Modelling Preference Heterogeneity for Theatre Tickets

DEFF Research Database (Denmark)

Baldin, Andrea; Bille, Trine

2018-01-01

This article analyses the behavioural choice for theatre tickets using a rich data set for 2010–2013 from the sale system of the Royal Danish National Theatre. A consumer who decides to attend a theatre production faces multiple sources of price variation that involves a choice by the consumer...... among different ticket alternatives. Three modelling approaches are proposed in order to model ticket purchases: conditional logit with socio-demographic characteristics, nested logit and latent class. These models allow us explicitly to take into account consumers’ preference heterogeneity with respect...... of behaviour in the choice of theatre ticket....

Jan Mukařovský and Theatre

Czech Academy of Sciences Publication Activity Database

Sládek, Ondřej

2014-01-01

Roč. 17, č. 2 (2014), s. 122-136 ISSN 1803-845X R&D Projects: GA ČR GAP406/10/1911 Institutional support: RVO:68378068 Keywords : Mukařovský, Jan * theatre * structuralism * theory of theatre * theatre criticism Subject RIV: AJ - Letters, Mass-media, Audiovision

Theatre Education: a proposal for systematization

Directory of Open Access Journals (Sweden)

Manuel Francisco VIEITES GARCÍA

2014-07-01

Full Text Available Over the centuries, a diverse set of educational practices gave rise to the field of theatre education, which has been enjoying a growing importance in many countries. In Spain the idea of a theatre education that went beyond the training of theatre artists did not come to gain a similar position to that which it occupies in the countries of our cultural area, despite its potential. However, the recent integration of the colleges of dramatic art in the European Higher Education Area, together with the presence in the curriculum of a basic training area called «pedagogy» requires the consideration of the educational field where the specialists in theatre pedagogy are expected to develop their educational practice. With this paper we offer a theoretical overview of the field of theatre education and a systematization of it, with clear implications for a specific research from a scientific perspective but also in the training of trainers.

Exploring Power with Object Theatre

DEFF Research Database (Denmark)

Ryöppy, Merja; Ylirisku, Salu; Knutz, Eva

2017-01-01

This paper explores Object Theatre as an approach to address power in design. We understand power as a relational activity that emerges and is upheld through particular ways of relating (Elias, 1991; Stacey, 2007). The spontaneity in participant actions through Object Theatre exercises renders pr...

The challenges of theatre workshop in Katsina-Ala and Oju Colleges ...

African Journals Online (AJOL)

The paper recommends more funding by the College management for Theatre Arts Department, motivation of theatre Lecturers handling theatre workshop and making Theatre Arts a double major course among others to avert these challenges. Keywords: Theatre, theatre workshop, college of education, training and ...

From Mainstream Theatres to Synergy Theatre Project: Black Men's Participation in "Urban" Plays in Prison

Science.gov (United States)

Goddard, Lynette

2013-01-01

This paper compares how urban-themed black British playwriting can be understood within mainstream and applied theatre contexts. The paper first examines the focus of the mainstream theatre's education packs for productions of Kwame Kwei-Armah's "Elmina's Kitchen" and Roy Williams's "Fallout" before exploring how black men's…

Gustav Shpet's Literary and Theatre Theory

OpenAIRE

Tihanov, Galin

2007-01-01

In his paper, "Gustav Shpet's Literary and Theatre Theory," Galin Tihanov introduces Shpet's theoretical work on literature and theatre, until recently little studied. Neither has been sufficient attention paid to Shpet's overall presence on the Russian cultural scene in the 1910s-1930s. As a result, our knowledge and appreciation of the scope of his writings and the variety of Russian literary and theatre life in the first third of the twentieth century have remained less rich and well-infor...

Popular Theatre: A Useful Process for Adult Educators.

Science.gov (United States)

Bates, Reid A.

1996-01-01

Four types of theatre uses in adult education are theatre for education, for development, for conscientization, and popular theatre. The latter involves a group's interpretive study of its own social, economic, cultural, and political conditions, leading to collective action. (SK)

Organisational Theatre and Polyphony

DEFF Research Database (Denmark)

Matula, Linda; Badham, Richard; Meisiek, Stefan

This paper details the conditions leading up to and influencing an organisational theatre intervention as part of an organisational change program at a newly established cancer clinic. The paper explores the social and political interactions and negotiations shaping the structure and conditions...... of the organisational theatre event. It focuses in particular on the alignments and clashes between the different human resource voices in defining the ‘surface’ formal purpose for the intervention and the embeddedness of such interactions and negotiations in ‘deeper’ cultural and social conditions. The paper provides...... the first in-depth longitudinal study of shaping and negotiation of an organisational theatre event and the ways in which it is influenced by a polyphonic multivocality and takes the form of selective and partial forms of harmonious expression in establishing meaningful cooperation. The paper reveals...

Recalling Memories Through Reminiscence Theatre

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Rikke Gürgens Gjærum

2013-12-01

Full Text Available The purpose of this article is to study how a reminiscence theatre production develops dramaturgically, and to discuss what impact it has on the participants who take part in the project “The aged as a resource”. The theatre performance Number Our Days is visually and verbally presented and interpreted in this article. The reader also gets an opportunity to look at film extracts from the performance in electronic form. The theoretical framing is based on a performative mindset, Ryum’s dramaturgic model, Ranciere’s view on the emancipated spectator, Turner and Behrndt’s devising theatre universe, Saldana’s ethnodrama method and Ricoeur’s perspective of the capable and relational human being who builds their own narrative identity through communication.

Facilitating Learning Spaces in Forum Theatre

Science.gov (United States)

Rae, Jan

2013-01-01

Purpose: The purpose of this paper is to evaluate the extent to which forum theatre interventions can support non-hierarchical approaches to learning, development and change management initiatives in organisations. Design/methodology/approach: Semi-structured interviews were carried out with theatre consultancies, actors/facilitators,…

The Democratic Potential of Theatre Talks

DEFF Research Database (Denmark)

Hansen, Louise Ejgod

2014-01-01

approach to a target-oriented approach to audience development in which the content of the performance should be matched with certain audience segments. And fourth, the article points to an outcome of the experience related to the challenging of one own view point and thus expanding ones horizon....... of democratization of culture and the democracy theory by James S. Fishkin. The analysis is based on the empirical material of 31 theatre talks carried through as a part of an audience development project and is focused on four different aspects of the democratic potential of theatre: First, how the theatre talks...

Standard guidelines for setting up a dermatosurgery theatre

Directory of Open Access Journals (Sweden)

Rajendran S

2009-08-01

Full Text Available Introduction, definition, rationale and scope: Dermatologists in India are now increasingly performing surgical and cosmetic procedures in their practice. This calls for minimum standards at the national level with the main focus of patient safety and hence the guidelines for setting up a dermatosurgical theatre. Facility: The dermatosurgery theatre can be created in either physician′s clinic, or a hospital depending on the procedure to be performed. The dermatosurgery theatre requires careful planning with regards to - location, dimension, shell design, lighting, electrical requirements, operation table, chair, trolley, surgical instruments, sterilization of devices, asepsis and advanced life support. Apart from physical considerations, other considerations including theatre etiquettes, consent for surgery, safety of dermatosurgeon, theatre staff and lastly biomedical waste management should be looked into. These issues are discussed in detail in the recommendations.

The Kaplan-Meier theatre

DEFF Research Database (Denmark)

Gerds, Thomas Alexander

2016-01-01

Survival probabilities are not straightforward toobtain when observation periods of individuals differ in length. The Kaplan–Meier theatre is a classroom activity, which starts by a data collection exercise where students imagine sailing on the Titanic. Several students ‘fall in the water’ where....... The Kaplan–Meier method assumes that censored individuals have the same survival chances as the individuals who are still observed. During the Kaplan–Meier theatre, students perform a clever algorithm (Efron 1967), which translates the assumption into action and results in the Kaplan–Meier estimate...

FINANCING THE THEATRE: THE ROLE OF MANAGEMENT AND THE STATE

Directory of Open Access Journals (Sweden)

Ivana Bestvina Bukvić

2016-06-01

Full Text Available At a time when public funding of culture is being reduced and increasing attention is being paid to profitability, it is essential to apply an entrepreneurial mindset and management principles to the guidance and the financing of cultural institutions. This paper focuses on the theatre funding scheme and presents a survey analysing the structure of funding theatres in Croatia by weighting budgetary and commercial funding, as well as analyses possible measures to be implemented in order to improve the theatre funding model. A survey was conducted in 2015, which found that public theatres are predominantly funded by budgetary resources (62.14%, while the most important part of the revenue and income section of private theatres originates from selling their own products and services (43.99%. Theatres believe that budgetary resources still need to remain the dominant sources of funding, but in order to increase the level of operational excellence, a change of direction would be necessary towards one’s own resources, including donations and sponsorships. At the same time, better solutions in terms of increasing tax incentives and tax deductions for both donations and sponsorships would result in an increase in their importance in the financing of theatres. The impact of state action on the funding and operation of theatres is unquestionable, but in theatres there is a need for developing a working knowledge in the fields of management and entrepreneurship in order to gradually reduce dependence, particularly of public theatres, on state action.

The Reconfiguration of the Theatre Space and the Relationship between Public and Private in the Case of Apartment Theatre

Directory of Open Access Journals (Sweden)

Andreea Gabriela Lupu

2017-01-01

Full Text Available This article tackles the means of theatre space reconfiguration in the apartment theater (lorgean theater, simultaneously analyzing the relation between public and private specific to this form of art. Structured around both a theoretical analysis and a qualitative empirical investigation, this paper emphasizes the traits of the theatre space as component of an artistic product received by the audience, and its value in the process of artistic production, within the theatre sector. The case study of lorgean theater, including a participant observation and an individual interview, enables the understanding of these two aspects of the spatial configuration, emphasizing its hybrid nature in terms of spatial configuration and the public-private relation as well as the act of reappropriation of the domestic space through an alternative practice of theatre consumption.

Theatre and Cinema Architecture: A Guide to Information Sources.

Science.gov (United States)

Stoddard, Richard

This annotated bibliography cites works related to theatres, movie houses, opera houses, and dance facilities. It is divided into three parts: general references, theatre architecture, and cinema architecture. The part on general references includes bibliographies and periodicals. The second and main part of the guide, on theatre architecture,…

Commerce and Entertainment in the Twente Virtual Theatre Environment

NARCIS (Netherlands)

Nijholt, Antinus; Kirner, C.; Kirner, T.G.

1999-01-01

In this paper we discuss research on a virtual theatre environment. The theatre has been built using VRML and therefore it can be accessed through World Wide Web. In the environment we employ several agents. The theatre allows navigation input through keyboard function keys and mouse, but there is

Modelling Preference Heterogeneity for Theatre Tickets

DEFF Research Database (Denmark)

Baldin, Andrea; Bille, Trine

This paper analyzes the behavioural choice for theatre tickets using a rich dataset for 2010-2013 from the sale system of the Royal Danish National Theatre. A consumer who decides to attend a theater production faces multiple sources of price variation that depends on: socio-economic characterist......This paper analyzes the behavioural choice for theatre tickets using a rich dataset for 2010-2013 from the sale system of the Royal Danish National Theatre. A consumer who decides to attend a theater production faces multiple sources of price variation that depends on: socio......-economic characteristics, quality of the seat, day of the performance and timing of purchase. Except for the first case, factors of price differentiation involves a choice by the consumer among different ticket alternatives. Two modelling approaches, namely multinomial logit (with socio-demographic characteristics......) and latent class are proposed in order to model ticket purchase behaviour. These models allow us explicitly to take into account consumers' preference heterogeneity with respect to the attributes associated to each ticket alternative In addition, the distribution of the willingness-to-pay (WTP) of choice...

Stagecoach Theatre Schools: England's Franchised Musical Theatre Training.

Science.gov (United States)

Heinig, Ruth Beall

2001-01-01

Describes how a student at Stagecoach (a private arts school), by securing the lead role in the film "Billy Elliot," encouraged other British boys to enroll in ballet and dance classes as well as Stagecoach Theatre Arts Schools. Present locations and international links for Stagecoach schools. Describes how the Stagecoach schools are run…

The "Invisible" Drama/Theatre in Education Curriculum in Kenya

Science.gov (United States)

Joseph, Christopher Odhiambo

2016-01-01

This vignette presents the state of theatre in Education Kenya. The paper argues that though there are several theatre in education like practices, these have not been entrenched in the school curriculum. Theatre in Education finds expression and manifestations outside the mainstream school curriculum for instance in schools and colleges drama…

Ethnographic Findings in the Organizational Theatre

DEFF Research Database (Denmark)

Buur, Jacob; Torquet, Rosa

2013-01-01

’ to inhabitants. We explore how theatre improvisation can convey such findings and thus support the provoking role that ethnography may play in organizations. Based on the study of two theatre sessions, we will articulate the importance of balance between playful and serious, of explorative discussion......, and of supportive event planning and space layout to achieve audience engagement....

Backstage in the theatre.

Science.gov (United States)

Tanner, J; Timmons, S

2000-10-01

Observations undertaken in the operating theatre suggested that the social environment, and certain forms of staff behaviour could be explained using the space analysis developed by Erving Goffman (1969) in The Presentation of Self in Everyday Life. In the study reported in this paper the theatre department was found to be a strongly 'backstage' area. However, it was also found that there were limits to this analysis, and these are explained within this article. Some practical suggestions as to how this analysis might be helpful in the management of health care institutions and the education of health care professionals are made.

The Sculptural Elements in Kwagh-Hir Popular Theatre: The ...

African Journals Online (AJOL)

Kwagh-hir theatre is a dynamic theatre of the Tiv people of Central Nigeria. It is also a puppet theatre. It features both giant puppets (ubermeronmettes) and smaller ones which are manipulatable on mobile platforms. In addition to this, Kwagh –hir features masquerade displays of both animal and human representations, ...

1 COMMUNITY THEATRE AND DEVELOPMENT PRACTICES IN ...

African Journals Online (AJOL)

Prof Alex C Asigbo

that this type of theatre is usually not seen as popular or mainstream theatre .... and Cobin (2007) view qualitative research as research that is not produced by ... In-depth interviews were one of the key methods of data collection employed in ...

Negotiating the relationship between theatre and policy

DEFF Research Database (Denmark)

Hansen, Louise Ejgod

The autonomy of the theatrical field is influenced by the political field which aims not only to enhance the societal value of theatre but also to protect autonomy. Examples from different European countries will illustrate that this paradoxical relationship between theatre and policy can...

Readers Theatre plus Comprehension and Word Study

Science.gov (United States)

Young, Chase; Stokes, Faida; Rasinski, Timothy

2017-01-01

Readers Theatre has been used to introduce critical issues, promote fluency among English learners and non-English learners, teach vocabulary, and integrate content in the classroom. Previous studies of Readers Theatre application have demonstrated an increase in student reading fluency, motivation, and confidence. The focus of this systemic…

Transforming a conventional theatre into a gynaecological endoscopy unit.

Science.gov (United States)

Anastasakis, E; Protopapas, A; Daskalakis, G; Papadakis, M; Milingos, S; Antsaklis, A

2007-01-01

Most minimally invasive procedures are now performed in operating rooms that were originally designed for traditional open surgery. We designed an endoscopic theatre based on our experience with special features specific for gynaecological endoscopy. We designed a detailed plan with an architect's aid of a gynaecological unit (based on a Greek presidential decree published in 1991). The space utilized was that of a conventional theatre. With the architectural plan we anticipated every area needed in a gynaecological endoscopic theatre. A twin theatre was considered appropriate in order for the surgical team to operate alternatively in one theatre while the other is being cleaned and prepared for use. The design of a unit dedicated to gynaecologic laparoscopy is a multidisciplinary task where the endoscopic surgeon undertakes an active and prominent role. It is a project with great benefits and rewards for all parties involved. We present our design for evaluation.

From Republicans to Hacktivists: Recent Inclusion Initiatives in Canadian Theatre

Science.gov (United States)

Johnston, Kirsty

2017-01-01

Could targeted inclusion initiatives press Canada's professional theatre community to tap the vast reserve of disabled people disenfranchised by its current practices? In 2015/2016, several long-standing professional institutions dedicated to fostering Canadian theatre joined with Canadian disability theatre artists in order to mark and understand…

Ján Jamnický’s Ten Days with Soviet Theatre

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Lindovská Nadežda

2017-06-01

Full Text Available Art was perceived in the Soviet Union as a part of ideology and propaganda aimed not only at the domestic environment but also at foreign countries. State cultural policy was presented through a series of magnificent meetings and shows, to which also participants from abroad were invited. In the 1930s Moscow was the venue of several theatre festivals, which were attended by Czechoslovak theatre makers. In 1936 it was also attended by Ján Jamnický, the novice theatre director of the Slovak National Theatre in Bratislava. The Slovak theatre maker saw a lot of inspiring productions and experienced the initial period of a campaign aimed at suppressing the freedom of artistic expression. He became a witness to the twilight of Russian theatre avant-garde. The present paper describes the theatre experiences of Ján Jamnický in the Soviet Union and their impact on his life, production and style of direction. It points to a series of overlooked facts which are necessary for a complete understanding of the historical and artistic context of Soviet theatre and Jamnický’s journey.

Music and communication in the operating theatre.

Science.gov (United States)

Weldon, Sharon-Marie; Korkiakangas, Terhi; Bezemer, Jeff; Kneebone, Roger

2015-12-01

To observe the extent and the detail with which playing music can impact on communication in the operating theatre. According to the cited sources, music is played in 53-72% of surgical operations performed. Noise levels in the operating theatre already exceed World Health Organisation recommendations. There is currently a divide in opinions on the playing of music in operating theatres, with few studies conducted and no policies or guidance provided. An ethnographic observational study of teamwork in operating theatres through video recordings. Quantitative and qualitative data analysis approaches were used. This study was conducted between 2012-2013 in the UK. Video recordings of 20 operations over six months in two operating theatres were captured. The recordings were divided into music and non-music playing cases. Each case was logged using a request/response sequence identified through interactional analysis. Statistical analysis, using a χ(2) , explored the difference between the proportion of request repetitions and whether music was playing or not. Further interactional analysis was conducted for each request repetition. Request/response observations (N = 5203) were documented. A chi-square test revealed that repeated requests were five times more likely to occur in cases that played music than those that did not. A repeated request can add 4-68 seconds each to operation time and increased tensions due to frustration at ineffective communication. Music played in the operating theatre can interfere with team communication, yet is seldom recognized as a potential safety hazard. Decisions around whether music is played and around the choice of music and its volume, are determined largely by surgeons. Frank discussions between clinicians, managers, patients and governing bodies should be encouraged for recommendations and guidance to be developed. © 2015 John Wiley & Sons Ltd.

