Top PDF Theatre Arts Film Theatre Arts Performance. Theatre Arts

Theatre Arts Film Theatre Arts Performance. Theatre Arts

Theatre Arts Film Theatre Arts Performance. Theatre Arts

This course is the third level of four courses that provide for a work- shop training experience for students working in their third position on the production crew of a classical theatre production. Students interested in technical work interview for positions in stage manage- ment, crewing, set construction, costumes and makeup, lighting and sound, box office, and publicity. Students will gain practical experience in the application of production responsibilities in any of the follow- ing: stage management, house management, construction, scenery, properties, costume, lighting, sound, and running crews. All students performing in productions may enroll in this class for one to three units at the discretion of the instructor. Students may enroll in this class after the close of late registration at the discretion of the instructor. (C-ID THTR 192)
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Modern theatre: problems of Performing Arts musical in Kazakhstan

Modern theatre: problems of Performing Arts musical in Kazakhstan

group, actors participating in these performances in the first turn, with huge experience. For example, in the ―Juno and Avos‖ performance by Mark Zakharov the role that had been performed by Nikolai Karatchentsov for many years has been performed by Dmitri Pevtsov for the past several years. So, in this way actors of several generations heighten their professional level by prolonging the life of the ―performance of many years of age‖. Speaking of the musical theatre actor's upbringing in Kazakhstan, we shall remind you that in the process of staging a commercial project of the musical "Zhibek» by producer V. Rakhysheva and young composers S. Shamenova and D. Rayeva, the problem was in the professionalism of the actors’ troupe. Initially there was held a casting for all parts, which gathered the acting troupe. It included actors of drama theatres, pop singers and ballet dancers of the Abai State Academic Opera and Ballet Theatre. In the history of the musical there are numerous examples of productions in which personalities of different types of art took part. For instance, the cast of one of the most popular musicals, ―Notre-Dame de Paris‖ was comprised of pop singers: Bruno Pelletier, Hélène Ségara, Garou and others, who are professional singers. However, at the first night of the performance, not only vocal and acting techniques, but also choreography won the world’s recognition.
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Art and the theatre of mind and body: how contemporary arts practice is re-framing the anatomo-clinical theatre

Art and the theatre of mind and body: how contemporary arts practice is re-framing the anatomo-clinical theatre

Museum (Fig. 8) we see an example of art and anatomy standing side by side in perfect partnership in the form of a skeleton and a classical sculpture of a male nude. Also in the Edinburgh museum is the skeleton of the grave robber William Burke, of the infamous Burke and Hare. As Ruth Richardson noted in Death, Dissection and the Destitute (2001: p. 143) Burke received a particularly fitting punish- ment for his crimes: following public hanging his body was dissected and his skeleton put on public display. I was fortu- nate to be able to extend the Anatomy Lessons project to collaboration with the exquisite Paduan Theatre of Anat- omy, now a museum, at the University of Padova in Italy. This much cited anatomical theatre is a stunning example of the Renaissance anatomy theatre and nothing quite pre- pares the spectator for the architectural and allegorical res- onance of the space. In 2000, the British artist John Isaacs produced the video artwork ‘A Cyclical Development of Sta- sis’, which was shot in the Paduan theatre and inter-cut with a high-tech dissecting room in Essen. His title plays on the oxymoronic notion of developmental stasis, progression and movement developing from something that is still and dead. As Martin Kemp and Marina Wallace posit (2000: p. 158) the piece is important in that it is an enquiry into ‘…both positions of objectivity and subjectivity, the dissec- tor and the dissected.’ My own response to this influential space was to create a digital video performance, Orpheus Rising (Fig. 9), which played on the themes of death and resurrection in the Greek myth of Orpheus and Eurydice. In a short video ‘loop’ a male figure appears resignedly to wait for death in the deep dissecting pit. This aspect is shot from his point of view and appears in almost documentary style, the footage hand-held and ‘grainy’. This is followed by the
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The geography of mobility: bodies and technology

