers’ Brains</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Mark%20Pizzato">Mark Pizzato</a> </p> <p class="card-text"><strong>Abstract:</strong></p> How do ideas, images, and emotions in stage-plays and videos affect us? Do they evoke a greater awareness (or cognitive reappraisal of emotions) through possible shifts between left-cortical, right-cortical, and subcortical networks? To address these questions, this presentation summarizes the research of various neuroscientists, especially Bernard Baars and others involved in Global Workspace Theory, Matthew Lieberman in social neuroscience, Iain McGilchrist on left and right cortical functions, and Jaak Panksepp on the subcortical circuits of primal emotions. Through such research, this presentation offers an ‘inner theatre’ model of the brain, regarding major hubs of neural networks and our animal ancestry. It also considers recent experiments, by Mario Beauregard, on the cognitive reappraisal of sad, erotic, and aversive film clips. Finally, it applies the inner-theatre model and related research to survey results of theatre students who read and then watched the ‘To be or not to be’ speech in 8 different video versions (from stage and screen productions) of William Shakespeare’s Hamlet. Findings show that students become aware of left-cortical, right-cortical, and subcortical brain functions—and shifts between them—through staging and movie-making choices in each of the different videos. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=cognitive%20reappraisal" title="cognitive reappraisal">cognitive reappraisal</a>, <a href="https://publications.waset.org/abstracts/search?q=Hamlet" title=" Hamlet"> Hamlet</a>, <a href="https://publications.waset.org/abstracts/search?q=neuroscience" title=" neuroscience"> neuroscience</a>, <a href="https://publications.waset.org/abstracts/search?q=Shakespeare" title=" Shakespeare"> Shakespeare</a>, <a href="https://publications.waset.org/abstracts/search?q=theatre" title=" theatre"> theatre</a> </p> <a href="https://publications.waset.org/abstracts/81105/a-survey-and-theory-of-the-effects-of-various-hamlet-videos-on-viewers-brains" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/81105.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">315</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">2629</span> Utilising Reuse and Recycling Strategies for Costume Design in Kuwait Theatre </h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ali%20Dashti">Ali Dashti</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Recycling materials within the realms of theatrical costume design and production is important. When a Kuwaiti play finishes its run, costumes are thrown away and new ones are designed when necessary. This practice indicates a lack of awareness of recycling strategies. This is a serious matter; tons of textile materials are being wasted rather than recycled. The current process of producing costumes for Kuwait theatre productions involves the conception and sketching of costumes, the purchase of new fabrics, and the employment of tailors for production. Since tailoring is outsourced, there is a shortage of designers who can make costumes autonomously. The current process does not incorporate any methods for recycling costumes. This combined with high levels of textile waste, results in significant ecological issues that demand immediate attention. However, data collected for this research paper, from a series of semi-structured interviews, have indicated that a lack of recycling facilities and increased textile waste do not present an area of concern within the Kuwaiti theatrical costume industry. This paper will review the findings of this research project and investigate the production processes used by costume designers in Kuwait. It will indicate how their behaviors, coupled with their lack of knowledge with using recycling strategies to create costumes, had increased textile waste and negatively affected Kuwait theatre costume design industry. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=costume" title="costume">costume</a>, <a href="https://publications.waset.org/abstracts/search?q=recycle" title=" recycle"> recycle</a>, <a href="https://publications.waset.org/abstracts/search?q=reuse" title=" reuse"> reuse</a>, <a href="https://publications.waset.org/abstracts/search?q=theatre" title=" theatre"> theatre</a> </p> <a href="https://publications.waset.org/abstracts/71327/utilising-reuse-and-recycling-strategies-for-costume-design-in-kuwait-theatre" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/71327.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">166</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">2628</span> Politicizing Literature: Henry Fielding’s the Authors Farce and George II’s Policies of Nonsense and Ignorance</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Samia%20Al-Shayban">Samia Al-Shayban</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Conventionally, Fielding Author’s Farce is read as an attack on literary and theatrical establishment. This paper attempt to read it as a disguised scathing political attack upon, King George II, his court and administration. Fielding achieves his design through complex dramatization based on implicit connections between King George II and the poor poet Luckless who shifts his stand from defending the liberties of the authors into becoming one of their oppressors. Through the same connection, the king is accused of being the originator and protector of literary corruption. To strengthen the attack against the king, the court of nonsense which appeared in Luckless’ play is connected to George II’s court through the presence of opera and ignorance. Thus, Fielding’s literary dramatization is used as a medium to expose the corrupting influence of the ruling elite. The King, his court and administration are all complacent in devaluing the English theatre and turning it into a circus that generate nothing but ignorance and poverty. This practice is deliberately designed to keep people ignorant and authors poor so they remain unable to challenge their corrupt politics. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=fielding" title="fielding">fielding</a>, <a href="https://publications.waset.org/abstracts/search?q=King%20George%20II" title=" King George II"> King George II</a>, <a href="https://publications.waset.org/abstracts/search?q=ignorance" title=" ignorance"> ignorance</a>, <a href="https://publications.waset.org/abstracts/search?q=theatre" title=" theatre"> theatre</a>, <a href="https://publications.waset.org/abstracts/search?q=plays" title=" plays"> plays</a> </p> <a href="https://publications.waset.org/abstracts/17164/politicizing-literature-henry-fieldings-the-authors-farce-and-george-iis-policies-of-nonsense-and-ignorance" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/17164.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">578</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">2627</span> Actor Training in Social Work Education: A Pilot Study of Theatre Workshops to Enhance Clinical Empathy</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Amanda%20Coleman">Amanda Coleman</a>, <a href="https://publications.waset.org/abstracts/search?q=Estefan%C3%ADa%20Gonzalez"> Estefanía Gonzalez</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Empathy is considered an essential skill for engaging with social work clients. Drawing from developments in medical education, researchers will conduct and evaluate a three-part pilot theatre workshop with master level social work students (n ≈ 30) to evaluate the workshop's ability to enhance empathy among participants. Outcomes will be measured using semi-structured post-intervention interviews with a subset of participants (n ≈ 10) as well post-intervention written reflections and pre-and-post intervention quantitative evaluation of empathy using King and Holosko’s 2011 Empathy Scale for Social Workers. The content of the workshop will differ from traditional role plays, which are common in social work education, in that it will draw from role theory and research on creative empathy to emphasize role reversal with clients. Workshops will be held February and March of 2017 with preliminary findings available by April. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=education" title="education">education</a>, <a href="https://publications.waset.org/abstracts/search?q=empathy" title=" empathy"> empathy</a>, <a href="https://publications.waset.org/abstracts/search?q=social%20work" title=" social work"> social work</a>, <a href="https://publications.waset.org/abstracts/search?q=theatre" title=" theatre"> theatre</a> </p> <a href="https://publications.waset.org/abstracts/62121/actor-training-in-social-work-education-a-pilot-study-of-theatre-workshops-to-enhance-clinical-empathy" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/62121.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">271</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">2626</span> The Crossroad of Identities in Wajdi Mouawad's 'Littoral': A Rhizomatic Approach of Identity Reconstruction through Theatre and Performance</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Mai%20Hussein">Mai Hussein</a> </p> <p class="card-text"><strong>Abstract:</strong></p> 'Littoral' is an original voice in Québécois theatre, spanning the cultural gaps that can exist between the playwrights’ native Lebanon, North America, Quebec, and Europe. Littoral is a 'crossroad' of cultures and themes, a 'bridge' connecting cultures and languages. It represents a new form of theatrical writing that combines the verbal, the vocal and the pantomimic, calling upon the stage to question the real, to engage characters in a quest, in a journey of mourning, of reconstructing identity and a collective memory despite ruins and wars. A theatre of witness, a theatre denouncing irrationality of racism and war, a theatre 'performing' the symptoms of the stress disorders of characters passing from resistance and anger to reconciliation and giving voice to the silenced victims, these are some of the pillars that this play has to offer. In this corrida between life and death, the identity seems like a work-in-progress that is shaped in the presence of the Self and the Other. This trajectory will lead to re-open widely the door to questions, interrogations, and reflections to show how this play is at the nexus of contemporary preoccupations of the 21st century: the importance of memory, the search for meaning, the pursuit of the infinite. It also shows how a play can create bridges between languages, cultures, societies, and movements. To what extent does it mediate between the words and the silence, and how does it burn the bridges or the gaps between the textual and the performative while investigating the power of intermediality to confront racism and segregation. It also underlines the centrality of confrontation between cultures, languages, writing and representation techniques to challenge the characters in their quest to restructure their shattered, but yet intertwined identities. The goal of this theatre would then be to invite everyone involved in the process of a journey of self-discovery away from their comfort zone. Everyone will have to explore the liminal space, to read in between the lines of the written text as well as in between the text and the performance to explore the gaps and the tensions that exist between what is said, and what is played, between the 'parole' and the performative body. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=identity" title="identity">identity</a>, <a href="https://publications.waset.org/abstracts/search?q=memory" title=" memory"> memory</a>, <a href="https://publications.waset.org/abstracts/search?q=performance" title=" performance"> performance</a>, <a href="https://publications.waset.org/abstracts/search?q=testimony" title=" testimony"> testimony</a>, <a href="https://publications.waset.org/abstracts/search?q=trauma" title=" trauma"> trauma</a> </p> <a href="https://publications.waset.org/abstracts/112868/the-crossroad-of-identities-in-wajdi-mouawads-littoral-a-rhizomatic-approach-of-identity-reconstruction-through-theatre-and-performance" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/112868.