Teaching the Total Language with Readers Theatre.

Science.gov (United States)

Goodman, Jess A., Jr.

Reading, writing, speech assignments for special education classes, English as a second language and many other classroom projects can be taught through the involvement created by Readers Theatre. Readers Theatre is the presentation of dialogue-type material in play form. The actors hold the script as they move through it and a narrator's voice…

Methods of recording theatre activity across publicly funded hospitals in Ireland.

LENUS (Irish Health Repository)

Cronin, J

2013-10-13

A review of theatre activity in all Health Service Executive (HSE) hospitals in Cork and Kerry in 2008 required a manual extraction of theatre activity data from largely paper-based logbooks. A key data management recommendation suggested that "a standardised computerised theatre logbook system be developed in all hospitals in the region". HSE (2010) Reconfiguration of health services for Cork and Kerry-theatre utilisation review. ISBN 978-1-906218-54-6.

Theatre as a Figure and a Place of Cultural Memory

Directory of Open Access Journals (Sweden)

Lidija Kapushevska-Drakulevska

2014-11-01

Full Text Available Cultural memory is the starting point for studying culture. Theatre, on the other hand, is a multidimensional play with memory; it is an emblem of a certain culture, and of the overall blending of various discourses within it. Hence the relation between theatre and memory is rather complex and multifaceted. Theatre is a medium synthesising text and performance, speech and gesture (play, acting, as well as establishing direct, at least doubly articulated communication: among the actors on stage on the one hand, and between the actors and the audience on the other. They are all subjects of theatrical memory. Theatre not only uses memory in order to create the plot, develop the characters or establish communication with the audience, but also becomes a figure of memory itself: a culturally modelled, socially mandated (iconic, narrative, etc. memory image (Assman. Additionally, theatre may be considered a place of memory, as well. But theatre is not a simple mnemonic of repeating reality—it is not merely a simulacrum, but also a quotation of reality; it does not aim to copy or memorise reality, but to represent it and interpret it critically. This is particularly true of the contemporary rough theatre of brutality.

Creative Artist: A Journal of Theatre and Media Studies: Submissions

African Journals Online (AJOL)

The Creative Artist: A Journal of Theatre and Media Studies is an annual publication, devoted to the advancement of research and knowledge in all areas of Theatre and Media Arts. The Editors are inspired by a need to assemble well – researched papers and reviews, which treat topical issues, in diverse areas of Theatre ...

Readers Theatre : Dramatising environment issues for oral skills development

OpenAIRE

Paatrick Ng Chin Leong

2009-01-01

Readers Theatre was introduced to a class of Japanese students studying intermediate-level English in an international university in Japan. The aim of the study is to investingate whether Readers Theatre enhances the oral skills of Japanese students as they negotiate an environmental issue in English. In my presentation, I will demonstrate how Readers Theatre is implemented in class and the comments by students will be analysed and discussed during the presentation.

Acting and Collecting: Imagining Asia through material culture and musical theatre

OpenAIRE

Peter Thorley

2015-01-01

This paper explores the link between Asian-inspired material culture and musical theatre through the collections of Anglo-Australian performer Herbert Browne (1895-1975). Brown played lead roles in 1920s Australian musical theatre productions of The Mikado and Chu Chin Chow and re-lived his connection with oriental theatre by collecting and responding to objects performatively in the Chinoiserie room of his Melbourne home. Oriental musical theatre blended exotic cultures and locales in visual...

Visual Symbolism in Contemporary Theatre Directing in Nigeria ...

African Journals Online (AJOL)

This difference is cropped from the director's perception, conception, imaginative and creative impetus. Visual symbolism in the theatre as a medium traverse forms, textures, symbols, lines, lighting, circles and balance in creating an everlasting theatre experience. Visual symbolism is influenced by style, concept, forms, ...

Moscow Theatre 1935 and 1970: This Is Where I Came In

Science.gov (United States)

Houghton, Norris

1971-01-01

Compares findings of what is happening in Russian theatre today with what was being done in the 30's. Particularly discusses the work of Georgi Tovstonogov, Director of the Gorki Theatre in Leningrad, and Yuri Liubimov, Director of the Taganka Theatre in Moscow. (RB)

Political Theatre in Europe: East to West, 2007-2014

OpenAIRE

Shevtsova, Maria

2016-01-01

What political theatre may be in contemporary times and in what sense it is ‘political’ are the core issues of this article. Examples are chosen from within a restricted period, 2007 to 2014, but from a considerably wide space that starts from Eastern Europe – Russia, Romania, Hungary, Poland – and goes to Germany and France. These examples are principally productions by established ensemble theatre companies and they are framed by a brief discussion concerning independent theatres, ‘counter-...

A Brazilian theatre model meets Zulu performance conventions ...

African Journals Online (AJOL)

In July 2002, Christopher Hurst supervised Mbongiseni Buthelezi, a postgraduate student in Drama and Performance Studies, who conducted a Prison Theatre project at the Medium B Prison (a men's maximum security prison) at Westville Prison in Durban. Buthelezi used theatre workshop techniques to create a play that ...

Curriculum: The Contradictions in Theatre Education in Brazil

Science.gov (United States)

Pompeo Nogueira, Marcia; de Medeiros Pereira, Diego

2016-01-01

The history of arts education in Brazil is summarised, based on its contradictions. Some aspects of the Brazilian educational system and the National Curriculum Parameters are presented, in order to identify the predominant approach to theatre education. Three situations of the theatre education landscape in the state of Santa Catarina, southern…

The "Not Knowns": Memory, Narrative and Applied Theatre

Science.gov (United States)

Conroy, Colette; Dickenson, Sarah Jane; Mazzoni, Giuliana

2018-01-01

This is an attempt to articulate and explore the relationship between the science of memory and the applied theatre project, "The Not Knowns." The project was a collaboration between theatre practitioners and a psychologist who worked together with a group of young people known, problematically, as the "not knowns" throughout…

The Black Presence in London Theatre, 1974-1979.

Science.gov (United States)

Stanback, T.W.

1983-01-01

Based on studies conducted by the Afro-Asian Committee of British Actors Equity and others, discusses the limited opportunities for minority actors in British theatre. Identifies plays in which Black performers were cast during the late 1970s and describes a number of fringe theatre groups which employ Black actors. (GC)

Aquatic theatre: women as performing audience | Abraye | Creative ...

African Journals Online (AJOL)

Aquatic theatre is an art form that was established from the days of classical theatre. In Africa the art form exists in traditional communities and is occasionally exhibited during communal festivals or important visitation of high ranking government officers. In recent history, this form of festival art is beginning to gain popularity ...

Bus Journeys, Sandwiches and Play: Young Children and the Theatre Event

Science.gov (United States)

Miles, Emma

2018-01-01

Theatre for Early Years (TEY) audiences is a relatively new and growing area of practice. This article arises from empirical research with a group of children aged three and four, who made repeat visits to watch TEY performances at Polka Theatre in London. Drawing on literature from education studies, theatre studies and cultural geography, this…

Twelfth night of 1917 and the Moscow art theatre Twelfth night of 1917 and the Moscow art theatre

Directory of Open Access Journals (Sweden)

Arkady Ostrovsky

2008-04-01

Full Text Available On 15 September, 1917, in a letter to Nemirovich-Danchenko, Stanislavsky renounced the stage of the Moscow Art Theatre: I cannot think about any other roles, because I will never be able to do anything, at least in the Moscow Art Theatre. Maybe in some other area or some other place I will be able to rise. Of course I do not mean in other theatres, but in the studios. Othello — free!...1 After the tragedy Stanislavsky had endured with Selo Stepanchikovo, he threw himself into Studio work. He started rehearsing Twelfth Night, a play he had put on at the Society of Art and Literature in 1897. The Studio production of Twelfth Night was played on 25 December 1917, two months to the day after the Revolution. A few months later, Nikolai Efros published a book about the First Studio. It was dedicated to The Cricket on the Hearth but the words Efros used to describe the atmosphere in which Dickens’s production had opened were equally suitable for Twelfth Night: ‘You remember what sort of days those were? On 15 September, 1917, in a letter to Nemirovich-Danchenko, Stanislavsky renounced the stage of the Moscow Art Theatre: I cannot think about any other roles, because I will never be able to do anything, at least in the Moscow Art Theatre. Maybe in some other area or some other place I will be able to rise. Of course I do not mean in other theatres, but in the studios. Othello — free!...1 After the tragedy Stanislavsky had endured with Selo Stepanchikovo, he threw himself into Studio work. He started rehearsing Twelfth Night, a play he had put on at the Society of Art and Literature in 1897. The Studio production of Twelfth Night was played on 25 December 1917, two months to the day after the Revolution. A few months later, Nikolai Efros published a book about the First Studio. It was dedicated to The Cricket on the Hearth but the words Efros used to describe the atmosphere in which Dickens’s production had opened

The cost of trauma operating theatre inefficiency.

Science.gov (United States)

Ang, W W; Sabharwal, S; Johannsson, H; Bhattacharya, R; Gupte, C M

2016-05-01

The National Health Service (NHS) is currently facing a financial crisis with a projected deficit of £2billion by the end of financial year 2015/16. As operating rooms (OR) are one of the costliest components in secondary care, improving theatre efficiency should be at the forefront of efforts to improve health service efficiency. The objectives of this study were to characterize the causes of trauma OR delays and to estimate the cost of this inefficiency. A 1-month prospective single-centre study in St. Mary's Hospital. Turnaround time (TT) was used as the surrogate parameter to measure theatre efficiency. Factors including patient age, ASA score and presence of surgical and anaesthetic consultant were evaluated to identify positive or negative associations with theatre delays. Inefficiency cost was calculated by multiplying the time wasted with staff capacity costs and opportunity costs, found to be £24.77/minute. The commonest causes for increased TT were delays in sending for patients (50%) and problems with patient transport to the OR (31%). 461 min of delay was observed in 12 days, equivalent to loss of £951.58/theatre/day. Non-statistically significant trends were seen between length of delays and advancing patient age, ASA score and absence of either a senior clinician or an anaesthetic consultant. Interestingly, the trend was not as strong for absence of an anaesthetic consultant. This study found delays in operating TT to represent a sizable cost, with potential efficiency savings based on TT of £347,327/theatre/year. Further study of a larger sample is warranted to better evaluate the identified trends.

The Conference of Theatre Leaders on March 29–30, 1917: Discussion on the Fates of the Russian Theatre in the Age of Revolution

Directory of Open Access Journals (Sweden)

GORDEEV P.N.

2014-09-01

Full Text Available The article is devoted to the understudied but important event in the history of Russian theatre in the age of revolution – the conference of theatre leaders, held on March 29–30, 1917 in the Winter Palace. The study is aimed at determining the circle of participants, highlighting the discussed issues, evaluating the overall significance of the conference in the history of Russian theatre. In the process of research the author used a number of new archival materials, the most important of which are the recordings of the meeting of March 30 (found by the author in the collections of the St. Petersburg State Museum of Theatre and Music and introduced to the scientific world for the first time. On the basis of these recordings, as well as other archival materials and publicistic articles, the author managed to determine the circle of theatre leaders who participated in the conference. They include such outstanding representatives of the Russian theater as V.E. Meyerhold, M.M. Fokin, A.I. Sumbatov-Yuzhin and L.V. Sobinov. They discussed the responsibilities of self-government, elected by the actors, the rights of the theatre commissars, the pursuit of Moscow scene to achieve the maximum independence from Petrograd as well as the functions of the assistant commissar of the Provisional Government of the former Ministry of the Court. The question about the possible involvement of Soviet Workers and Soldiers in the development of theatrical reforms provoked lively debates (the proposal was not supported by the majority of the participants. The final resolution of the conference stated the demand of the “autonomy” for state theatres. The significance of the conference consists primarily in the fact that it revealed some common intentions of theatre leaders as well as contradictions on a number of issues, many of which were raised for the first time at this conference and were continually discussed throughout the revolution.

Assessment of Educational Environment of Surgical Theatre at a Teaching Hospital of a Saudi University: Using Surgical Theatre Educational Environment Measures

Directory of Open Access Journals (Sweden)

Mona Faisal Al-Qahtani

2012-05-01

Full Text Available Objectives: This study was aimed to determine how medical interns perceive the important factors of the learning environment the surgical theatre at the teaching hospital of the medical school, University of Dammam (UoD. The study also investigated the relationships between the learning environment and academic achievements. Finally, it determined the role and significance of gender on the above perceptions and relationships.Methods: The Surgical Theatre Educational Environment Measure (STEEM was used to identify the perceptions of interns on the most important factors prevalent in the surgical theatre as an educational environment. STEEM was administered to all interns during the period of June-September 2009. Ninety-one out of 145 students completed the questionnaire representing a response rate of 63%. Non-parametric statistical analysis was performed using Statistical Package for the Social Sciences (SPSS Version 17.Results: The STEEM was shown to be internally consistent for the assessment of the overall educational environment in the surgical theatre of UoD. The overall STEEM mean score was 110. For male and female students, the mean scores were 114 and 107 respectively. There were statistically significant gender differences in the perceptions of "learning opportunities" and "teaching and training". Females rated these subscales lower than males. There were no significant associations between academic achievements and perceptions of the educational environment.Conclusion: The interns perceived the learning environment of the surgical theatre as less than satisfactory. In comparison with the males; the perception of the females was less positive, particularly in the areas of learning opportunities, and teaching and training. The study also revealed some other problematic areas in the learning environment of surgical theatre of the teaching hospital of UoD. The results imply that there is much room for improvement. They also indicate that

Theatre as a Figure and a Place of Cultural Memory

OpenAIRE

Lidija Kapushevska-Drakulevska

2014-01-01

Cultural memory is the starting point for studying culture. Theatre, on the other hand, is a multidimensional play with memory; it is an emblem of a certain culture, and of the overall blending of various discourses within it. Hence the relation between theatre and memory is rather complex and multifaceted. Theatre is a medium synthesising text and performance, speech and gesture (play, acting), as well as establishing direct, at least doubly articulated communication: among the actors on sta...

Theatre in India.

Science.gov (United States)

Richmond, Farley, Ed.

1975-01-01

The articles in this volume place special emphasis on significant forms of traditional Indian theatre about which relatively little has been written. They represent, for the most part, the work of relatively young and unknown scholars on the threshold of their careers. Each article was selected for inclusion either because it probed deeply into…

Performative Criminology and the “State of Play” for Theatre with Criminalized Women

Directory of Open Access Journals (Sweden)

Elise Merrill

2015-04-01

Full Text Available This article applies feminist theory with cultural criminology to explore the role of theatre in the lives of criminalized women. Theatre initiatives for criminalized populations are growing worldwide, and so we are seeking to better understand how these two realms intersect. This article is based on a case study which was conducted at the Clean Break Theatre Company in London, England in the summer of 2013. We explore some of the emerging themes, which took shape from a thematic analysis. First we describe how theatre can be used as a lens into the experiences of criminalized women, and then as a tool for growth in their lives. The role of environment at Clean Break, and the role of voice from practicing theatre in a women-only environment are then discussed. Lastly, the roles of transformation and growth overall for the participants are explored in relation to their experiences with theatre practices. This article works to understand how theatre practices can elevate and adapt cultural criminology into a new form of imaginative criminology, and questions how we can embrace this form of engagement between theatre and criminology within a Canadian context.

A novel method of personnel cooling in an operating theatre environment.

Science.gov (United States)

Casha, Aaron R; Manché, Alexander; Camilleri, Liberato; Gauci, Marilyn; Grima, Joseph N; Borg, Michael A

2014-10-01

An optimized theatre environment, including personal temperature regulation, can help maintain concentration, extend work times and may improve surgical outcomes. However, devices, such as cooling vests, are bulky and may impair the surgeon's mobility. We describe the use of a low-cost, low-energy 'bladeless fan' as a personal cooling device. The safety profile of this device was investigated by testing air quality using 0.5- and 5-µm particle counts as well as airborne bacterial counts on an operating table simulating a wound in a thoracic operation in a busy theatre environment. Particle and bacterial counts were obtained with both an empty and full theatre, with and without the 'bladeless fan'. The use of the 'bladeless fan' within the operating theatre during the simulated operation led to a minor, not statistically significant, lowering of both the particle and bacterial counts. In conclusion, the 'bladeless fan' is a safe, effective, low-cost and low-energy consumption solution for personnel cooling in a theatre environment that maintains the clean room conditions of the operating theatre. © The Author 2014. Published by Oxford University Press on behalf of the European Association for Cardio-Thoracic Surgery. All rights reserved.

Theatre elicitation integrating a participatory research tool in a mixed-method study

NARCIS (Netherlands)

Roerig, S.; Evers, S.J.T.M.; Krabbendam, L.

2015-01-01

The relation between theatre, or drama, and research is not novel which is illustrated by concepts such as role theory, theatre for development, or distancing in drama therapy. In various scientific fields theatre is used as a communicative and/or educative tool, however in the realm of childhood

Marginal Experiments: Peter Brook and Stepping out Theatre Company

Science.gov (United States)

Harpin, Anna

2010-01-01

This article juxtaposes the recent work of Peter Brook with a Bristol-based mental health service-user collective--Stepping Out Theatre Company. Informed by field-work with the company, this chapter explores the aesthetic and political relationship between professional, experimental theatre work and community-based performance practice. Drawing…

Creative Artist: A Journal of Theatre and Media Studies

African Journals Online (AJOL)

The Creative Artist is an annual publication devoted to the advancement of knowledge in all areas of Theatre and Media arts. Vol 11, No 1 (2017). DOWNLOAD FULL TEXT Open Access DOWNLOAD FULL TEXT Subscription or Fee Access. Table of Contents. Articles. Aquatic theatre: women as performing audience ...

The Role of Advertising, Publicity and Public Relations in Theatre ...

African Journals Online (AJOL)

The paper notes that the usage of these marketing communication tools in theatre ... and public relations, plus other marketing tools in the promotional activities of theatres in Nigeria. ... EMAIL FREE FULL TEXT EMAIL FREE FULL TEXT

SMEs, IT, and the Third Space: Colonization and Creativity in the Theatre Industry

Science.gov (United States)

Kendall, Julie E.; Kendall, Kenneth E.