The geography of mobility: bodies and technology

For over a decade our collaborative projects have focused on decentralized zones in a number of countries including Singapore, Wales, Japan and regional Australia. The Bonemap aesthetic discipline is a hybrid mesh of performance and media arts framed by an overarching ecological philosophy placing the context of their creative practice in the environments we inhabit and often ignore. Bonemap’s hybridisation is a rupture crossing between gallery, theatre and alternative platforms, and is a natural response to

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PETITION/PROGRAM SHEET Degree: Bachelor of Arts Major: Theatre Arts Concentration: Design/Technology

PETITION/PROGRAM SHEET Degree: Bachelor of Arts Major: Theatre Arts Concentration: Design/Technology

Select 8 semester hours from the Performance Options (see below): ______ ____ ________________________ ____ _____ ________ ______ ____ ________________________ ____ _____ ________ ______ ____ ________________________ ____ _____ ________ ______ ____ ________________________ ____ _____ ________ ______ ____ ________________________ ____ _____ ________ ______ ____ ________________________ ____ _____ ________ ______ ____ ________________________ ____ _____ ________ ______ ____ ________________________ ____ _____ ________

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PETITION/PROGRAM SHEET Degree: Bachelor of Arts Major: Theatre Arts Concentration: Design/Technology

PETITION/PROGRAM SHEET Degree: Bachelor of Arts Major: Theatre Arts Concentration: Design/Technology

Select 8 semester hours from the Performance Options (see below): ______ ____ ________________________ ____ _____ ________ ______ ____ ________________________ ____ _____ ________ ______ ____ ________________________ ____ _____ ________ ______ ____ ________________________ ____ _____ ________ ______ ____ ________________________ ____ _____ ________ ______ ____ ________________________ ____ _____ ________ ______ ____ ________________________ ____ _____ ________ ______ ____ ________________________ ____ _____ ________

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From Plato’s cave to tragic truth:a theoric journey between theatre and the visual arts

From Plato’s cave to tragic truth:a theoric journey between theatre and the visual arts

tragedy as the staging of two competing, and perhaps unresolvable, claims to truth. This seemed to suggest a possible form within which I might attempt to explore the oppositional ideas of truth I was interested in. Critchley also provides an engaging overview of the significance of tragedy in a tradition of philosophy that includes Hegel, Kant, Nietzsche and Heidegger and that can be seen as exploring alternatives to a Platonic metaphysical tradition (2011a). Finally, as my understanding of the role of ancient Greek culture, and tragedy specifically, in Heidegger’s thought developed, I saw the possibility to attempt a contemporary version of this form of drama as a means of exploring some of these ideas through practice. The performance of Greek tragedy took place in a festival setting, the same festivals that were the destination of the theoric emissary mentioned above on whose journey I have mapped my research, and that I have suggested Plato crucially omitted from his analogy of theoria. To re-instigate, or ‘remember’ as Heidegger might express it, an idea of the festive through tragic drama seemed in keeping with Heidegger’s ideas of the festive mode as a potential salvation for contemporary humanity explored in chapter two, as well as his use of tragedy more generally throughout his writing. I will return to explore further certain aspects of the role of tragedy in Heidegger’s thought after first offering an analysis of my attempts to create a contemporary tragedy that draws on some of the key aspects of the ancient Greek tradition.
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FROM THE ARTISTIC DIRECTOR