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">115</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">2625</span> The Development, Composition, and Implementation of Vocalises as a Method of Technical Training for the Adult Musical Theatre Singer</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Casey%20Keenan%20Joiner">Casey Keenan Joiner</a>, <a href="https://publications.waset.org/abstracts/search?q=Shayna%20Tayloe"> Shayna Tayloe</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Classical voice training for the novice singer has long relied on the guidance and instruction of vocalise collections, such as those written and compiled by Marchesi, Lütgen, Vaccai, and Lamperti. These vocalise collections purport to encourage healthy vocal habits and instill technical longevity in both aspiring and established singers, though their scope has long been somewhat confined to the classical idiom. For pedagogues and students specializing in other vocal genres, such as musical theatre and CCM (contemporary commercial music,) low-impact and pertinent vocal training aids are in short supply, and much of the suggested literature derives from classical methodology. While the tenants of healthy vocal production remain ubiquitous, specific stylistic needs and technical emphases differ from genre to genre and may require a specified extension of vocal acuity. As musical theatre continues to grow in popularity at both the professional and collegiate levels, the need for specialized training grows as well. Pedagogical literature geared specifically towards musical theatre (MT) singing and vocal production, while relatively uncommon, is readily accessible to the contemporary educator. Practitioners such as Norman Spivey, Mary Saunders Barton, Claudia Friedlander, Wendy Leborgne, and Marci Rosenberg continue to publish relevant research in the field of musical theatre voice pedagogy and have successfully identified many common MT vocal faults, their subsequent diagnoses, and their eventual corrections. Where classical methodology would suggest specific vocalises or training exercises to maintain corrected vocal posture following successful fault diagnosis, musical theatre finds itself without a relevant body of work towards which to transition. By analyzing the existing vocalise literature by means of a specialized set of parameters, including but not limited to melodic variation, rhythmic complexity, vowel utilization, and technical targeting, we have composed a set of vocalises meant specifically to address the training and conditioning of adult musical theatre voices. These vocalises target many pedagogical tenants in the musical theatre genre, including but not limited to thyroarytenoid-dominant production, twang resonance, lateral vowel formation, and “belt-mix.” By implementing these vocalises in the musical theatre voice studio, pedagogues can efficiently communicate proper musical theatre vocal posture and kinesthetic connection to their students, regardless of age or level of experience. The composition of these vocalises serves MT pedagogues on both a technical level as well as a sociological one. MT is a relative newcomer on the collegiate stage and the academization of musical theatre methodologies has been a slow and arduous process. The conflation of classical and MT techniques and training methods has long plagued the world of voice pedagogy and teachers often find themselves in positions of “cross-training,” that is, teaching students of both genres in one combined voice studio. As MT continues to establish itself on academic platforms worldwide, genre-specific literature and focused studies are both rare and invaluable. To ensure that modern students receive exacting and definitive training in their chosen fields, it becomes increasingly necessary for genres such as musical theatre to boast specified literature and a collection of musical theatre-specific vocalises only aids in this effort. This collection of musical theatre vocalises is the first of its kind and provides genre-specific studios with a basis upon which to grow healthy, balanced voices built for the harsh conditions of the modern theatre stage. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=voice%20pedagogy" title="voice pedagogy">voice pedagogy</a>, <a href="https://publications.waset.org/abstracts/search?q=targeted%20methodology" title=" targeted methodology"> targeted methodology</a>, <a href="https://publications.waset.org/abstracts/search?q=musical%20theatre" title=" musical theatre"> musical theatre</a>, <a href="https://publications.waset.org/abstracts/search?q=singing" title=" singing"> singing</a> </p> <a href="https://publications.waset.org/abstracts/142243/the-development-composition-and-implementation-of-vocalises-as-a-method-of-technical-training-for-the-adult-musical-theatre-singer" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/142243.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">2624</span> Using a Character’s Inner Monologue for Song Analysis </h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Robert%20Roznowski">Robert Roznowski</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The thought process of the character is never more evident than when singing alone onstage. The composer scores the emotional state and the lyricist voices the inner conflict as the character shares with an audience her or his deepest feelings. It is at these moments that a character may be thought of as voicing her or his inner monologue. Using examples from several musical theatre songs, this presentation will look at a codified approach to analyze a song from a more psychological perspective. Using the clues from the score, traditional character analysis and a psychological-based scoring method an actor may explore more fully inhabit and express the sung and unsung thoughts of the character. The approach yields a richer and more complex approach to acting the song. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=acting" title="acting">acting</a>, <a href="https://publications.waset.org/abstracts/search?q=analysis" title=" analysis"> analysis</a>, <a href="https://publications.waset.org/abstracts/search?q=musical%20theatre" title=" musical theatre"> musical theatre</a>, <a href="https://publications.waset.org/abstracts/search?q=psychology" title=" psychology"> psychology</a> </p> <a href="https://publications.waset.org/abstracts/81133/using-a-characters-inner-monologue-for-song-analysis" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/81133.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">479</span> </span> </div> </div> <ul class="pagination"> <li 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