We examine how small and medium-sized, professional, nonprofit performing arts theatres in the US can improve the strategic use of information technology (IT), as well as other aspects of theatre management for large, commercial theatre productions in the West End of London and on Broadway in New York City. In this article we use the epistemology of the third space developed by Bhabha (1994) and extended by Frenkel (2008). Although both authors were discussing knowledge transfer, we use their conceptualizations to characterize and explore more deeply the transfer process of culture (and thereby useful practices and worthwhile lessons) from small and medium-sized professional, nonprofit theaters to large-scale commercial theatres. We include a discussion of Nonaka’s (1991) concept of ba, and how it relates to the third space. We specifically employ the metaphor of the third space developed by Bhabha (1994) to critique and understand the verbal and nonverbal cultural transmissions between small and large theatres. One of our contributions is to use the conceptualization and metaphor of the third space to understand the complex exchanges and relationships between small to medium-sized nonprofit professional theatres and large commercial theatres, and to identify what large commercial productions can learn from nonprofit theatres from these exchanges.

Theatre and laboratory workers' awareness of and safety practices ...

African Journals Online (AJOL)

Introduction: The consistent use of barrier protection among theatre workers is low in this region, so also is hepatitis B virus (HBV) vaccination. We assessed the level of awareness of HBV and hepatitis C virus (HCV), HBV vaccination and adoption of safety measures by theatre and laboratory workers. Methods: Structured ...

28 The Theatre and Sustainable Human Development: Fumes of ...

African Journals Online (AJOL)

comprise Theatre Arts, Music, Dance and Choreography and the ... mean the performance of a piece of real or imagined experience by .... theatre has been a vehicle for social interaction, for the moulding ... society, record activities and interpret happenings, it also has a .... people live on water, but die of cholera because.

The Contemporary Nigerian Theatre Practitioner in Search of Market ...

African Journals Online (AJOL)

Using Play Theory of Mass Communication as its framework, this paper examines the position of the theatre artiste/practitioner in the context of Information Communication and Technology (ICT) and new media. It first attempts a study of the 'pre-independence' practitioners of theatre and drama as professionals, followed by ...

Ergonomic Aspects of Transport of Patient through the Operating Theatre

Science.gov (United States)

Janowicz, Rafał

2017-10-01

One of the most crucial decisions to be made while designing and re-modernizing an operating theatre is selecting a method of transporting the patient through the hospital’s spatial arrangement. This decision, while irrelevant at first thought, implies numerous project and functional consequences. Designing an operating theatre within a hospital is related to numerous specialist requirements with an aim of minimizing the risk of microbiological contamination. Surgeries conducted on the operating theatre take place within sterile areas, usually within a protection area provided with laminar air flow. Furthermore, currently in Poland, there are applicable rules requiring to have entrances secured with tract locks leading towards the operational rooms for hospital personnel, patients as well as hospital equipment and materials. Such construction of an operating theatre provides the necessity of applying detailed procedures of transporting the patient, who in most cases is not able to reach the surgery on his or her own. In operating theatres functioning during the last decades, the operating tables were most often fixed to the floor. This resulted in the need to relocate the patient, who is ready for surgery, for several times. The consequences of this included risks related shock due to the relocations for the patient as well as physical overload for the medical staff. The aim of hereby article is to present modern designer solutions providing the opportunity to enhance ergonomics of using the operating theatre.

Creative Artist: A Journal of Theatre and Media Studies: Journal ...

African Journals Online (AJOL)

Creative Artist: A Journal of Theatre and Media Studies: Journal Sponsorship. Journal Home > About the Journal > Creative Artist: A Journal of Theatre and Media Studies: Journal Sponsorship. Log in or Register to get access to full text downloads.

Reducing bacterial contamination in an Orthopedic Theatre ventilated by natural ventilation, in a Developing Country.

Science.gov (United States)

Thomas, Stephanie; Palmer, Rish; Phillipo, Edward; Chipungu, Geoffrey

2016-05-31

All surgical procedures have the potential for infection and some of the main sources are contamination from airborne particles, theatre personnel and the theatre environment.  There is strong evidence that the use of ultra-clean air flow systems in orthopedic operating theatres reduces the incidence of deep sepsis after surgery. In the developing world however, this is often an unrealistic solution. The aim of this study was to establish baseline levels of contamination in a working orthopedic theatre, at the Queen Elizabeth Central Hospital, Blantyre, Malawi. To feedback results to the theatre team, promote infection prevention discussion and work with the team to implement workable and realistic goals to improve the intra-operative environment. Samples were collected from theatre equipment available at the time of surgery, from theatre water and theatre air using passive air sampling techniques. Samples were immediately transferred to the Central Microbiology Laboratory for culture on basic culture media. Bacterial contamination of theatre equipment, intra-operative theatre air and water was detected. Results were discussed with the theatre and infection prevention team who were receptive to feedback with regards to infection prevention strategies and keen to develop simple measures which could be put in place to change practice. In this setting, we suggest that implementing workable and realistic goals such as, establishing baseline rates of bacterial contamination and introduction of strict protocols for asepsis and theatre etiquette, may reduce bacterial contamination rates and subsequent intra-operative infection in the absence of expensive engineering solutions.

EJOTMAS: Ekpoma Journal of Theatre and Media Arts: Submissions

African Journals Online (AJOL)

The contributor must be consistent in the use of either the MLA or APA style. Footnotes to the text should be avoided. All articles, correspondence and enquiries should be sent to: The Editor. EJOTMAS: Ekpoma Journal of Theatre and Media Arts. Department of Theatre and Media Arts,. Ambrose Alli University, Ekpoma, Edo ...

Moving Self: The Thread Which Bridges Dance and Theatre

Science.gov (United States)

Smith, Mary Lynn

2002-01-01

This paper is a study of the impact movement education has had on prospective dance and theatre practitioners--how they think about, perceive, and experience movement. The purpose is to discuss the concept "experience" as it relates to phenomena being considered during classes in dance improvisation and movement for theatre with the objective to…

Interactive Multimedia Solutions Developed for the Opening of the New Stage of the Alexandrinsky Theatre

OpenAIRE

Borisov, Nikolay; Smolin, Artem; Stolyarov, Denis; Shcherbakov, Pavel

2013-01-01

This paper focuses on teamwork by the National Research University of Information Technologies, Mechanics and Optics (NRU ITMO) and the Aleksandrinsky Theatre in preparation of opening of the New Stage of the Alexandrinsky Theatre. The Russian State Pushkin Academy Drama Theatre, also known as the Alexandrinsky Theatre, is the oldest national theatre in Russia. Many famous Russian actors performed on the Alexandrinsky’s stage and many great directors. May 2013 marked the opening of the New St...

Dance Theatre of Harlem.

Science.gov (United States)

Petrides, Angelica

1983-01-01

Describes the emergence of the Dance Theatre of Harlem, which has united both aesthetic excellence and social purpose/community involvement since its founding in 1971. Reveals how current government policies have endangered its funding. Offers a critique of several productions, which showed a new emphasis on technique. (DMM)

Acting and Collecting: Imagining Asia through material culture and musical theatre

Directory of Open Access Journals (Sweden)

Peter Thorley

2015-07-01

Full Text Available This paper explores the link between Asian-inspired material culture and musical theatre through the collections of Anglo-Australian performer Herbert Browne (1895-1975. Brown played lead roles in 1920s Australian musical theatre productions of The Mikado and Chu Chin Chow and re-lived his connection with oriental theatre by collecting and responding to objects performatively in the Chinoiserie room of his Melbourne home. Oriental musical theatre blended exotic cultures and locales in visually spectacular productions which bore little resemblance to reality. The taste for escapist fiction in the theatre took place against a backdrop of museum collecting which aimed to reproduce authentic Asian and Other cultures. In this paper, I draw on French philosopher Merleau-Ponty’s observations on the relationship between thought and the body’s interaction with space to interpret the influence of Browne’s theatricality on collecting choices. From this perspective, objects materialize particular understandings of the world which originate in the body and the body’s performative engagement with space.

The Living Archive as a strategy for a theatre laboratory

DEFF Research Database (Denmark)

Kuhlmann, Annelis

This paper emphasizes focus on the theatre laboratory in the perspective of the living archive as a performative tools for artistic self reflection within the work of the theatre laboratory, and as a tools for visions and strategies in aesthetics, identity and historiographical perspectives....

'I was utterly mesmerised' : Audience experiences of different theatre types and genres in four European cities

NARCIS (Netherlands)

Wilders, Marline; Toome, Hedi-Liis; Sorli, Maja; Szábo, Attila; Zijlstra, Anna

2015-01-01

This article investigates the similarities and differences on how spectators experience theatre performances grouped along large, transnationally present types as Spoken Theatre, Dance Theatre, Musical Theatre and Kleinkunst. Our findings are based on the analysis of the extensive data collected by

'I was utterly mesmerised': Audience experiences of different theatre types and genres in four European cities

NARCIS (Netherlands)

Wilders, M.L.; Toome, H.-L.; Šorli, M.; Szabó, A.; Zijlstra, A.

2015-01-01

This article investigates the similarities and differences on how spectators experience theatre performances grouped along large, transnationally present types as Spoken Theatre, Dance Theatre, Musical Theatre and Kleinkunst. Our findings are based on the analysis of the extensive data collected by

Noor eesti teater ja Noor-Eesti. Young Estonian Theatre and Young Estonia

Directory of Open Access Journals (Sweden)

Katri Aaslav-Tepandi

2012-04-01

Full Text Available This article begins by examining points of intersection between two professional theatres, ”Estonia” and ”Vanemuine” (both established in 1906, their young directors – Karl Menning, Paul Pinna, Theodor Altermann, and Karl Jungholz, and the literary movement Young Estonia. Subsequently, we will consider Young Estonia’s theatrical ideals and the influence of these ideas on later Estonian theatrical life. Since not much information has survived regarding direct personal contacts between ”movers and shakers” in the theatre world and Young Estonians, the main focus here shall be on indirect creative connections and influences. One such context is education: like the Young Estonians, theatre activists of the younger generation aspired to place themselves on the larger map of European culture. Thus, their artistic beliefs and goals shall be examined in relation to those of Young Estonians’ quest for modern culture. Pinna, Altermann, Menning, Jungholz, and others went on study tours to Germany and France, where they were energized and inspired by innovative German and Russian theatres, by naturalistic staging, and by psychological realism, both in acting and in performance style. Among their models were A. Antoine’s Théâtre- Libre in Paris, K. Stanislavski’s Art Theatre in Moscow, O. Brahm’s Lessing-Theater, and M. Reinhardt’s Deutsches Theater in Berlin. These models were likewise known to the Young Estonians, but if theatre activists oriented themselves more fundamentally to German naturalist and realist dramatic art, Young Estonians were more taken with ”theatrical theatre” with its symbolist and impressionist influences. The Young Estonians attended performances at both theatres, ”Vanemuine” and ”Estonia”, and wrote numerous theatre reviews. Yet in the Young Estonia albums (yearbooks and in the magazine Young Estonia, theatre topics have a relatively modest representation. Young Estonians did not have direct

Asian Theatre: A Study Guide and Annotated Bibliography. "Theatre Perspectives" No. 1.

Science.gov (United States)

Brandon, James R., Ed.; Wichmann, Elizabeth, Ed.

This study guide/bibliography is intended to help the English language reader find materials for the study of Asian theatre. Containing 1,348 entries, the guide is the most extensive bibliography published to date. The guide is organized by geographical area: an initial chapter on Asia is followed by chapters on each of 16 countries: Burma,…

In Flesh and Bone: Bodily Image and Educational Patterns in Early Reformation Theatre

Science.gov (United States)

Salvarani, Luana

2018-01-01

From its very beginning, the Protestant Reformation adopted the theatre as one of its educational tools. Together with choral music, visual arts, and preaching, Luther, Melanchthon, Oekolampad, and other Reformers promoted both the cultivated school theatre and the popular street theatre in order to spread the new faith, create a community ethos,…

Interdisciplinary Teaching of Theatre and Human Rights in Honors

Science.gov (United States)

Szasz, Maria

2017-01-01

Since spring 2012, the author has taught a 300-level Theatre and Human Rights class in the University of New Mexico Honors College. One of the centerpieces of honors education is careful research and thorough analysis of what is taught and why it is taught. In creating the honors class Theatre and Human Rights, the author explored how she would…

A Native American Theatre Ensemble

Science.gov (United States)

Brown, Kent R.

1973-01-01

The ceremonial rituals American Indians have practiced for centuries are uncontestable testimony to how strongly they respond to theatre. These rituals, a pure and functional form of dramatic art, are practiced today by a Native American theater group. (FF)

The Era of Tadeusz Pawlikowski and Irish Theatre

Directory of Open Access Journals (Sweden)

Barry Keane

2015-07-01

Full Text Available Tadeusz Pawlikowski was arguably Poland’s greatest theatre director of the fin de siècle. With stints as Theatre Manager in both Kraków and Lwów municipal theatres, Pawlikowski excelled in developing ensemble casts and cultivating audiences without kowtowing to popular tastes. He was also responsible for bringing many western plays to partitioned Poland, and indeed he oversaw theatrical premieres of Oscar Wilde, George Bernard Shaw and John Millington Synge. This paper will look at the production and reception of these plays and will record how there was a growing conviction amongst Polish critics that Irish dramatists would soon make a towering impact on the age. That said, not all the productions were as successful as perhaps they should have been. When in Lwów, Pawlikowski attempted to flood the city with drama and this ambition entailed brief run-throughs and the shortening of texts in order to facilitate the learning of lines. Needless to say, there was little time for work on characterization. Consequently, it was often pointed out that performances had failed to bridge the cultural gap where a foreign piece was concerned. To this end, this paper will assess both the contribution of Tadeusz Pawlikowski to Irish theatre, and the reception and legacy of the productions which took place under his directorial guidance.

Deviant service behavior : coming soon to a theatre near you?

NARCIS (Netherlands)

Eerde, van W.; Peper, P.D.G.

2008-01-01

Deviant service behaviour (DSB) is examined among employees of a cinema chain in the Netherlands. Behaviours that were reported in interviews with 47 employees of one theatre were phrased as items and were used in a survey conducted in three other theatres of the same chain (n = 115). Virtually all

Deviant service behaviour: Coming soon to a theatre near you?

NARCIS (Netherlands)

van Eerde, W.; Peper, P.

2008-01-01

Deviant service behaviour (DSB) is examined among employees of a cinema chain in the Netherlands. Behaviours that were reported in interviews with 47 employees of one theatre were phrased as items and were used in a survey conducted in three other theatres of the same chain (n = 115). Virtually all

Operating Theatre Planning and Scheduling.

NARCIS (Netherlands)

Hans, Elias W.; Vanberkel, P.T.; Hall, R.

2012-01-01

In this chapter we present a number of approaches to operating theatre planning and scheduling. We organize these approaches hierarchically which serves to illustrate the breadth of problems confronted by researchers. At each hierarchicalplanning level we describe common problems, solution

Reducing the risk of surgical site infection: a case controlled study of contamination of theatre clothing.

Science.gov (United States)

Sivanandan, Indu; Bowker, Karen E; Bannister, Gordon C; Soar, Jasmeet

2011-02-01

Surgical site infections are one of the most important causes of healthcare associated infections (HCAI), accounting for 20% of all HCAIs. Surgical site infections affect 1% of joint replacement operations. This study was designed to assess whether theatre clothing is contaminated more inside or outside the theatre suite. Petri dishes filled with horse blood agar were pressed on theatre clothes at 0, 2, 4, 6 and 8 hours to sample bacterial contamination in 20 doctors whilst working in and outside the theatre suite. The results showed that there was greater bacterial contamination when outside the theatre suite at 2 hours. There were no differences in the amount of contamination at 4, 6 and 8 hours. This study suggests that the level of contamination of theatre clothes is similar both inside and outside the theatre setting.

What’s in a name? The sense or non-sense of labelling puppets in contemporary Western theatre

Directory of Open Access Journals (Sweden)

Marie Kruger

2014-12-01

Full Text Available Different terms can be use for puppet theatre: figure theatre, object theatre and animation theatre. Contemporary performances including puppets are nowadays often referred to as multimedia performances, crossover theatre and visual theatre. Some artists avoid the word “puppet” because of negative associations: close association with children and low status amongst the arts. Professional puppetry in many Western countries has evolved into a wide-ranging theatre form. Puppets traditionally used to be seen in isolation in performance and a distinct line could be drawn between puppet theatre and other forms of theatre, but the bonding with other art forms has diminished this segregation. As an artistic label, “puppet theatre” is perhaps not always appropriate as it does not acknowledge the artistic scope and complexity of an art work in which multiple visual and acoustic elements are applied, and this bonding raises questions about genre as a classification system.

The Ignorant Facilitator: Education, Politics and Theatre in Co-Communities

Science.gov (United States)

Lev-Aladgem, Shulamith

2015-01-01

This article discusses the book "The Ignorant Schoolmaster: Five Lessons in Intellectual Emancipation" by the French philosopher, Jacques Rancière. Its intention is to study the potential contribution of this text to the discourse of applied theatre (theatre in co-communities) in general, and the role of the facilitator in particular. It…

Training the theatre arts teacher in Nigerian colleges of education ...

African Journals Online (AJOL)

This article seeks to identify and proffer solutions to the problems confronting the theatre arts teacher training in Nigerian colleges of education. It also advances the prospects of effective theatre arts teacher training in the educational sector and the society at large. In doing these, the researcher adopts the interview, focus ...

From local to global--an overview of the Croatian National Theatre in the era of globalization.

Science.gov (United States)

Penjak, Ana

2012-09-01

The article offers an overview of the Croatian National Theatre research. It comes in two parts. The first examines the position theatre in the era of globalization, while the second focuses on the Croatian National Theatre, in the era of globalization, in the context of specific social and national interests, as well as within the limits of the national possibilities. What emerges in this overview is a feel for how complex the field of theatre research is in Croatia, given its specific position since there are four National Theatres in a country of approximately 4 million people. Also, local budgets and the lack of strategical plan and programme for culture in general represent a sort of limitation. The article ends with two conclusions: a) the Croatian National Theatres in the effort to go global experience primarily different economic status; b) the article draws attention to the present and future challenges that the Croatian National Theatres are faced with, posed by issues such as correlation between globalization and theatre.

Devising and Interdisciplinary Teaching: A Case Study in Collaboration between Theatre and Humanities Courses

Science.gov (United States)

Mahoney, Kristin; Brown, Rich

2013-01-01

We use an experimental course collaboration that occurred in the winter of 2012 as a case study for an approach to interdisciplinary collaboration between Theatre and Humanities courses, and we argue that the theatre methodology of "devising" can serve as a particularly rich locus for collaboration between Theatre students and other…

High School Dinner Theatre: A Fun Way to Raise Funds.