FROM THE ARTISTIC DIRECTOR

JOHN MOHRLEIN (Clarence/Mr. Potter) is a proud Ensemble member of American Blues Theater. 19 years as “Clarence/Mr. Potter,” and he loves getting to revisit and reinvent these characters year after year. At American Blues, he’s appeared in Half of Plenty, It’s a Wonderful Life, A View from the Bridge, Strictly Dishonorable, American Dead, The Hairy Ape, A Lie of the Mind, Endgame, American Buffalo, The Skin of Our Teeth, The Threepenny Opera, A Stone Carver (Jeff nomination for Best Actor, After Dark Award for Outstanding Performance); and directed Catch-22. Other credits: The Glass House at the Art Institute of Chicago; nine productions at Goodman Theatre; and The Cripple of Inishmaan, Heart of a Dog, and Murder of Cardinal Tosca at Northlight Theatre. His extensive television and film work includes Golden Boy, Good Night Sweet Wife, Dillinger, Killing Floor, Early Edition, Crime Story (recurring role), Untouchables, Devil’s Dominoes, Stranger Than Fiction, No Place to be Somebody, Hellcab, Hero, and Cold
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THEATRE AND FILM (THFM)

THEATRE AND FILM (THFM)

THFM-2405(3) STAGING GREEK AND ROMAN DRAMA (Le3) This course focuses on the staging of Greek and Roman tragedy and comedy. Examination of the surviving texts of selected plays, the remains of ancient theatres, contemporary accounts of dramatic performance, and relevant artwork leads to a recreation of an ancient theatrical experience with information on stage configuration, scenery, masks, costumes, properties, gestures, dance, song, mechanical devices, and stage convention. In addition to their written work, students are expected to participate in demonstrations and performances in class. This course can be used towards the Humanities Requirement.
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Message films in Africa: A look into the past

Message films in Africa: A look into the past

Abstract: Message film-making has characterised much of films produced in post-independent Kenya. The country produced very few films in the 1980s, when indigenous film-making actually began to take root. Liberalisation of the economy, embracement of the digital technology and democratization in the 1990s paved way for a more stable film culture in the decade. A more promising growth of the film industry has been largely witnessed since the turn of the 21st century. Through this period, I note a strong tendency to produce films that are loaded with social messages deemed urgent and important to the target audience. In making these films, the film-makers hope to make a positive impact in the lives of the target audiences. These films tend to valorise the message, sometimes, neglecting the basic filmic codes, a practice that renders the films less entertaining. This endangers the growth of the industry since local films find very stiff competition from foreign films that are common on Kenyan screens. This study therefore investigates pos- sible roots of message film-making in Africa that directly influence the tendencies in Kenya by making references to other African countries’ film experiences. My as- sumption is that Kenya’s cultural experiences are shared by other African countries. Subjects: African Studies; Area Studies; Arts; Communication Studies; Development Stud- ies; Theatre & Performance Studies; Visual Arts
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'Struggling with the word strange my hands have been burned many times' : mapping a migratory research aesthetics in arts-based research

'Struggling with the word strange my hands have been burned many times' : mapping a migratory research aesthetics in arts-based research

...' as the starter sentence. All written pieces were read and discussed in small groups ,'reported back' to the whole group and 'responded to' through a series of simple body sculptures/tableaux. Workshop three revisited some of the 'data' (the creative writing pieces, transcribed conversations) that were produced in the preceding workshops one and two. A participant's (Lyn's) verbatim account about an intercultural strangeness experience, when walking home from the supermarket one Sunday morning in Glasgow, was translated (by me) into a short playtext. I drew on German theatre maker Bertolt Brecht's (Brecht and Willet 1964) dialectical concept of 'estrangement', his ’not-but’ acting technique (ibid: p. 184ff.) and rehearsal exercises (ibid: p. 129) to modify Lyn's original verbatim account. Her first-person intercultural narrative was turned by me into a dialogic text with three speaking parts, translated into third person narrative, and additionally 'estranged' by adding stage directions as well as rhythmic and spatial estrangement effects (Frimberger 2016a: 10). The dialectical aesthetic engagement with Lyn's intercultural narrative, through my treatment of the text and its subsequent performance by three participants, opened a space for the group's collective, embodied reflection on the affective and visceral dimensions of intercultural experience as well as aesthetic concerns about the play's development (ibid). In workshop four, the text was reworked based on participants' ideas for sound effects and music, video projections and stage arrangements.
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Performing asylum : theatre of testimony in South Africa