Science.gov (United States)

Robert, Harvey

Citing the success of commercial dinner theatres, this guide is designed to persuade high school drama teachers to try the idea and also to answer questions and help solve problems for those producing a dinner theatre for the first time. The six chapters cover choosing the place, the menu, and the play; ticket sales; advertising and publicity; and…

Participatory theatre and mental health recovery: a narrative inquiry.

Science.gov (United States)

Torrissen, Wenche; Stickley, Theo

2018-01-01

To identify the potential relationship between participation in theatre and mental health recovery. To give voice to the stories told by participants of Teater Vildenvei, a theatre company that has been part of the rehabilitation programme for mental health service users in Oslo since 1995. Twelve narrative interviews were conducted among participants of Teater Vildenvei, and the data were subject to a narrative analysis process following the philosophy of Paul Ricoeur and the specific methods of thematic, event and relational analysis as identified by Riessman. The narratives are considered in the theoretical light of the mental health recovery framework as identified by Leamy et al. Each participant had experienced a transformation in identity; the sense of belonging within the group was perceived as highly important to their mental health; engagement with the theatre company gives people something meaningful to do, a sense of hope and individuals feel empowered. This narrative inquiry gave opportunity for participants to elaborate on their stories of their engagement with Teater Vildenvei. It is through the richness of the data that the depth of the significance of meaning that people ascribe to their stories demonstrates the potential power of participatory theatre for mental health recovery. Because of its effects, people make life-changing and life-saving claims.

A garment for use in the operating theatre: the effect upon bacterial shedding.

Science.gov (United States)

Dankert, J; Zijlstra, J B; Lubberding, H

1979-02-01

In operating theatres the air is mainly contaminated with bacteria shed from the human skin. The emission of bacteria can be prevented by wearing clothing of impervious material, while normal cotton clothing does not decrease the shedding of bacteria. In this study shedding of viable bacteria from 20 test-persons wearing an operating theatre suit, composed of 65% polyester and 35% cotton (Diolen), was investigated in a test-chamber and compared with that when normal clothing was worn. The use of this operating-theatre suit resulted in a significant reduction (50--75%) in the number of bacteria-carrying particles in the air of the test-chamber and in an operating room when everyone present wore this suit. A combination of the suit with knee-high boots showed a further reduction in the dispersal of colony forming units. The dispersion from female subjects wearing an operating-theatre frock was significantly higher than when wearing an operating-theatre suit.

Effectiveness and efficiency of the two trolley system as an infection control mechanism in the operating theatre.

Science.gov (United States)

Tuisawana, Viliame

2009-11-01

A good infection control manager understands the need to prevent a complete cycle of infection. The Infection Control Working Group Manual of Fiji, emphasised that the Cycle of Infection is the series of stage in which infection is spread. Operating theatres have infection control protocols. Most equipments and instruments used in operating theatre circulate within the theatre. The theatre trolleys are a main component in managing an operating theatre but the least recognised. This paper reviews the effectiveness and efficiency of the current two-trolley system as an infection control mechanism in theatre. The paper will discuss infection control using the current trolley system in relation to the layout of Labasa Hospital operating theatre, human resource, equipment standard and random swab results. The following are random swab results of theatre equipments taken by the Infection Control Nurse from 2006 to 2008. The Labasa Hospital Infection Committee have discouraged random swab sample from mid 2008 based on new guidelines on infection control. The two trolley system, in which an allocated outside trolley transports patients from the ward to a semi-sterile area in theatre. The inside trolley which transports the patient to the operating table. The two trolley system means more trolleys, extra staffs for lifting, additional handling of very sick patients, congestion and delay in taking patients to operating table in theatres should be considered. The one-trolley system in theatre greatly reduces the chances of manually lifting patients, thus reducing the risk of patient injury from fall and risk of back injuries to nurses. There are other evident based practices which can compliment the one trolley system for an effective infection control mechanism in theatres. The Fiji Infection Control Manual (2002) emphases the importance of regularly cleaning the environment and equipments in theatre but there is never a mention about using a two trolley system as an

Political Conscientisation through Street Theatre: A Study with Reference to "Kalyanasaugadhikam"

Science.gov (United States)

Eldhose, Adakkaravayalil Yoyakky

2014-01-01

Theatre occupies a significant place in any revolutionary political strategy that has as its objective a radical transformation of society. This paper attempts to make a thematic and structural analysis of the Malayalam street play "Kalyanasaugadhikam" written by Anil Nadakavu in 2009 and performed by Manisha Theatres, Thadiyankovil,…

Popular theatre and nonformal education in the Third World: Five strands of experience

Science.gov (United States)

Kidd, Ross

1985-09-01

Popular theatre is gaining increasing attention in the Third World as a tool for popular education and community organizing. It finds expression in a number of forms including drama, music dance, puppetry and poetry and is performed for — and often by — ordinary peasants and workers. Popular theatre is used as a means of bringing people together, building confidence and solidarity, stimulating discussion, exploring alternative options for action, and building a collective commitment to change: starting with people's urgent concerns and issues, it encourages reflection on these issues and possible strategies for change. Popular theatre, however, is not a unified discipline. It is used by different groups for different interests, ranging from a technocratic, message-oriented `domestication theatre' at one end of the spectrum to a process of consciousness-raising, organization-building and struggle at the other end. Five main strands of popular theatre can be distinguished: (a) the struggle for national liberation; (b) mass education and rural extension; (c) community or participatory development; (d) `conscientization' or popular education; and (e) popular education and organizing. At its best, popular theatre is not an isolated performance or a cathartic experience, but part of an ongoing process of education and organizing, aimed at overcoming oppression and dependence, and at securing basic rights.

A Theatre Laboratory Approach to Pedagogy and Creativity: Odin Teatret and Group Learning

DEFF Research Database (Denmark)

Chemi, Tatiana

This book considers the pedagogy of the theatre laboratory, focusing on seminal theatre group Odin Teatret. It provides a detailed discussion of the historical background to theatre laboratories, including their conception, before moving on to specific examples of how the work at Odin Teatret cro...... to establish inquiry-based learning laboratories, in order to re-think higher education. It will be an invaluable resource for students and academics working on performance, creativity studies and pedagogy...

ISLAMIC ELEMENTS IN TRADITIONAL INDONESIAN AND MALAY THEATRE

Directory of Open Access Journals (Sweden)

Ghulam-Sarwar Yousof

2010-01-01

Full Text Available From the earliest times, traditional theatre in Southeast Asia has been shaped by a wide range of religious and cultural influences—those deriving from animism, Hinduism, Buddhism, Islam, as well as from Chinese and western traditions. The overwhelming influences, especially of Hinduism, have had the tendency to obscure contributions from the Middle- and Near-East. The view that Islam, with rare exceptions, prohibits performing arts has resulted in a negligence of these arts forms in Muslim societies with the possible exception of Indonesia. This paper highlights significant elements of Islamic culture that have shaped Indonesian and Malay traditional theatre through the adaptation of borrowed genres such as taziya, as well as locally created styles of shadow play (wayang kulit and the doll-puppet theatre (wayang golek; the use of important themes from Islamic literature, in particular thosederived from Hikayat Amir Hamza; as well as esoteric interpretationsof certain episodes originally derived from pre-Islamic sources,including the Mahabharata, in terms of Sufism to make them both highly meaningful and acceptable to Muslim audiences.

Holding Talks : Ola Rotimi and the Theatre of the Absurd | Ebewo ...

African Journals Online (AJOL)

with the intention of determining its relevance to African theatrical praxis and its effect on the developing Nigerian audiences. The paper concludes that African dramatists should be cautious in their theatrical experiments in order not to render the theatre “deadly.” Keywords: theatre of the absurd, Ola Rotimi, Holding Talks, ...

Evaluating the Sharing Stories youth theatre program: an interactive theatre and drama-based strategy for sexual health promotion among multicultural youth.

Science.gov (United States)

Roberts, Meagan; Lobo, Roanna; Sorenson, Anne

2017-03-01

Issue addressed Rates of sexually transmissible infections among young people are high, and there is a need for innovative, youth-focused sexual health promotion programs. This study evaluated the effectiveness of the Sharing Stories youth theatre program, which uses interactive theatre and drama-based strategies to engage and educate multicultural youth on sexual health issues. The effectiveness of using drama-based evaluation methods is also discussed. Methods The youth theatre program participants were 18 multicultural youth from South East Asian, African and Middle Eastern backgrounds aged between 14 and 21 years. Four sexual health drama scenarios and a sexual health questionnaire were used to measure changes in knowledge and attitudes. Results Participants reported being confident talking to and supporting their friends with regards to safe sex messages, improved their sexual health knowledge and demonstrated a positive shift in their attitudes towards sexual health. Drama-based evaluation methods were effective in engaging multicultural youth and worked well across the cultures and age groups. Conclusions Theatre and drama-based sexual health promotion strategies are an effective method for up-skilling young people from multicultural backgrounds to be peer educators and good communicators of sexual health information. Drama-based evaluation methods are engaging for young people and an effective way of collecting data from culturally diverse youth. So what? This study recommends incorporating interactive and arts-based strategies into sexual health promotion programs for multicultural youth. It also provides guidance for health promotion practitioners evaluating an arts-based health promotion program using arts-based data collection methods.

Pre-surgery briefings and safety climate in the operating theatre.

Science.gov (United States)

Allard, Jon; Bleakley, Alan; Hobbs, Adrian; Coombes, Lee

2011-08-01

In 2008, the WHO produced a surgical safety checklist against a background of a poor patient safety record in operating theatres. Formal team briefings are now standard practice in high-risk settings such as the aviation industry and improve safety, but are resisted in surgery. Research evidence is needed to persuade the surgical workforce to adopt safety procedures such as briefings. To investigate whether exposure to pre-surgery briefings is related to perception of safety climate. Three Safety Attitude Questionnaires, completed by operating theatre staff in 2003, 2004 and 2006, were used to evaluate the effects of an educational intervention introducing pre-surgery briefings. Individual practitioners who agree with the statement 'briefings are common in the operating theatre' also report a better 'safety climate' in operating theatres. The study reports a powerful link between briefing practices and attitudes towards safety. Findings build on previous work by reporting on the relationship between briefings and safety climate within a 4-year period. Briefings, however, remain difficult to establish in local contexts without appropriate team-based patient safety education. Success in establishing a safety culture, with associated practices, may depend on first establishing unidirectional, positive change in attitudes to create a safety climate.

COOPERATIVE PROFESSIONALISM IN THEATRE ARTS ...

African Journals Online (AJOL)

theatre production business as professionals as this will enhance the putting in of their best to .... and moving, of beveling issues that must be worked out, the resistance to change that .... boost their moral; give them sense of assurance of continuous fare treatment that they are .... Shaw, W.H. Business Ethnics. (Sixth edition.) ...

Improving time to surgery for hip fracture patients. Impact of the introduction of an emergency theatre

LENUS (Irish Health Repository)

French-O’Carroll, F

2017-01-01

Hip fractures are a major cause of morbidity and mortality1. Surgery performed on the day of or after admission is associated with improved outcome2,3. An audit cycle was performed examining time to surgery for hip fracture patients. Our initial audit identified lack of theatre space as one factor delaying surgery. A dedicated daytime emergency theatre was subsequently opened and a re-audit was performed to assess its impact on time to surgery. Following the opening of the theatre, the proportion of patients with a delay to hip fracture surgery greater than 36 hours was reduced from 49% to 26% with lack of theatre space accounting for 23% (3 of 13) of delayed cases versus 28.6% (9 of 32) previously. 44% of hip fracture surgeries were performed in the emergency theatre during daytime hours, whilst in-hospital mortality rose from 4.6% to 6%. We conclude that access to an emergency theatre during daytime hours reduced inappropriate delays to hip fracture surgery.

Musical theatre: the hazards of the performer's workplace.

Science.gov (United States)

Morton, Jennie

2015-03-01

Being a musical theatre performer requires excellence in the combined skills of dancing, singing, and acting, and artists undergo rigorous training in these disciplines in order to achieve the professional standards expected by a discerning audience. However, the performer has more to do than just execute the choreography, vocal repertoire, and dialogue--he or she will also be navigating the often highly complex on-stage and off-stage areas which are fraught with hazards. This article seeks to highlight the challenges that lie beyond the visible part of the performance and to raise questions of how best to equip our musical theatre performers to safely negotiate these issues.

Making the invisible visible--operating theatre nurses' perceptions of caring in perioperative practice.

Science.gov (United States)

Blomberg, Ann-Catrin; Bisholt, Birgitta; Nilsson, Jan; Lindwall, Lillemor

2015-06-01

The aim of this study was to describe operating theatre nurses' (OTNs') perceptions of caring in perioperative practice. A qualitative descriptive design was performed. Data were collected with interviews were carried out with fifteen strategically selected operating theatre nurses from different operating theatres in the middle of Sweden. A phenomenographic analysis was used to analyse the interviews. The findings show that operating theatre nurses' perceptions of caring in perioperative practice can be summarised in one main category: To follow the patient all the way. Two descriptive categories emerged: To ensure continuity of patient care and keeping a watchful eye. The operating theatre nurses got to know the patient and as a result became responsible for the patient. They protected the patient's body and preserved patient dignity in perioperative practice. The findings show different aspects of caring in perioperative practice. OTNs wanted to be more involved in patient care and follow the patient throughout the perioperative nursing process. Although OTNs have the ambition to make the care in perioperative practice visible, there is today a medical technical approach which promotes OTNs continuing to offer care in secret. © 2014 Nordic College of Caring Science.

Theatre of Presence - Antero Alli's Paratheatrical ReSearch Lab

DEFF Research Database (Denmark)

Isar, Nicoletta

the oppression, decadence and corruption that has crucified and buried the poetic Imagination" (Antero Alli) This paper will try to unveil one of Antero Alli's paratheatrical experiments in overcoming the death of ritual in theatre. Orphans of Delirium is an intense, living ritual experience, "fluid" in its...... do not repeat ritual patterns but create them, bringing shots of presence into theatre by a dynamic and constant process of opening toward the vertical "sources." Nicoletta Isar is Associate professor at the Institute of Art History of Copenhagen University. Her main research is focused...

Signature Pedagogy in Theatre Arts

Science.gov (United States)

Kornetsky, Lisa

2017-01-01

Critique in undergraduate theatre programs is at the heart of training actors at all levels. It is accepted as the signature pedagogy and is practiced in multiple ways. This essay defines critique and presents the case for why it is used as the single most important way that performers come to understand the language, values, and discourse of the…

Children's Comprehension of Live Theatre.

Science.gov (United States)

Klein, Jeanne; Fitch, Marguerite

Two studies investigate the way in which children make sense of a play and the visual, aural, and psychological components of theatre which contribute to this comprehension. In the first study, 32 fifth graders saw "Don Quixote of La Mancha." In the second study, 45 third graders saw "Monkey, Monkey" (about the Chinese Monkey King). The day after…

Towards a 20th Century History of Relationships between Theatre and Neuroscience

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Gabriele Sofia

2014-05-01

Full Text Available This article considers some preliminary reflections in view of a 20th century theatre-and-neuroscience history. Up to now, the history of the 20th century theatre has been too fragmentary and irregular, missing out on the subterranean links which, either directly or indirectly, bound different experiences. The article aims to put in evidence the recurrent problems of these encounters. The hypothesis of the essay concerns the possibility of gathering and grouping a great part of the relationships between theatre and neuroscience around four trajectories: the physiology of action, the physiology of emotions, ethology, and studies on the spectator’s perception.

Performing Desistance: How Might Theories of Desistance From Crime Help Us Understand the Possibilities of Prison Theatre?

Science.gov (United States)

Davey, Linda; Day, Andrew; Balfour, Michael

2015-07-01

Despite the ubiquity of theatre projects in prisons there has been little (published) discussion of the application of theatre to the theories of criminology or rehabilitation of offenders, and scant examination of the potential for criminological theories to inform theatre practice in criminal justice settings. This article seeks to address this deficit and argues that positioning prison theatre within the discipline of positive criminology, specifically contemporary theories of desistance from crime, provides a theoretical framework for understanding the contribution that prison theatre might be making in the correctional setting. Through a review of related literature, the article explores how prison theatre may be motivating offenders toward the construction of a more adaptive narrative identity and toward the acquisition of capabilities that might usefully assist them in the process of desisting from crime. © The Author(s) 2014.

Music in the operating theatre: opinions of staff and patients of a ...

African Journals Online (AJOL)

Background: The role of music during surgery has been studied, including its effect on theatre staff, users and patients. However, little attention has been paid to its application especially in our environment. Methods: It was a prospective study, involving theatre staff, users, and patients. Their opinions on acceptability and the ...

Self moving patients to the operation theatre - a pilot study

DEFF Research Database (Denmark)

Qvarfordh, Anna Pernilla; Rovsing, Marie Louise; Esbensen, Bente Appel

2010-01-01

The purpose of this pilot study was to investigate patients' satisfaction with walking to the operation theatre instead of being driven in a bed or wheel chair, and to identify the need for information. In total, 75 patients (aged 15-83 years) participated in the study. A questionnaire was develo......The purpose of this pilot study was to investigate patients' satisfaction with walking to the operation theatre instead of being driven in a bed or wheel chair, and to identify the need for information. In total, 75 patients (aged 15-83 years) participated in the study. A questionnaire...... was developed for this study with two focus areas: "Satisfaction with walking instead of being driven" and "Satisfaction with information". In total, 93pct. reported, that it was a good experience to be allowed to walk to the operation theatre, prior to their surgery. About the same proportion found...

Theatre Curriculum in the US: A Great Tasting Sandwich on Stale Bread

Science.gov (United States)

Duffy, Peter

2016-01-01

This essay considers the role that local control, poverty, access and policy play in providing drama/theatre education opportunities to students in the US. It examines how state and federal initiatives shape and determine the curriculum. While there are studies that suggest robust theatre education in the US, these findings are complicated when…

Oscar Wilde’s Social Comedies in Modern Greek Theatre (1908-1945

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Constantina Georgiadi

2015-12-01

Full Text Available The reception of Oscar Wilde in Greece has occasionally been studied, although modern theoretical works around aestheticism devote a significant part to his influence on Greek artists at the beginning of twentieth century. Some of his plays - mostly Salomé and A Florentine Tragedy (1908 as well as an adaptation of The Portrait of Dorian Gray (1916- appeared in translation and on theatre stage just after the release of his postmortem apologetic De Profundis. His comedy The Importance of Being Earnest, was introduced to the Greek audience simultaneously with his tragedies in 1908, and one more melodrama, An Ideal Husband was staged in 1917. After that year, only his tragedies were repeated whereas his melodramas disappeared in the interwar years, to reappear again in a sudden and noticeable frequency in the late 1930s and early 1940s. The aim of this paper is to identify the reasons of the constant absence of Oscar Wilde’s melodramas from the Greek stage but also to explain their sudden adoption in the late thirties through a new perspective: the interaction between theatre and the newly growing art of cinema. During the controversial 30s, a considerable number of film versions of Wilde's social melodramas were made in Europe, most of them in Germany; these movies were projected in Greece, restoring thereby the Irish writer and his work. The seventh art, which was anyway supplied by writers, actors and theatre directors, became the channel for the Greek public to get acquainted with Wilde’ s social comedies as a whole. Additionally, it affected the repertoire of Greek theatre groups, including the National Theatre of Greece. The paper will focus on cinema and theatre investigation of the 1930s and 1940s (mainly until WWII in Greece, exploring the interchangeable relationship between those two arts, as far as Wilde’s social melodramas are concerned, in the broader historical, social and cultural spectrum of the era. The essay will also

Negotiating Narrative Identity in Intercultural Contexts - the Role of Applied Theatre

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Heidi M. Haraldsen

2017-01-01

Full Text Available The aim of this study is to investigate how applied theatre can facilitate arenas and methods to support identity development particularly favorable to an intercultural context, explored through the concept of narrative identity. Identity and identity processes may be extra challenging to people with intercultural backgrounds. Research shows that how you master your identity affects how you master your life. A case study of two intercultural applied theatre projects was used to address the research question. The article builds on the experiences of two drama teachers and one teaching artist / artistic leader. The interpretation and analysis of the theory related to practice makes visible how aesthetic processes of negotiating and staging life stories (narratives, through applied theatre methods, facilitate participant's exploring, constructing, re-constructing and meta-reflecting own identity.

Nurses' perceptions and experiences of communication in the operating theatre: a focus group interview

Science.gov (United States)

Nestel, Debra; Kidd, Jane

2006-01-01

Abstract Nurses' perceptions and experiences of communication in the operating theatre: a focus group interview Background Communication programmes are well established in nurse education. The focus of programmes is most often on communicating with patients with less attention paid to inter-professional communication or skills essential for working in specialised settings. Although there are many anecdotal reports of communication within the operating theatre, there are few empirical studies. This paper explores communication behaviours for effective practice in the operating theatre as perceived by nurses and serves as a basis for developing training. Methods A focus group interview was conducted with seven experienced theatre nurses from a large London teaching hospital. The interview explored their perceptions of the key as well as unique features of effective communication skills in the operating theatre. Data was transcribed and thematically analysed until agreement was achieved by the two authors. Results There was largely consensus on the skills deemed necessary for effective practice including listening, clarity of speech and being polite. Significant influences on the nature of communication included conflict in role perception and organisational issues. Nurses were often expected to work outside of their role which either directly or indirectly created barriers for effective communication. Perceptions of a lack of collaborative team effort also influenced communication. Conclusion Although fundamental communication skills were identified for effective practice in the operating theatre, there were significant barriers to their use because of confusion over clarity of roles (especially nurses' roles) and the implications for teamwork. Nurses were dissatisfied with several aspects of communication. Future studies should explore the breadth and depth of this dissatisfaction in other operating theatres, its impact on morale and importantly on patient safety

Trends in musical theatre voice: an analysis of audition requirements for singers.

Science.gov (United States)

Green, Kathryn; Freeman, Warren; Edwards, Matthew; Meyer, David

2014-05-01

The American musical theatre industry is a multibillion dollar business in which the requirements for singers are varied and complex. This study identifies the musical genres and voice requirements that are currently most requested at professional auditions to help voice teachers, pedagogues, and physicians who work with musical theatre singers understand the demands of their clients' business. Frequency count. One thousand two thirty-eight professional musical theatre audition listings were gathered over a 6-month period, and information from each listing was categorized and entered into a spreadsheet for analysis. The results indicate that four main genres of music were requested over a wide variety of styles, with more than half of auditions requesting genre categories that may not be served by traditional or classical voice technique alone. To adequately prepare young musical theatre performers for the current job market and keep the performers healthily making the sounds required by the industry, new singing styles may need to be studied and integrated into voice training that only teaches classical styles. Copyright © 2014 The Voice Foundation. Published by Mosby, Inc. All rights reserved.

The Praxis of Theatre for Development in Curbing Social Menace in Urban Slum in Lagos State

Science.gov (United States)

Adeyemi, Olusola Smith

2015-01-01

Theatre for Development (TfD) is a special kind of Theatre practice that creates a platform for members of a specific community to respond to, and actively participate in issues relating to their social development through an engaging process of play and acting. The sole essence of this form of theatre is to sensitize, radicalize and conscientize…

Best before...? The Dutch theatre sound archive between shelf-life and "functional memory"

NARCIS (Netherlands)

Franzen, R.

2017-01-01

This article examines the institutionalization of phonic theatre memories at the example of the historical Dutch theatre sound archive, founded in 1965 and at the time known under the name «Theater Klank en Beeld». After decades of collecting and archiving, the collection was rendered dysfunctional,

Safety in the Operating Theatre | a Multi Factor Approach for Patients and Teams

NARCIS (Netherlands)

Wauben, L.S.G.L.

2010-01-01

Due to the advances in high-tech technology in the operating theatre, the increased number of persons involved, and the increased complexity of surgical procedures, medical errors are inflicted. To answer the main question: How to improve patient safety in the operating theatre during surgery? this

Power Dynamics in Applied Theatre: Interrogating the Power of the University-Based TfD Facilitator--the UZ Theatre and CARE Zimbabwe's Zvishavane/Mberengwa NICA Project and SSFP as Case Study

Science.gov (United States)

Seda, Owen; Chivandikwa, Nehemiah

2014-01-01

One of the central tenets in applied theatre is the ability to confront issues of "power" and "powerlessness." Indeed, success or lack thereof in applied theatre projects is often adjudged against the ability or the extent to which these projects are, or have been able to "empower" the "powerless." In this…

Straight into the Eyes - Jacek Łumiński and the Silesian Dance Theatre (1991-2011

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Alicja Iwańska

2012-06-01

Full Text Available The final decade of the 20th century was the turning-point for the development of Polish contemporary dance. In 1991 Jacek Łumiński established the Silesian Dance Theatre in Bytom. The theatre is said to be in the avant-garde of all activities related to contemporary dance development in Poland. It was J. Łumiński and his theatre who pioneered new trends in contemporary dance at the beginning of the nineties of the 20th century, at the same time they have conducted educational activity over the intervening twenty years. The aim of this article is to present the artistic and educational activity of the Silesian Dance Theatre of the recent twenty years. In the beginning the author presents a choreographic portrait of J. Łumiński, the founder and choreographer of the Silesian Dance Theatre, and creator of the Polish contemporary dance technique. Then an analysis of J. Łumiński’s dance style is carried out, and the review of the Silesian Dance Theatre’s choreographic attainments is presented. The final part of the article discusses the wide spectrum of educational activities undertaken in the field of contemporary professional dance by the Silesian Dance Theatre, and the phenomenon of the theatre on the Polish stage.

Perioperative nurses' experiences of communication in a multicultural operating theatre: A qualitative study.

Science.gov (United States)

Clayton, Judy; Isaacs, Anton Neville; Ellender, Isabel

2016-02-01

To explore the lived experiences of perioperative nurses in a multicultural operating theatre in Melbourne, Australia. Multiculturalism has become the norm in the health workforce of several developed countries due mostly to immigration. Within an operating theatre setting where good communication is paramount, the presence of nurses and doctors from multiple cultures and different training backgrounds could pose a major challenge. Using a qualitative research methodology underpinned by phenomenology, we interviewed fourteen nurses from different sections of an operating theatre. From the lived experiences of the participants, difficulties in communication emerged as the major theme. Difficulties in communication affected patient care and the working atmosphere. In addition, social integration appeared to improve communication. Addressing the needs of patients from culturally and linguistically diverse backgrounds in the operating theatre continues to be challenging. However, developing a sense of camaraderie and fostering good relationships between staff through regular social gatherings can improve communication and the working atmosphere. Copyright © 2014 Elsevier Ltd. All rights reserved.

Research in Asian Theatre: An Indian Model

Science.gov (United States)

Withey, J. A.

1971-01-01

Establishes the need for more research in Indian drama and theatre. Describes curricular structure available to prepare to meet that need, defines areas of high potential for graduate research, and mentions resources that can aid the scholar. (RB)

[Conception, realization and analysis of a modern operating theatre workplace for ENT surgery].

Science.gov (United States)

Strauss, G; Aries, F; Abri, O; Dietz, A; Meixensberger, J; Lüth, T

2010-11-01

The requirements of ENT (ear, nose and throat) surgery, i. e. operating theatre, have changed dramatically in recent years, e. g. by high definition video endoscopy, navigation, neuromonitoring, intraoperative imaging, navigated and navigation-controlled instruments and intraoperative imaging and video documentation. For this reason a specialized operating theatre is necessary for ENT. The aim of this work was to compare this operating theatre with the previous standard. The scientific basis of this work represents a surgical workflow analysis. Over 200 completely documented operations in conventional operating theatres were available for comparison. In addition the log files of the medical technical devices, software analysis modules of the clinical documentation and ergonomics questionnaires (NASA TLX standard) were available. In the period from 1(st) June 2009 to 31(st) September 2009 a total of 139 standard procedures (9 different ENT surgeons) were analyzed in the new ly integrated operating theatre system "Surgical Deck1-ENT". In the newly developed operating theatre system four work areas are specified: preparation area, technical cockpit, surgical cockpit and anesthesia cockpit. The medical technical components are permanently installed. The surgical cockpit incorporates five permanently arranged monitors, two main screens, two navigation screens and a surgical dashboard. A suitable high definition video routing system is installed and procedure-specific light profiles are developed. Documentation is automatically carried out in the picture archive and communication system (PACS). The comparison to the conventional operating theatre system the slot time was reduced from 73.8 min to 65.6 min (-11%), the preoperative time was reduced on average by 31% (8 min) per case and the documentation time was decreased on average by 6 min (67%). The interaction steps of the surgeon with the system were reduced by 70% (from 17 to 5 steps). No significant differences in

3D visibility analysis as a tool to validate ancient theatre reconstructions: the case of the large Roman theatre of Gortyn

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Maria Cristina Manzetti

2016-11-01

Full Text Available With the diffusion of Virtual Archaeology, many projects in the field of Cultural Heritage attempt to virtually reconstruct historical buildings of different types. Unfortunately, some of these 3D reconstructions still have as principal aim to impress the external users, while the correct interpretation of the buildings modeled is much more important in the domain of archaeological research. Still more critical is the situation when we have to encounter a reconstruction of a monument which is not visible anymore, or which consists only of few architectural remains. The main purpose of this paper is to introduce an innovative methodology to verify hypothetical scenarios of 3D architectural reconstructions, specifically for ancient theatres. In very recent time 3D visibility analysis applied to archaeological context using ArcGIS has been developed, in particular about social-urban studies. In this paper, visibility analysis in 3D contexts is used as an additional instrument to correctly reconstruct architectural elements of the large Roman theatre of Gortyn, in Crete. The results indicate that the level of visibility of the stage, and consequently of the presumed actors, from some of the more representative sectors of the cavea, is of crucial importance for leading to a right reconstruction model of the theatre.

Ibsen, Strindberg and the Intimate Theatre

NARCIS (Netherlands)

Tornqvist, Egil

1999-01-01

Although television drama has existed for more than half a century and is now, in terms of audience participation, the dominant form of theatre, "there is as yet hardly any serious criticism of drama on television." Martin Esslin's statement ten years ago still holds true. Seeing it as a challenge,

Save the mystery - staging specificity of Pina Bausch's dance theatre

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Monika Roszak

2009-01-01

Full Text Available In the article are presented the fundamental determinants of the style of the theatre of Pina Bausch. Tanztheater Wuppertal performances delight with their totality and originality (stage design, costumes, the musical layer, textual layer. Montage, collage, acting based on improvisation - these are the means which are the pillars of Bausch's theatre. Tanztheater Wuppertal performances have reformed the modern ballet and created a new kind of performance based - apart from dance, movement and pantomime - on the realistic activities, routine behaviours, dialogues and singing.

'From Start to Finnish': Handbook For Exporting A Theatre Play

OpenAIRE

Tanskanen, Milka; Mäkinen, Annemari

2014-01-01

Exporting Finnish culture is one of the themes the Finnish Ministry of Education and Culture has carried out over the last few years. ‘From Start to Finnish’ project was a mission to strenghten the state of theatre export in Finland. In the project, government subsidised theatres in Finland export their plays to the Edinburgh Festival Fringe, the largest arts festival in the world. The thesis is product-based as the authors created a handbook to combine all the steps to be taken when expo...

Dance Theatre of Harlem: Inspiring the Deprived

Science.gov (United States)

Weil, Henry

1976-01-01

The Dance Theatre of Harlem, which includes both a school and a publicly performing dance company, is described from its inception by its artistic director, Arthur Mitchell, to its current activities. Budgets, student characteristics, and philosophy are discussed. (LBH)

Analysis of thermal comfort and indoor air quality in a mechanically ventilated theatre

Energy Technology Data Exchange (ETDEWEB)

Kavgic, M.; Mumovic, D.; Young, A. [The Bartlett School of Graduate Studies, University College London, Gower Street, London, WC1E 6BT, England (United Kingdom); Stevanovic, Z. [Institute of Nuclear Sciences - Vinca, P.O. Box 522, 11001 Belgrade (RS)

2008-07-01

Theatres are the most complex of all auditorium structures environmentally. They usually have high heat loads, which are of a transient nature as audiences come and go, and from lighting which changes from scene to scene, and they generally have full or nearly full occupancy. Theatres also need to perform well acoustically, both for the spoken word and for music, and as sound amplification is less used than in other auditoria, background noise control is critically important. All these factors place constraints on the ventilation design, and if this is poor, it can lead to the deterioration of indoor air quality and thermal comfort. To analyse the level of indoor air quality and thermal comfort in a typical medium-sized mechanically ventilated theatre, and to identify where improvements could typically be made, a comprehensive post-occupancy evaluation study was carried out on a theatre in Belgrade. The evaluation, based on the results of monitoring (temperature, relative humidity, CO{sub 2}, air speed and heat flux) and modelling (CFD), as well as the assessment of comfort and health as perceived by occupants, has shown that for most of the monitored period the environmental parameters were within the standard limits of thermal comfort and IAQ. However, two important issues were identified, which should be borne in mind by theatre designers in the future. First, the calculated ventilation rates showed that the theatre was over-ventilated, which will have serious consequences for its energy consumption, and secondly, the displacement ventilation arrangement employed led to higher than expected complaints of cold discomfort, probably due to cold draughts around the occupants' feet. (author)

"I don´t like puppets!“ : reasons and inspiration for founding object theatre

OpenAIRE

Kalda, Kadri

2012-01-01

The topic of my thesis is founding object theatre. The ground for object theatre was perfect to come into being in the 1980´s. There were mainly two reasons and a lot of inspiration for it. One of the biggest reasons was the puppetry back then, the puppets had mostly form of little humans, who were pedagogical very correct. Object theatre pioneers wanted to take distance from it. Secondly was the matter of mass producing and mass consuming trough what people after World War II wanted to feel ...

Framing effects: The impact of framing on copresence in virtual theatre

OpenAIRE

Unterman, Benjamin Asher

2017-01-01

Virtual theatre (enacted dramatic narrative performed live online) is an emerging form of theatrical mediation. One of the biggest challenges faced by this growing media practice is the management of audience experience. This thesis attempts to address the uncertainty around virtual theatre audiences by focusing on the framing of performances that take place in virtual worlds. Strategic approaches to framing and audience preparation are suggested based on literature-based research, case studi...

Family Fathers Lost in Theatre Paradox

DEFF Research Database (Denmark)

Kuhlmann, Annelis

2008-01-01

Diderot's influence on theatre is well known through The Paradox of Acting (Paradoxe sur le comédien). However, Diderot also wrote a few drames bourgeois, among which is The Family Father (Le Père de famille), which still in Diderot's days was edited in Copenhagen in French, and which in Danish...

Peter Konwitschny, Opera and Theatre Director Shaping the Profile of the Bratislava Opera of a New Millennium

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Mojžišová Michaela

2017-09-01

Full Text Available The paper examines the work of the acclaimed German opera and theatre director Peter Konwitschny at the Opera of the Slovak National Theatre. The authoress bases herself on an analysis of the productions of Eugen Onegin (2005 [Eugene Onegin], by Tchaikovsky, Puccini’s Madama Butterfly (2007 and Bohéma (2013 [La bohème], Janáček‘s Vec Makropulos (2015 [The Makropulos Affair], and Halévy‘s Židovka (2017 [La Juive], all of which, save for Janáček‘s opera, the Opera of the Slovak National Theatre has borrowed from foreign theatre scenes. The authoress makes a stocklist of the basic principles of Konwitschny’s direction signature and his contribution to theatre production, as well as to the artistic ensemble of the Bratislava Opera.

Music in the operating theatre: opinions of staff and patients of a Nigerian teaching hospital.

Science.gov (United States)

Makama, J G; Ameh, E A; Eguma, S A

2010-12-01

The role of music during surgery has been studied, including its effect on theatre staff, users and patients. However, little attention has been paid to its application especially in our environment. It was a prospective study, involving theatre staff, users, and patients. Their opinions on acceptability and the role of music in operating theatre were determined. Information was obtained by questionnaire. There were 162 respondents; age range 25 to 76 years (median age 39). There were 109 (67.2%) males and 53 (32.7%) female. One hundred and forty five (89.5%) respondents agree that music should be played in the operating theatre. One fifty eight, (97.5%) considered low tone of music to be most appropriate in the theatre while 3(1.9%), and 1(0.6%) considered moderate and high tone respectively to be most appropriate. One hundred and sixteen, (71.6%) preferred jazz music while 19(11.7%) reggae, 11(6.8%) African music, 13 (8.0%) others (not specify), 2 (1.2%) classical, and 1(0.6%) Irish folk. The majority of the respondents were aware of the role of music in terms of its anxiolytic effect, reduction of stress and enhancement of performance when familiar music is played. Music in the operating theatre has immeasurable effects. It can prevent distraction, minimize annoyance, reduce stress and diminish the anxiety of patients, staff and users.

Play-back theatre, theatre laboratory, and role-playing: new tools in investigating the patient-physician relationship in the context of continuing medical education courses.