Performing asylum : theatre of testimony in South Africa

According to Weiss, documentary theatre is only possible if it exists as an organized political working collective that has studied sociology, and is ca- pable of scientific analysis based on a large archive. Documentary theatre, then, stands for the alternative reality, however inscrutable it may make itself appear to be, which can be explained in every detail (2003: 67-68, 73). Mar- tin argues that it is essential to understand documentary theatre as a body of work created from a specific body of archived material. The material might be compiled from interviews, video, film, documents, photographs, hearings and records among other things. This distinguishes it from other forms of theatre, especially historical fiction. While most contemporary playwrights make the claim that everything presented in their plays is part of the archive, Martin cautions that not everything in the archive is documentary (2006: 9). Youker maintains that documentary theatre is theatre that presents and in- terprets documents without subordinating them to a fully autonomous dra- matic narrative. It is documentary in that it is composed, to a significant degree, from materials that it presents as documents of something external to the performance event, and in that it implicitly or explicitly uses its own compositional and performance strategies to invoke and/or question the val- ue of documents as a discursive category (2012: 11). This definition is more expansive than Weiss’ in that it does not exclude the presence of fictive or poetic elements in a play, nor does it exclude ironic or deconstructive pres- entational tactics.
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Department of Theatre, Film and Television

Department of Theatre, Film and Television

You should inform your supervisor and the Chair of Examiners, at the beginning of Year 1, of any special requirements or medical or other conditions you may have (or think you may have) which could affect the assessment of your work. If you have been diagnosed with any condition which may affect your performance in assessments, you should ensure, via the Chair of Examiners, that full details are included on your file. It is your responsibility to ensure that this procedure is activated. Unless formally notified in this way, the Department cannot be expected to make the appropriate arrangements for you. If, during your time at York, any circumstance subsequently arises -- bereavement, for example, or other personal, medical, or compassionate matters -- which could affect the assessment of your work, you should inform your supervisor and also ensure that the Chair of Examiners is notified of the relevant information.
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KINGSBOROUGH COMMUNITY COLLEGE THE CITY UNIVERSITY OF NEW YORK 2001 Oriental Boulevard Brooklyn, New York SYLLABUS

KINGSBOROUGH COMMUNITY COLLEGE THE CITY UNIVERSITY OF NEW YORK 2001 Oriental Boulevard Brooklyn, New York SYLLABUS

DEPARTMENT OF COMMUNICATIONS & PERFORMING ARTS SPEECH ARTS & SCIENCES THEATRE ARTS RADIO MANAGEMENT & TECHNOLOGY FILM STUDIES MUSIC & MUSIC TECHNOLOGY TELEVISION.. [r]

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Theatre Arts In the School of Theatre, Television, and Film In the College of Professional Studies and Fine Arts

Theatre Arts In the School of Theatre, Television, and Film In the College of Professional Studies and Fine Arts

The School of Theatre, Television, and Film offers graduate study leading to the Master of Arts degree and the Master of Fine Arts degree in theatre arts. Graduates in these programs learn in the artist- scholar model and are prepared for careers as practitioners and educators. The Master of Fine Arts degree is offered in the areas of acting, design/technical theatre, and musical theatre. The M.A. is a 30-unit program; the M.F.A. a 60-unit program. Both programs of study limit the number of students accepted in order to offer individual attention and extensive opportunity to participate in theatre production. The Dramatic Arts building contains the proscenium-style Don Powell Theatre seating 500, with state-of-the-art computer lighting and sound control, and the flexible Experimental Theatre seating 200, rehearsal and recording areas, a design studio and CADD laboratory, paint shop, wagon house, scene shop, and fully equipped costume laboratory. The theatre arts degree is accredited by the National Association of Schools of Theatre (N.A.S.T.).
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Massachusetts Arts Curriculum Framework