Science.gov (United States)

Piccoli, G; Rossetti, M; Dell'Olio, R; Perrotta, L; Mezza, E; Burdese, M; Maddalena, E; Bonetto, A; Jeantet, A; Segoloni, G P

2005-06-01

The aim of this study was to report on the validation of a role-playing approach, using play-back and theatre laboratory in the context of a continuing medical education (CME) course on predialysis and transplantation, to discuss the patient-physician relationship. The course was developed with the help of a theatre director. The role-playing 2-day course was designed to be highly interactive for a small group (15-20 participants), based on a core of case reports (dialysis, transplantation, and return to dialysis after graft failure). Two stages were included: play-back theatre in which experiences told by the participants were mimed by a group of actors, and theatre laboratory in which different aspects of voice and touch were explored. Opinions were gathered by an anonymous semistructured questionnaire completed by all participants. The course obtained a high score from The Ministry of Health (14 credits, 1 per teaching hour). The opinions of the 18 participants were highly positive; all liked the courses. Sixteen of 18 asked to repeat the experience. The strong emotional involvement was an advantage for 15 of 18, sharing emotional aspects of the profession for 10 of 18, and usefulness in clarifying opinions on "dark sides" of our profession for 10 of 18. The positive opinions recorded during this experience, the first experiment with a "psycho-theatrical approach" developed in a CME course in our country, suggest the benefit of implementing nonconventional, educational approaches in a multidisciplinary discussion of the patient-physician relationship in transplantation medicine.

Offer - La Comédie theatre

CERN Multimedia

Staff Association

2017-01-01

The “La Comédie” theatre unveiled its programme for the season 2017–2018. We are delighted to share this brand new, rich and varied programme with you. The “La Comédie” theatre has various discounts for our members Buy 2 subscriptions for the price of 1 : 2 cards “Libertà” for CHF 240.- instead of CHF 480.- Cruise freely through the season with an 8-entry card valid for the shows of your choice. These cards are transferable and can be shared with one or more accompanying persons. 2 cards “Piccolo” for CHF 120 instead of CHF 240.- This card lets you discover 4 shows which are suitable for all audiences (offers valid while stock lasts) Benefit from a reduction of 20 % on a full price ticket during all the season: from CHF 40.- to CHF 24.- ticket instead of CHF 50.- to CHF 30.- depending on the show (Also valid for one accompanying person). Interested in one of these offers? Create an ac...

The ERATO project and its contribution to our understanding of the acoustics of ancient Greek and Roman theatres

DEFF Research Database (Denmark)

Rindel, Jens Holger; Nielsen, Martin Lisa

2006-01-01

the acoustics of the open air theatres and compare to the smaller, originally roofed theatres, also called odea (from Greek: Odeion, a hall for song and declamation with music). The method has been to make computer models of the spaces, first as the exist today, and adjust the acoustical data for surface...... of the spaces. The acoustical simulations have given a lot of interesting information about the acoustical qualities, mainly in the Roman theatres, but the earlier Greek theatre has also been studied in one case (Syracusa in Italy). It is found that the Roman open-air theatres had very high clarity of sound......, but the sound strength was quite low. In contrast, the odea had reverberation time like a concert hall, relatively low clarity, and high sound strength. Thus, the acoustical properties reflect the original different purposes of the buildings, the theatre intended mainly for plays (speech) and the Odeon mainly...

A State of Health? Constructive Dialogue and the Rhythms of International Youth Theatre

Science.gov (United States)

Parry, Simon

2014-01-01

This article examines youth theatre as a mode of promoting public dialogue within situations of political tension or conflict. It reflects on the author's own experience of trying unsuccessfully to find a framework to evaluate an European Union supported theatre project, youth/art/peace/network, which took place in Austria, Israel and Palestine in…

[Analysis and evaluation of occupational accidents in dancers of the dance theatre].

Science.gov (United States)

Wanke, E M; Groneberg, D A; Quarcoo, D

2011-03-01

The dance theatre is an autonomous form of presentation within the performing arts. It is a combination of dance, drama, singing and speaking. As the actors are usually professional dancers the dance theatre is associated with the professional dance. Compared with other dance styles there is an enhanced usage of props, costumes or décor to intensify the production and the expressiveness. In contrast to the defined professional dance technique the range of movements is unlimited. There has not yet been done any research on the influence of props as well as décor in terms of exogenous factors potentially favouring injuries. Aim of this study is to characterize specific injury patterns, as well as their causes and to suggest basic approaches to prevent injuries in the dance theatre. The data of this evaluation comprise occupational accident reports, accident reports of various Berlin theatres as well as case records of all Berlin State Theatres (n = 1106) of the Berlin State Accident Insurance over a 9-year period. 103 occupational accidents are accounted for the dance theatre. 44.6 % of the accidents happen during rehearsals, 42.4 % during performances, 76.7 % on stage and adjoining areas and 10.7 % in the ballet studio. Second most common movement resulting in an injury are jumps with 25.4 %. Altogether 69.7 % of the accidents have a uniquely defined exogenous cause with 30.5 % by props, 12.7 % by the floor and 17.2 % by the dance partner. 30.3 % of the accidents have multifactorial causes (e. g. the social situation, state of training and nutrition). 61 % of all accidents happen within three hours after starting work with an increase of occupational accidents between 11:00 - 12:00 hrs and 08:00- 09:00 hrs. The lower extremity is the most affected location (53.3 %), followed by the head/neck area (21.4 %) and the upper extremity (17.5 %). Contusions (26.2 %), distortions (17.5 %), muscular strains (19.4 %) and wounds (13.6 %) are the most frequent types of

Participatory dramaturgy in theatre for development

African Journals Online (AJOL)

pertinent questions on research in TfD. I argue in this paper that the devising process in TfD is an important stage which allows for participatory dramaturgy that is key to transformation. The next two sections of the paper will introduce the key terms; “Theatre for. Development” and “dramaturgy”. These will be followed by a ...

THE THEATRE ARTIST'S DILEMMA IN THE TASK OF ...

African Journals Online (AJOL)

imitch

dilemma and make effectual his contributions to re-branding society for meaning development to occur, especially in this .... The Nigerian movie industry provides template for furthering this discourse. .... A Handbook on Drama and Theatre.

Teispool draamat: tekst nullindate teatris / Beyond Drama: Text in the Theatre of the 2000s

Directory of Open Access Journals (Sweden)

Luule Epner

2013-06-01

Full Text Available The article examines the relations between Estonian dramaturgy and the rapidly renewing ‘post-dramatic’ theatre of the 2000s from two viewpoints: new text creation practices and how the poetics of texts have changed.In the 2000s, the share of original dramaturgy increased sharply: in the 1990s, about 25% of new productions were based on Estonian material, whereas by 2010 the percentage was 45%. A quite popular form was ‘director-dramaturgy’ (i.e. the director writes or compiles the text for production, which had started as early as the 1970s (e.g. works by Merle Karusoo and Mati Unt. Theatre criticism took up the concept of author’s theatre (e.g. Ivar Põllu, also emphasising one person’s control over both the text and directing the production. In this case, text-creation is processual: a text takes shape according to the author’s directorial strategies and the interaction between the director and the actors. The collective creation of texts and productions should be examined separately; this emerged powerfully in the 2000s and was primarily connected with smaller theatres. Quite often, text and production are created through the method of devising; the article tackles this approach on the basis of productions by Theatre NO99. In the case of group work, the issue of the text’s authorship is rather complicated, as it is a cooperative practice, where the authors’ functions are not clearly differentiated.The blending of text creation with theatre process influences the poetics of drama texts in various ways. The most important changes are as follows: a a dominant or constituting role can be assumed by non-verbal means of theatre; the text written for them serves only as a general indication (e.g. the music in Uku Uusberg’s texts, and the methods of visual art in How to Explain Pictures to a Dead Hare of NO99; b there is an instability in the text, which varies in different performances, resulting from improvisation as a strategy

Listen while you work? The attitude of healthcare professionals to music in the operating theatre.

Science.gov (United States)

Faraj, A A; Wright, A P; Haneef, J H S; Jones, A

2014-09-01

Although the playing of music is commonplace in the operating theatre, there is nothing in the literature examining whether staff feel this is beneficial. Questionnaires were distributed amongst a random selection of staff in practice at a district general hospital: medical staff from a range of surgical specialities, anaesthetists, and all grades of perioperative staff (nurse/operating department practitioners/healthcare assistants) were encouraged to participate. There were 121 health professionals in total working in the operating theatres. The authors compared the responses to each question amongst the respondents, to check for the tendency to correlate. Out of the 52 health professionals who responded, 36 stated that music is played in their theatre either every day, or two to three times a week. Only five respondents felt that this was too often. Fifteen percent of medical staff were of the opinion that the nursing staff controlled the choice of music. Nursing staff were almost evenly split in thinking that nursing staff, surgical staff and the whole theatre team controlled the choice of music. The majority of both nursing and medical staff felt that they enjoyed their work more and performed better when music was played in theatre. The study concluded that the majority of theatre staff found listening to music while they work a positive experience. The potential for music to have a distracting or detrimental effect on a minority of individuals should always be considered.

An experience of science theatre: Earth Science for children

Science.gov (United States)

Musacchio, Gemma; Lanza, Tiziana; D'Addezio, Giuliana

2015-04-01

The present paper describes an experience of science theatre addressed to children of primary and secondary school, with the main purpose of explaining the Earth interior while raising awareness about natural hazard. We conducted the experience with the help of a theatrical company specialized in shows for children. Several performances have been reiterated in different context, giving us the opportunity of conducting a preliminary survey with public of different ages, even if the show was conceived for children. Results suggest that science theatre while relying on creativity and emotional learning in transmitting knowledge about the Earth and its hazard has the potential to induce in children a positive attitude towards the risks

1 Aquatic Theatre: Women as Performing Audience Sunday ...

African Journals Online (AJOL)

USER

audience relationship. Keywords: Aquatic theatre, women, performing audience, festival, ... "Fine and Performing Arts" in the book The Land and People of Rivers. State. .... Jefferson as saying in the New York Times that “there is something.

Theatre for Change: An Analysis of Two Performances by Women in Mundemba Sub-Division.

Science.gov (United States)

Tanyi-Tang, Anne

2001-01-01

Contends that theatre has the power to induce oppressors to change their attitudes permanently towards the groups they oppress. Describes theatrical performances by women in Mundemba Sub-Division, Cameroon, which created lasting changes in men's attitudes. Concludes that theatre calls for sociocultural and economic changes and it has the power to…

A Search for the Sources of Excellence: Applying Contemporary Management Theory to Theatre Research.

Science.gov (United States)

Jones, Tom; White, Donald D.

A study was conducted to learn about the effective practice of theatre through the application of research methods developed in studies involving other types of organizations. Successful and unsuccessful play directors, as determined by evaluations of their plays in the Southwest Region of the American College Theatre Festival, were surveyed to…

Shakespeare and Reader's Theatre: Fellow Traveling Companions

Science.gov (United States)

Ratliff, Gerald Lee

2010-01-01

Whether constructed on literary analysis models or inspired by conventional acting theories, Reader's Theatre performance techniques are an invaluable instructional tool available to teachers who want their students to see, hear and feel Shakespeare texts in classroom discussion and performance. These exercises are designed to promote both a…

EJOTMAS: Ekpoma Journal of Theatre and Media Arts

African Journals Online (AJOL)

EJOTMAS) is committed to the promotion of scholarship in all the areas of Drama and Theatre, Media and Communication, Music and Dance, Performance Studies and other fields in the Arts and Humanities. Other websites associated with this journal: ...

Effect of perioperative inefficiency on neurosurgical theatre efficacy: A 15-year analysis.

Science.gov (United States)

Kamat, Ameya S; Parker, Andrew

2015-01-01

Effective utilisation of operating theatre time is an important issue in neurosurgery. There is a commonly held belief amongst surgeons that throughput of theatre is decreasing secondary to worsening perioperative delays. The aim of this paper is to explore some of the factors that lead to delays in the perioperative period by determining whether there has been a trend in the increasing length of case time over a fifteen-year period. Case notes of all elective patients who consented for surgery between January 1998 and the end of 2012 were reviewed. Only patients who underwent elective surgery were included. Variables recorded included transit time from the ward to theatre, anaesthetic time, surgical time and time spent in recovery. These were compared over the 15-year period to look for apparent trends. The total number of patients who consented for elective surgery at our institution between January 1998 and December 2012 was 6760. The mean anaesthetic time considering all operations performed was 43 mins each over the 15-year period. Anaesthetic time was deemed to be trending upwards from 1998 where the mean time was 27 -60 mins in December 2012, thus reflecting an increase of 33 mins. The mean surgical times over the 15-year period were 131 mins. However in 1998, mean surgical time was 127 mins compared with 133 mins in 2012. For the operations analysed, anaesthetic time seems to be increasing and has effectively doubled over a 15-year period. Surgical time and non-clinical time are shown to be virtually constant. This delays the overall theatre list and increases the cancellation rate. For compensating this, changes need to be made when allocating resources to both elective and emergency theatres. Staff recruitment needs to be assessed and internal audits need to be conducted within institutions to analyse ways to optimise the throughput of an operation theatre. If these principles are not adhered to, it will have a negative impact as our populations, and

COMPARISON OF TWO METHODS OF OPERATING THEATRE PLANNING: APPLICATION IN BELGIAN HOSPITAL

Institute of Scientific and Technical Information of China (English)

Sondes CHAABANE; Nadine MESKENS; Alain GUINET; Marius LAURENT

2008-01-01

Operating Theatre is the centre of the hospital management's efforts. It constitutes the most expensive sector with more than 10% of the intended operating budget of the hospital. To reduce the costs while maintaining a good quality of care, one of the solutions is to improve the existent planning and scheduling methods by improving the services and surgical specialty coordination or finding the best estimation of surgical case durations. The other solution is to construct an effective surgical case plan and schedule. The operating theatre planning and scheduling is the two important steps, which aim to make a surgical case programming with an objective of obtaining a realizable and efficient surgical case schedule. This paper focuses on the first step, the operating theatre planning problem. Two planning methods are introduced and compared. Real data of a Belgian university hospital "Tivoli" are used for the experiments.

American nuclear theatre, 1946-1984

International Nuclear Information System (INIS)

Hostetter, R.D.

1985-01-01

This dissertation examines the American nuclear theatre - works that directly explore nuclear technology (weapons and energy). Background chapters describe the history of nuclear development, discourse, and strategy; the response of the arts; and the history of the American nuclear theatre, which began in 1946 and burgeoned after 1980. Five recent, representative productions - four stage dramas and one nonviolent symbolic action - are examined as theatrical strategies: Dead End Kids: a History of Nuclear Power (1980), by JoAnne Akalaitis/Mabour Mines; the Story of One Who Set Out to Study Fear (1981), by Peter Schumann/Bread and Puppet Theater; Factwino vs. Armageddonman (1982), by the San Francisco Mime Troupe ; Ashes, Ashes, We All Fall Down (1982), by Martha Beosing/At the Foot of the Mountain; and the Plowshares 8 events (1980-1984). All five productions were created collaboratively. All assaulted the boundaries between art and life. All were dialectical and tried to create a fundamental shift in consciousness about nuclear weapons. All suggested that the nuclear age is a new historical situation: war and business are interconnected with a new technology which makes possible the end of the world. Three productions employed historical images of mass death to provide emotional and moral comparisons. All finally called for each audience member to take responsibility for the current nuclear situation

Myths and Metaphors from the Mall: Critical Teaching and Everyday Life in Undergraduate Theatre Studies.

Science.gov (United States)

Berkeley, Anne

2001-01-01

Offers a theoretical basis for undergraduate theatre studies that stresses the participation, democratization, and popularization that are necessary to sustain the arts in American society. Argues that the curriculum should be reoriented to emphasize theatre's functional value by building on students' already acquired and practiced aesthetic…

The Seeing Place: Talking Theatre and Medicine

Science.gov (United States)

Bowman, Deborah; Bowman, Joanna

2018-01-01

A Professor of Medical Ethics and a theatre director, also mother and daughter, talk about health, illness, suffering, performance and practice. Using the lenses of ethical and performance theory, they explore what it means to be a patient, a spectator and a practitioner and cover many plays, texts and productions: Samuel Beckett's "Not…

Community theatre as instrument for community sensitisation and ...

African Journals Online (AJOL)

2016-03-28

Mar 28, 2016 ... Agency (GIZ) in Cameroon, and is currently ... proposes strategies that could be deployed to effectively develop and establish ... traditional system, community theatre, environmental protection, sustainable economic development. ..... Some groups usually travel from place to place to carry out their activities,.

Reducing the carbon footprint of the operating theatre: a multicentre quality improvement report.

Science.gov (United States)

Southorn, T; Norrish, A R; Gardner, K; Baxandall, R

2013-06-01

Currently, there are very few provisions for recycling in theatres. We measured the weight of clinical waste for several orthopaedic operations. This waste was then examined and sorted into domestic waste and clinical waste. With staff education it is possible to reduce the amount of clinical waste generated by the operating theatre by roughly 50%. A greater awareness of disposal options leads to a reduction in waste disposed of by incineration.

Straight into the Eyes - Jacek Łumiński and the Silesian Dance Theatre (1991-2011)

OpenAIRE

Alicja Iwańska

2012-01-01

The final decade of the 20th century was the turning-point for the development of Polish contemporary dance. In 1991 Jacek Łumiński established the Silesian Dance Theatre in Bytom. The theatre is said to be in the avant-garde of all activities related to contemporary dance development in Poland. It was J. Łumiński and his theatre who pioneered new trends in contemporary dance at the beginning of the nineties of the 20th century, at the same time they have conducted educational activity over t...

Language of the Theatre of the Absurd: Jean Tardieu, “Box Office”

OpenAIRE

Kol, Mustafa

2011-01-01

Jean Tardieu’s short play Le Guichet, which has been considered within the AbsurdTheatre part Tradition, is in the work of Theatre of chamber. The play presents a very strikingpart from the rhythm of like; It covers the unrelatedness of human relationships, lonelinessof humans, being in the gap, searching for happiness in the world of dream. They confrontto a customer and clerk who is sitting on a desk. Actually, the customer indulges into abureaucratic questioned with a humorous and ironic t...

437 communicating climate change in africa through the theatre

African Journals Online (AJOL)

Osondu

The understanding is that humans need to be sensitized and people mobilized in a mass effort ... Keywords: Climate change, Environment, Communication, Development process, Theatre arts, ... beyond the media noise about the protocols of.

From Corporate Social Responsibility, through Entrepreneurial Orientation, to Knowledge Sharing: A Study in Cai Luong (Renovated Theatre) Theatre Companies

Science.gov (United States)

Tuan, Luu Trong

2015-01-01

Purpose: This paper aims to examine the role of antecedents such as corporate social responsibility (CSR) and entrepreneurial orientation in the chain effect to knowledge sharing among members of Cai Luong theatre companies in the Vietnamese context. Knowledge sharing contributes to the depth of the knowledge pool of both the individuals and the…

Evolution of the Anatomical Theatre in Padova

Science.gov (United States)

Macchi, Veronica; Porzionato, Andrea; Stecco, Carla; Caro, Raffaele

2014-01-01

The anatomical theatre played a pivotal role in the evolution of medical education, allowing students to directly observe and participate in the process of dissection. Due to the increase of training programs in clinical anatomy, the Institute of Human Anatomy at the University of Padova has renovated its dissecting room. The main guidelines in…

Receive, Reorganize, Return: Theatre as Creative Scholarship

Science.gov (United States)

Armstrong, Sara; Braunschneider, Theresa

2016-01-01

This article focuses on the use of theatre as a mode of creative scholarship, from the research involved in sketch creation to the presentation of that research to academic audiences. We particularly focus on a specific sketch developed by the CRLT Players--one that explores the consequences of subtle discrimination faced by women scientists in…

Dance Theatre of Harlem--Theater Activity Packet.

Science.gov (United States)

New York City Board of Education, Brooklyn, NY. Div. of Curriculum and Instruction.

Intended to complement the New York City communication arts curriculum, this packet introduces young students, guided by the classroom teacher, to a dress rehearsal performance of the Dance Theatre of Harlem ballet company. The packet is one of a series in the "Early Stages" program, a joint effort of the Mayor's Office of Film, Theater…

The fluorescence theatre: a cost-effective device using theatre gels for fluorescent protein and dye screening.

Science.gov (United States)

Heil, John R; Nordeste, Ricardo F; Charles, Trevor C

2011-04-01

Here we report a simple cost-effective device for screening colonies on plates for expression of the monomeric red fluorescent protein mRFP1 and the fluorescent dye Nile red. This device can be built from any simple light source, in our case a Quebec Colony Counter, and cost-effective theatre gels. The device can be assembled in as little as 20 min, and it produces excellent results when screening a large number of colonies.

The effect of handover location on trauma theatre start time: An estimated cost saving of £131 000 per year.

Science.gov (United States)

Nahas, Sam; Ali, Adam; Majid, Kiran; Joseph, Roshan; Huber, Chris; Babu, Victor

2018-02-08

The National Health Service was estimated to be in £2.45 billion deficit in 2015 to 2016. Trauma theatre utilization and efficiency has never been so important as it is estimated to cost £15/minute. Structured questionnaires were given to 23 members of staff at our Trust who are actively involved in the organization or delivery of orthopaedic trauma lists at least once per week. This was used to identify key factors that may improve theatre efficiency. Following focus group evaluation, the location of the preoperative theatre meeting was changed, with all staff involved being required to attend this. Our primary outcome measure was mean theatre start time (time of arrival in the anaesthetic room) during the 1 month immediately preceding the change and the month following the change. Theatre start time was improved on average 24 minutes (1 month premeeting and postmeeting change). This equates to a saving of £360 per day, or £131 040 per year. Changing the trauma meeting location to a venue adjacent to the trauma theatre can improve theatre start times, theatre efficiency, and therefore result in significant cost savings. Copyright © 2018 John Wiley & Sons, Ltd.

Political shifts and black theatre in South Africa

NARCIS (Netherlands)

Rangoajane, Francis L.

2011-01-01

Oral communication, especially through performance, has always been the basis through which Africans/blacks communicated. This became particularly so under apartheid given the fact that blacks were denied a voice, and theatre gave them that voice. The democratisation of South Africa has not only

Theatre Review | Various Authors | Shakespeare in Southern Africa

African Journals Online (AJOL)

Twelfth Night: The Port Elizabeth Shakespearean Festival, February 2004; Macbeth: Directed by Geoffrey Hyland, Maynardville Open Air Theatre, January to. February 2004; The Marowitz Hamlet: Directed by Floyed de Vaal for the University of. Stellenbosch Drama Department, July 2004; Bollywood Twelfth Night: Steven ...

Identity, Knowledge and Participation: Health Theatre for Children

Science.gov (United States)

Grabowski, Dan

2013-01-01

Purpose: The main aim of the paper is to explore whether health theatre as a school-based health promotion initiative communicates relevant health knowledge to children and the interrelated processes of identity development, knowledge acquisition and participation. Development of the definition of "health identity" was a subsidiary…

Bagatelle about translated theatre

Directory of Open Access Journals (Sweden)

Paolo Puppa

2017-07-01

Full Text Available In Italy, there is nothing in common, no harmony, between audience and stage, in particular, between language spoken out of the theatre and language pronounced on stage, in a way that playwrights often are compelled to invent their own language. In fact, Italian theater lacks a precise code of traditions able to shape the organic ground of recitation itself. These questions allow the author to reflect about theatrical language as in, for example, the case of a Venetian company that performs Danilo Kiš’ play, Consigli a un giovane scrittori, or the revision, among others, of the syncretic Esperanto used by Eugenio Barba.

Is Theatre Under the Influence of New Media?

Directory of Open Access Journals (Sweden)

Dagmar Podmaková

2015-10-01

Full Text Available The paper poses questions concerning the extent of direct or indirect impact of new media on the concept of a theatrical production and on the perception of a concret theatrical performance. Using examples of theatrical preoductions, the author divided the impact of media into several areas. One of them is the insertion of film clips into a theatrical performance or simultaneous large screen projections of what is happening on stage. The second area concerns (indirect effect of new media on the currentness of the testimony of theatre-makers, such as, for instance, the projection of TV news that accentuate the impact of everydayness on the aesthetic perception of an audience. One should not discount the side effects of the media that entered the theatre, such as the effect of TV series on the social media popularity of actors. Therefore, when actors perform on stage, the audiences are inclined to perceive them as TV-series characters rather than dramatic characters.

Sound Equipment Fabrication and Values in Nigerian Theatre ...

African Journals Online (AJOL)

The main points of this paper is to discover ways of fabricating sound and sound effects equipment for theatrical productions in Nigeria have become of essence since most educational theatres cannot afford western sound and sound effects equipment. Even when available, they are old fashioned, compared to the ...

Children's Interpretations of Computer-Animated Dinosaurs in Theatre.

Science.gov (United States)

Klein, Jeanne

2003-01-01

Describes how a "virtual reality" production by the University of Kansas Theatre for Young People provided the opportunity to garner the perceptions and responses of child audiences as a descriptive study. Discusses students' perceptions of results. Provides little evidence of a "videocy" dimension of perceived reality, for it…

Learning to Act: Tony Sheldon’s Emotional Training in Australian Theatre

Directory of Open Access Journals (Sweden)

Anne Pender

2016-08-01

Full Text Available This case study of Tony Sheldon considers how an actor develops versatility in emotional delivery and the capacity to work in all theatre genres. Sheldon is one of Australia’s best known and most successful stage actors. He has appeared in Shakespearean drama, cabaret, musical theatre and contemporary plays written by Australian, British and American playwrights. He is one of a sizeable group of Australian actors of his generation to have learned to act ‘on the job’ with directors and other actors rather than undertaking formal qualifications in an institution or studio. This article examines Sheldon’s experience of learning to act, drawing on a life interview with the actor. It considers the opportunities and the difficulties Sheldon experienced in his early career in relation to boundary blurring and self-belief, trauma, directorial rehearsal styles, typecasting, comic acting in partnership and managing one’s character in long seasons. The article explores some of the problems that the actor has overcome, the importance of specific directors in his development, and the dynamics of informal training in the context of an overall ecology of theatre over half a century.

Theatre and Pedagogy: Using Drama in Mental Health Nurse Education.

Science.gov (United States)

Wasylko, Yolanda; Stickley, Theodore

2003-01-01

Describes how psychodrama, forum theatre, and other forms of drama can facilitate active learning, develop empathy and reflective skills, and foster emotional intelligence in nursing education. Contains 21 references. (SK)

The practice of the “ Theatre of the oppressed” from an ethnological perspective. A dialogue.

Directory of Open Access Journals (Sweden)

Arun Frontino

2015-07-01

Full Text Available During a Theatre of the Oppressed Seminar the Kuringa explained: “I look at reality, take a step back and create a reality with understanding. I observe, I analyse, I create an Image of the Reality to go back to discuss about Reality”. (Field notes Could we put in relation the creation process of theatre with ethnographic research? What could come out? There are many intersections as interesting critique points which can be relevant for both. My understanding of ethnographic research, political and collaborative, brought me to the following methodological questionings. I observed theatre practice participating at the activities of a theatre group for six months. I presented my analysis and interpretation to the participants and I did interviews to deepen specific themes. The inputs collected are not objective ones and the results does not aim to be definitive but to reflect on questions of contemporary social science. We move and observe the space on the not clearly definable borders between arts, science and politics. My point of view is that this perspective from “inside” the borders makes the discussion interesting. To me as a scholar the re-thinking of the methodology of anthropological research appears as a must. The goal is to contribute to discussion about collaborative ethnography. The dialogue between theatre of the Oppressed and ethnography is interesting and needs to be explored further and the concept “dialogue” needs specific critical attention.

Introduction [to special issue] Women in Asian theatre: conceptual, political, and aesthetic paradigms

OpenAIRE

Madhavan, Arya

2015-01-01

A conference titled Women in Asian Theatre was held at the University of Lincoln in September 2013, and papers from that gathering form the core of this issue. The rationale in organizing the conference was to explore differences across Asia and note that theories from Western feminists do not necessarily transfer to Asian models. This conference was a first step toward mapping histories of the female in Asian theatre, and this is a line of inquiry that deserves more attention. Arya Madhav...

The Economics of Theatre/Entertainment Technology in Nigeria ...

African Journals Online (AJOL)

This essay therefore, discusses theatre technology and its attendant economic impact as business in Nigeria using Bradford Delong.s (2004) discourse on international capital mobility. Aspects of Delong.s position and David Throsby.s cultural capital theory form the theoretical base for this work. The essay is more situated ...

Theatre Reviews | Various Authors | Shakespeare in Southern Africa

African Journals Online (AJOL)

Much Ado: Directed by Linda-Louise Swain. Mannville. 21 February-4 March 2006; Twelfth Night: Directed by Tamar Meskin and Tanya van der Walt. University of KwaZulu-Natal Drama and Performance Studies Programme. Pieter Scholtz Open Air Theatre. 27 May 2006. Shakespeare in Southern Africa Vol. 18 2006: pp.

Replacing the Sofa with the Spotlight: Interrogating the Therapeutic Value of Personal Testimony within Community-Based Theatre

Science.gov (United States)

Leffler, Elliot

2012-01-01

Julie Salverson, a Canadian scholar-practitioner, has long challenged the assumption that personal storytelling within Community-Based Theatre is necessarily therapeutic. Salverson critiques an "aesthetic of injury," arguing that theatre practitioners have foregrounded personal narratives in a way that reinscribes a "victim…

Time and motion studies of National Health Service cataract theatre lists to determine strategies to improve efficiency

NARCIS (Netherlands)

Roberts, Harry W; Myerscough, James; Borsci, Simone; Ni, Melody; O'Brart, David P S

2017-01-01

Aim: To provide a quantitative assessment of cataract theatre lists focusing on productivity and staffing levels/tasks using time and motion studies. Methods: National Health Service (NHS) cataract theatre lists were prospectively observed in five different institutions (four NHS hospitals and one

The productive operating theatre and lean thinking systems.

Science.gov (United States)

Kasivisvanathan, R; Chekairi, A

2014-11-01

The concept of 'lean thinking' first originated in the manufacturing industry as a means of improving productivity whilst maintaining quality through eliminating wasteful processes. The purpose of this article is to demonstrate how the principles of 'lean thinking' are relevant to healthcare and the operating theatre, with reference to our own institutional experience.

Toward a Synthesis of Science and Theatre Arts

Science.gov (United States)

DeMetz, Kaye

2007-01-01

The chasm between science the the arts has been hotly debated during the last century. History reveals that science and theatre arts (drama and dance) have shared a successful symbiosis that has benefited society for at least two millennia. This natural partnership continues to have positive effects on our culture by providing aesthetic…

Observing Precautions against Cutaneous Injuries by Theatre Workers

African Journals Online (AJOL)

Following injury, 78.7% (37) of operating room workers cleaned the wound with antiseptic and covered with dressing. 8.5% (4) cleaned the wound and left it open while10.6% (5) did nothing about any injuries sustained. Conclusion: Theatre workers need to change their present casual attitude towards taking preventive ...

Ancient Greek and Indian theatres: their origin in choral dances, which represent old myths by means of mimesis

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Francisco Rodríguez Adrados

2012-06-01

Full Text Available Regarding the subject of the origin of Greek theatre, especially of tragedy, the author insists in defending the theory already published by him in several occasions, according to which it would have been originated in choral, religious dances, which represent myths by means of an old mimesis. Aristotle suggested choral lyric as its origin, but he did it in a superficial manner. The author develops his theory in detail and speaks of the necessity of using information found in Greek theatre plays themselves: lyric unities and their organization as theatre plays, adding the recitation of the choreutae to choral passages. He proves all this with parallel facts found in Indian theatre by Prof. Gupt, from New Delhi, as well as with the correlation that the author sets between these evidences and the Greek ones: mimetic dance, rite and myth.

Pühaduse performatiivsus ja kristlik teater / The Performativity of Sacrality and Christian Theatre

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Madis Kolk

2015-06-01

Full Text Available Teesid: 20. sajandil on esile kerkinud mitmeid teatrisuundi, mis on kritiseerinud ja püüdnud ületada Lääne traditsioonilise teatri väidetavat sõnakesksust ning samuti selle võimetust täita n-ö püha kunsti funktsioone. Kuigi seda pühadusedefitsiiti on püütud leevendada ennekõike orientaalsetest teatrivormidest inspiratsiooni ammutades, aitab selle võimalikku tekkelugu mõista ka katoliikliku kultuuri mõjuväljas võrsunud teatrikunsti ning teatrivaenulikuma ortodoksi teoloogia kontekstis välja töötatud ikooniteoloogia võrdlus. Kõrvutades nende kahe konfessiooni teoloogilis-esteetilisi arusaamu, saame analüüsida ka performatiivsuse esteetika seisukohast olulisi kunstiteose loome- ja tajutingimuste vormilisi ja meelelisi aspekte ning nende toimet sakraalse kunsti sihtide seisukohast. SU M M A R Y In the 21st century Western society has seen an increasing interest in topics related to religion. In this context, the connection between the concept of sacrality in Western culture and freedom of verbal and artistic expression has been reconsidered; the very possibility of so-called sacred art within Western culture has been called into question. Already in the 20th century several theatrical movements in the West have expressed the need to strive for religious (or at least quasi-religious goals by means of the stage. This can already be seen in the work of the symbolists, but such experiments accelerated and became more forceful under the influence of Antonin Artaud’s visions and under the aegis of intercultural theatre. In all of these different quests one can find common elements: discontent with the discursivity of the theatrical canon, a need for a metaphysical dimension in the theatre, and the belief that channels of perception can be opened through contact with exotic ritual cultures. In his book Sacred Theatre Ralph Yarrow has attempted to define the criteria of sacrality in the theatre, drawing upon William S. Haney�

Postdramatic Theatre, 12 years later

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Hans-Thies Lehmann

2013-09-01

Full Text Available This text takes stock of the twelve years of emergence of the practice and term Postdramatic and some of its developments and issues in the performing arts. It discusses the changes through which the contemporary scene has gone since 1999 and consequently the changes we should consider when reading and analysing the concept of postdramatic; among them, the focus on collaborative work; new relations between theatre and society; the focus on dance; and the return of words. Finally, the text raises the question of whether or not the term postdramatic should be reconsidered.

The Abbey Theatre Digital Archive: a digitization project with dramatic impact

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John Cox

2017-11-01

Full Text Available National University of Ireland Galway digitized the archive of the Abbey Theatre between 2012 and 2015. This was the largest theatre archive digitization project worldwide and it has had a major impact on the University and its Library. The scale of the digitization project presented a series of challenges, including fragile material, limited time, streamlined workflows, complex digital rights management and effective systems. The project was completed on time and on budget in 2015, using a ‘more product, less process’ approach. Access to the Abbey Theatre Digital Archive has delivered strong academic impact for the University, generating new research income and international connections as well as contributing to improved institutional ranking. The Digital Archive enables new types of research, including text and data mining, and has reshaped undergraduate curricula. It has also had a transformative effect on the Library as leader of the project. The role of the archivist has changed and partnerships with the academic community have strengthened. A growing emphasis on digital publication has been a catalyst for a function- rather than subject-based organizational structure which promotes participation in digital scholarship initiatives, with archives and special collections occupying a new position of prominence.

Transformative Theatre: A Promising Educational Tool for Improving Health Encounters With LGBT Older Adults.

Science.gov (United States)

Hughes, Anne K; Luz, Clare; Hall, Dennis; Gardner, Penny; Hennessey, Chris Walker; Lammers, Lynn

2016-01-01

Lesbian, gay, bisexual, or transgender (LGBT) older adults are often unaware or fearful of aging services that contribute to greater vulnerability, isolation, and risk when services are needed. In addition, they may perceive or experience bias in health care encounters. Providers may not recognize their own biases or their impact on such encounters. In response, a group of LGBT community activists, aging professionals, researchers, and a theatre ensemble developed an interactive theatre experience, described herein, that portrays challenges faced by LGBT older adults needing services. Goals included raising awareness among LGBT older adults and providers about issues such as the limited legal rights of partners, limited family support, and fear of being mistreated as a result of homophobia. Evaluations and feedback reflected the potential of interactive theatre to engage people in sensitive discussions that can lead to increased awareness, reduced bias, practice change, and ultimately improved care for LGBT older adults.

[Theatre as communication method in psychogeriatric care: effects on behaviour, mood and quality of life of people with dementia ].