Massachusetts Arts Curriculum Framework

A FRICA National independence movements, as well E UROPE : Styles such as Abstract Expressionism, as traditional forms reflected in theatre. Nigerian Color Field Painting, Neo-Expressionism, playwright Wole Soyinka, A Dance of the Forests, Minimalism, Pop Art, Postmodernism; the The Road, Death and the King’s Horseman. In emergence of forms such as performance art, South Africa, playwright Athol Fugard, The Blood installations, and computer-generated art. Artists Knot, Boesman and Lena such as Yves Tanguy, Joan Miró, Fernand Leger, A SIA India: Prithvi Raj Kapoor and the Prithvi Jean Dubuffet, Henry Moore, Barbara Hepworth, Theatre; playwrights such as Adya Kangacharya, Richard Hamilton, Peter Blake, Lucien Freud, Vijay Tendulkar, Badal Sircar, Girish Karnad, Graham Sutherland, Francis Bacon, David Kohan Rakesh, Mohit Chatterjee, Manoj Mitra,
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Sensory ethnography: Enhancing logistical event management planning

Sensory ethnography: Enhancing logistical event management planning

10.15 - 10.30 MORNING TEA Foyer, Academy of Performing Arts SOCIAL JUSTICE & TRANSFORMATION CONCURRENT SESSIONS - (Classrooms are located in the S Block. Playhouse Theatre is located[r]

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Que-rious impositions: reflections on the pedagogy at the core of a regional youth theatre in Queensland, Australia

Que-rious impositions: reflections on the pedagogy at the core of a regional youth theatre in Queensland, Australia

recognition of a youthful absence in theatre-making experiences. bell hooks tells us that the stimulation of excitement via a desire for possibility is a key to promoting serious intellectual or academic engagement; “…our capacity to generate excitement is deeply affected by our interest in one another …in recognizing one another’s presence” (1994: 7-8). This brings me back to the emphasis on pedagogy that QUE Theatre Inc. currently maintains; the critical and cultural pedagogies encourage transformational urges to ‘impose hunches’ and these have provided significant enlightenment on whether or not a youth theatre company can to be defined (or constrained) in terms of its process, not just its performance outcomes.
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Community Theatre and Development Practices in the Nyanza Region of Kenya

Community Theatre and Development Practices in the Nyanza Region of Kenya

In order to spur transformation in society, a number of theatre forms have emerged such as Theatre for Development (TfD), Community Theatre, Theatre in Education (TIE), popular theatre, Theatre for social change, Theatre of Necessity, and Participatory theatre. According to Byam (1999), TfD is “a phrase in the framework of theatre nomenclature, which was coined in Botswana in 1973 to describe an approach that attempted to reconcile Frerian concepts to a development project that used theatre as the stimulus that emerged from the quagmire of theatre terms with the distinct purpose of using theatre as a vehicle, a code to raising consciousness” (p.25). Thus, TfD is characterised by active participation of the community in which it is taking place, during which they identify their problems, reflect on how and why the problems affect them, and with the insights gained through an engagement with theatre performance, explore possible solutions. The goal of TfD is to stimulate community consciousness and reflection towards social transformation. TfD has also been referred to as popular theatre, Applied Drama or Theatre (Somers, 2004), Participatory Theatre, Community Theatre, Theatre for Social Change (Idoye, 1996), Theatre of Social Engagement (Kershaw, 1992), and Theatre of Necessity (Irobi, 2006). Noteworthy is that TfD has been widely utilized over the years by governments in Africa to promote state agenda on issues such as hygiene, birth control, agriculture, and effective methods for producing cash crops.
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Your Story/My Story/Our Story: Performing Interpretation in Participatory Theatre

Your Story/My Story/Our Story: Performing Interpretation in Participatory Theatre

In particular, this project has further strengthened my interest in the contributions that theatre and dramatic forms can make to arts-based as well as feminist activist research.. I h[r]

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