Science.gov (United States)

van Dijk, A M; van Weert, J C M; Dröes, R M

2012-12-01

Recently, a new communication method was introduced in nursing homes for people with dementia. This so-called Veder Method, developed by professional actors with former educational background in care,combines proven effective emotion-oriented care methods, like reminiscence,with theatrical stimuli like songs and poetry. The method is applied during theatre shows and living room theatre activities. In this exploratory study the surplus value of a living room theatre activity according to the Veder method compared to a reminiscence group activity was evaluated. Within a quasi experimental design, three groups of nursing home residents with dementia were compared: Experimental group 1 (E1; N=64)joined a 'living room theatre activity' offered by trained caregivers. Experimental group 2 (E2; N=31) joined a 'living room theatre activity' offered by professional actors. The control group (N=52) received a reminiscence group activity. Behaviour, mood and quality of life were measured using standardized observation scales at three points in time: (T1) pretest; (T2)during the intervention and; (T3) posttest, two hours after the intervention. During and after the intervention, positive effects were found in favour of E2 on behaviour (i.e. laughing, recalled memories), mood (i.e. happy/content) and quality of life (i.e. social involvement, feeling at home). A living room theatre activity according to the Veder Method has more positive effect on nursing home residents compared to a normal reminiscence group activity, if offered by professional actors.This article is a slightly edited translation of Does theatre improve the quality of life of people with dementia? International Psychogeriatrics2012;24: 36r381 by the same authors.

Kaarel Irdi repertuaaripoliitilised vaated Vanemuise teatri juhina. Kaarel Ird’s Repertoire Policy as Manager of the Vanemuine Theatre

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Jaak Viller

2012-04-01

Full Text Available This article focuses on the meaning of ’repertoire policy’, which in a broader sense usually means the conformity of someone’s creative activities with their main target groups and the interests and expectations of these target groups. Usually, factors inside the theatre also influence repertoire policy (such as contemporary and classical texts, the relationship between local and foreign material, as well as the consideration of the artistic interests and abilities of the directors and actors involved. When analysing the Vanemuine Theatre and its long-standing manager Kaarel Ird (at Vanemuine during the years 1940–1986, a certain aspect stemming from the ideological doctrine of the totalitarian state should be taken into account: the mandatory quota of Soviet drama works (of the Russian and other Soviet nations written after the revolution of 1917, which had to be no less than two-thirds of the plays staged. One of Ird’s more distinguishable accomplishments in the formation of repertoire policy is the rehabilitation of classical Estonian drama and its legacy, which had been ostracised from the stage during the years following the war (1944–1955. Ird justified this with numerous performances and articles as well as in the choice of repertoire at the Vanemuine Theatre, which was very well received by the growing audience. Ird’s own best directed works were based on the legacy of classic Estonian drama (Lydia Koidula, Oskar Luts and others. The other tendency in Ird’s repertoire policy is the attention paid to the Estonian contemporary drama. His role in enthusing writers to create contributions for the drama genre was remarkable, as well as the care taken in order to make their plays reach the stage at Vanemuine Theatre. Something that should be pointed out in Ird’s favour is his explanation – which at the time was not at all self-evident – of the repertoire to the supervisory organs: that contemporary Estonian dramas ought

Biodun Jeyifo: The Yoruba Popular Travelling Theatre or Nigeria ...

African Journals Online (AJOL)

There is no shortage of books on the market about African theatre, but the. Yoruba ... techniques of film inserts and recorded music to supplement the live performance. One ... This is partly a historical perspective, showing the relationship between Yoruba Opera ... becoming an increasingly dynamic force throughout Africa.

THE A.P. CHEKHOV CHISHINAU RUSSIAN DRAMA THEATRE OF THE SECOND HALF OF THE 20th CENTURY THROUGH THE PRISM OF CRITICISM

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AXIONOVA NADEJDA

2015-09-01

Full Text Available The development of the A. Р. Chekhov Chishinau Russian Drama Theatre during the 1980s-2000s of the 20th century is closely connected with the names of the following directors: I. Petrovski, M. Abramov, J. Ţiţinovski, N. Betsis, V. Apostol, M. Polea-kov, A. Barannikov, I. Shats, V. Madan, P. Vutcarau and A. Vasilake. In their work these directors based themselves on various theatre schools: the Stanislavsky experimental school, the Brecht psychological theatre etc. All these activities were relected by such theatre experts and critics as L. Shorina, N. and V. Rojcovskii, O. Garusova etc., and characterized by journalists in mass-media. This article reveals the importance of the A. Р. Chekhov Russian Drama Theatre in the public life of Moldova.

Figurations of the infra-ordinary. Play and urban imaginaries in Rimini Protokoll’s documentary theatre practice

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Roberto Cavallini

2013-03-01

Full Text Available Early June 2008. It’s a sunny and gorgeously warm day in Berlin. With a friend, I reach the Hebbel Am Uffer Theatre twenty minutes before the beginning of Call Cutta in a box, a piece by Rimini Protokoll, a label for the documentary theatre of Helgard Haug, Stefan Kaegi and Daniel Wetzel. In the brochure, we read that there are time slots for two spectators at once. We buy our tickets and move towards the theatre’s entrance. But apparently, there is no entrance. Instead, a huge guy looks at me kindly indicating the map in my hand and explaining that the show is not in the theatre but few metres away in a glass corporate building by the river.

Learning Robotics in a Science Museum Theatre Play: Investigation of Learning Outcomes, Contexts and Experiences

Science.gov (United States)

Peleg, Ran; Baram-Tsabari, Ayelet

2017-12-01

Theatre is often introduced into science museums to enhance visitor experience. While learning in museums exhibitions received considerable research attention, learning from museum theatre has not. The goal of this exploratory study was to investigate the potential educational role of a science museum theatre play. The study aimed to investigate (1) cognitive learning outcomes of the play, (2) how these outcomes interact with different viewing contexts and (3) experiential learning outcomes through the theatrical experience. The play `Robot and I', addressing principles in robotics, was commissioned by a science museum. Data consisted of 391 questionnaires and interviews with 47 children and 20 parents. Findings indicate that explicit but not implicit learning goals were decoded successfully. There was little synergy between learning outcomes of the play and an exhibition on robotics, demonstrating the effect of two different physical contexts. Interview data revealed that prior knowledge, experience and interest played a major role in children's understanding of the play. Analysis of the theatrical experience showed that despite strong identification with the child protagonist, children often doubted the protagonist's knowledge jeopardizing integration of scientific content. The study extends the empirical knowledge and theoretical thinking on museum theatre to better support claims of its virtues and respond to their criticism.

Can Mimetics, a Theatre-Based Practice, Open Possibilities for Young People with Learning Disabilities? A Capability Approach

Science.gov (United States)

Trowsdale, Jo; Hayhow, Richard

2013-01-01

While the significance of the social model of disability for articulating inclusive approaches in education is recognised, the application of capability theory to education is less well developed. This article by Jo Trowsdale of the University of Warwick and Richard Hayhow of Open Theatre considers how a particular theatre-based practice, here…

Omaeluloolisus eesti teatris: Merle Karusoo lavastustest. Life Narratives and Estonian Theatre: The Productions of Merle Karusoo

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Piret Kruuspere

2012-04-01

Full Text Available Any consideration of Estonian theatre from the point of view of biographical theatre needs to include the work of playwright and director Merle Karusoo. Productions based on various life narratives (diaries, letters, biographical interviews form the core of her work that can be defined as biographical or memory theatre. Her work has also been viewed within the context of community theatre or political theatre; Karusoo has herself referred to her work as sociological theatre. Life narratives have functioned in Karusoo’s productions as the basis for restoring oppressed or denied collective discourses of memory. Her productions emerged within the framework of the more general process of restoration of historical heritage and the rehabilitation of collective memory at the end of the 1980s and the beginning of the 1990s. Life story can be viewed as the essence of Merle Karusoo’s theatre. The personal in the life story in the production activates the emotional memory of the audience; for older generations such theatre facilitates a legitimisation of remembering one’s life story in entirety, and for younger generations it functions as a vehicle of collective, historical and national memory. The current article outlines the main stages of Karusoo’s biographical theatre, highlights major productions of each stage and provides an overview of their reception. Karusoo’s theatre dates back to 1980s. Productions based on life stories of the generations born in 1950s and 1960s, Meie elulood (Our Biographies and Kui ruumid on täis ... (Full Rooms both in 1982, mediated fragments of life stories of 16 drama students, focusing on the processes of self-conception and -reflection of young persons. In the context of the Soviet regime that exerted firm ideological control over the private lives of its citizens, Karusoo’s productions struck an especially powerful and unusual chord. Karusoo’s biographical theatre has gathered momentum and assumed a more

Postdramaatiline teater ja autobiograafiline lavastus sotsiaalses kontekstis. Postdramatic Theatre and Autobiographical Performance in Its Social Context

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Anneli Saro

2012-04-01

Full Text Available What is the relationship of postdramatic theatre--and more specifically autobiographical performance--to societal and cultural contexts within which they have emerged? This is the question I examine in this article. The term ‘postdramatic theatre’ was introduced by German theatre researcher Hans-Thies Lehmann in the 1990s, who defined it in opposition to the classical, Aristotelian form of drama: as the disappearance or withdrawal of characters, dialogue, story-line or action. In addition, in postdramatic productions, actors often do not embody or present fictional characters, but rather the physical presence of the performer(s and performance as live action is brought to the foreground, which also includes explicit use of autobiographical material of the performer(s. The term ‘postdramatic theatre’ as an aesthetic category is widely used among theatre scholars, but more problematic is to define the notion of a ‘postdramatic world’, either fictional or real. One might just expect that means of expressions have a certain impact also on the depicted world, i.e. postdramatic theatre more or less directly depicts a postdramatic world. For answering the research question, production and reception of the following performances are investigated more closely: Meie elulood (Our Biographies, 1982 and Kui ruumid on täis…(Full rooms, 1982 by Merle Karusoo and Elud (The Lives, 2009 by Andres Keil. Merle Karusoo (b. 1944 is a theatre director who has been practicing documentary theatre since 1980, and abovementioned productions are the first in Estonian theatre where autobiographical material of the actors was explicitly used. In Our Biographies, students of the Drama School of Estonian Academy of Music and Theatre tell their childhood and adolescence memories; Full rooms is a continuation of the first project but concentrates on the adulthood of the students and the life stories of their relatives. All monologues were first taped, then the

Rethinking theatre in modern operating rooms.

Science.gov (United States)

Riley, Robin; Manias, Elizabeth

2005-03-01

Metaphor is a means through which a widely accepted meaning of a word is used in a different context to add understanding that would otherwise be difficult to conceive. Through etymological and metaphorical associations, we contend that aspects of "theatre" are still relevant in the modern operating rooms and that the use of dramaturgical metaphors can add another layer of understanding about the social reality in this setting. We begin by exploring the historical roots and derivation of the word theatre as it applied to anatomical dissection and surgery. Briefly, we touch on the work of Erving Goffman and examine how his work has been used by others to explore aspects of operating room nursing. Then, drawing on data from a postmodern ethnographic study that has been used to examine communication in operating room nursing, four dramaturgical metaphors are used to illustrate the argument. They are drama, the script and learning the lines, the show must go on, and changing between back stage and front stage. To conclude, the small amount of previously published literature on this topic is compared and contrasted, and the relevance of using dramaturgical metaphors to understand modern operating rooms is discussed. Being able to distinguish between the inherent drama in operating room work and the dramatic realisation of individuals who work within, can help operating room nurses to think differently about, and perhaps re-evaluate their social situation and how they function within it.

Lakota Sioux Indian Dance Theatre. Cuesheet for Students.

Science.gov (United States)

Carr, John C.; And Others

This performance guide provides students with an introduction to Lakota Sioux history and culture and to the dances performed by the Lakota Sioux Indian Dance Theatre. The Lakota Sioux believe that life is a sacred circle in which all things are connected, and that the circle was broken for them in 1890 by the massacre at Wounded Knee. Only in…

243 The Challenges of Theatre Workshop in Katsina-Ala and Oju ...

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USER

recommends more funding by the College management for Theatre. Arts Department ... exploring and expressing human feelings and predicaments. This is because .... atmosphere where talents and creativity is built in students, fostering ...

Career Opportunities for Theatre Practitioners.

Science.gov (United States)

Cadman, Victoria

2017-11-01

'What's the point in doing that?' This is often the response given to those saying they are undertaking education outside of work hours. Many do not see their role in theatre as just a job, but now want a career which means extra studying. Ideally this needs to be in advance so they are one step ahead for when an opportunity arises. Career opportunities and education go hand in hand together, and so it is difficult to discuss one without mentioning the other to some degree. We need education to access career opportunities, but we also need career routes to help drive education forward.

In one breath (Jednym tchem performed at the Theatre of the Eighth Day

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Lech Raczak

2016-12-01

Full Text Available This text deals with the 1971 play Jednym tchem (In one breath, performed at the Theatre of the Eighth Day (Teatr Ósmego Dnia and based on Stanisław Barańczak’s poem. Lech Raczak outlines the methods used in the play, the characters, way of presenting a poetic text and the music in the performance. The author uses fragments of performance records published in his previous book Szaleństwo i metoda. 48 tekstów o teatrze (Madness and method. 48 texts about theatre (Wydawnictwo Miejskie Posnania, Poznań 2012.

Percy MacKaye’s Civic Theatre: a Pioneer in Theatre Animation and the Pedagogy of Leisure

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Manuel F. Vieites

2015-12-01

Full Text Available In the first two decades of the 20th century the career of Percy MacKaye becomes especially relevant. As a brilliant American scholar and playwright, he formulated a plan for the organization of the theatre that aimed at promoting the social, cultural and educational potential of a theatrical praxis based on the active participation of people, linked to community development. In this paper, born of a critical reading of his theoretical work, we show how the educational, cultural and artistic uses of theatrical practice promoting a constructive leisure, have in MacKaye’s essays a precedent on theoretical and practical grounds. His proposals are still relevant considering today’s challenges, among which it stands out the creation of spaces for meeting and interaction where the community may meet, recognize and recreate itself. His essays become even more significant considering old problems such as the «arrangement of the theatres» and the status of theater education, formulated by enlightened thinkers such as Jovellanos or Moratín, which two centuries later still await an appropriate solution. We close the paper with a set of conclusions where specific proposals concerning those old issues are made. How to reference this article Vieites, M. F. (2016. El teatro cívico de Percy MacKaye: un pionero en la animación teatral y la pedagogía del ocio. Espacio, Tiempo y Educación, 3(1, 421-442. doi: http://dx.doi.org/10.14516/ete.2016.003.001.20

Architecture for “Recitar Cantando”: Geometry and Design in Petrarca’s Theatre of Arezzo

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Carlo Biagini

2015-07-01

Full Text Available From the middle of the eighteenth century the growing passion for the "recitar cantando" of a larger public in Italy, fosters an extraordinary proliferation of architectures for opera, which are carried out not only in big cities but also in many smaller towns. The kind of theatre called all’italiana is so structured in a building type characterized by some precise typological invariants, which are, however, declined from time to time according to different shapes and sizes.The basic tool for the design control is Geometry, which is expressed on the one hand in testing of multiple regulatory tracks to determine the best icnografic and orthografic framework, foreshadowing a first taxonomy of functional and formal requirements, on the other hand in application of sophisticated perspective models in set design, aimed at the high emotional involvement of the viewer in the scene space. However the geometrical procedures used by theatres designers, even where it is possible to reconstruct the implementation process through documentary direct sources, are not always explicit. In particular, the understanding of a specific geometric and constructive configuration can be achieved only by the architectural survey in the methods and with the techniques of scientific inquiry, in a close comparison with the past cultures of the measurement and representation. In this line of research it is proposed a study of the Petrarca’s Theatre of Arezzo, an Italian-style theatre, built in 1833 on the design of the Florentine architect, Vittorio Bellini. The chosen plan framework is an horseshoe shape considered at the time the most suitable for ensuring in every part of the hall the best conditions of visibility and acoustics. The theatre is equipped with 85 boxes, putting in four tiers, which together with the hall seats can contain up to 600 spectators. The architectural survey conducted preliminarly to restoration works (completed by a few months and then

The role of culture in effective HIV/AIDS communication by theatre in South Africa.

Science.gov (United States)

Uwah, Chijioke

2013-01-01

The need to effectively communicate HIV/AIDS messages in South Africa, given the high prevalence of the pandemic, cannot be overemphasised. Communication scholars have long emphasised the need to recognise adherence to cultural norms of target communities as catalyst for effective HIV/AIDS communication. Unfortunately this call has not been totally heeded by the designers of HIV/AIDS communication instruments. In the case of theatre, research has shown that in South Africa, theatre groups have gone into communities with pre-packaged plays without due cognisance of the cultural norms and beliefs of the target population. This research was conducted in KwaZulu-Natal (the province with the highest prevalence rate of HIV/AIDS infection in South Africa). Using a qualitative research methodology this paper investigated the inclusion/non-inclusion of the cultural norms of the target population in the design of the dramatic performance by the theatre group in its HIV/AIDS campaigns. The findings indicate that while the group did try to incorporate aspects of the cultural norms of the target population, it did so at a level that failed to effectively communicate the HIV/AIDS message to its audiences. This paper therefore seeks to show through empirical evidence that the non-inclusion of cultural norms and values of the target population has acted as a stumbling block in the effective communication of HIV/AIDS messages by theatre groups in the country.

Zulu Sofola and the Nigerian Theatre Influences and Traditions | Eni ...

African Journals Online (AJOL)

Creative Artist: A Journal of Theatre and Media Studies. Journal Home · ABOUT THIS JOURNAL · Advanced Search · Current Issue · Archives · Journal Home > Vol 2, No 1 (2009) >. Log in or Register to get access to full text downloads.

Compromises in orchestra pit design: A ten-year trench war in The Royal Theatre, Copenhagen

DEFF Research Database (Denmark)

Gade, Anders Christian; Mortensen, Bo

1998-01-01

of opera finally opened the way for a new renovation of the pit, which solved most of the problems. The paper describes the many lessons learned during the ten-year period in which the authors were involved with the case as acoustic consultants. Questions of how pit configuration influences mutual hearing......The ``old stage'' of The Royal Theatre in Copenhagen-a classical horseshoe theatre with an almost flat audience floor and four balcony levels—is the primary opera and ballet theatre in Denmark. In the early 1980s the orchestra pit was enlarged and its size made flexible. However, in the following...... years this new flexibility caused a formal battle between the orchestra, the singers, and management, because each group had different interests as to how the pit should be configured for each new production. In the 1990s, increased concern about the musicians' hearing and the increase in the popularity...

Ritual, Myth and Tragedy: Origins of Theatre in Dionysian Rites

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Nadja Berberovic

2015-07-01

Full Text Available In the deep, dark forests and in the lush green valleys, worshippers of Dionysus celebrated the eternal cycles of death and rebirth, symbolized in the sacred mask of the wild god. Drunk and intoxicated, wearing the mask of Dionysus, the actor is at once the shaman and the priest. Channeling the presence of the fearsome divinity, he drinks the sacred wine and eats the raw flesh of his prey. In this eternal moment, he becomes one with the god and the beast residing inside of him. Within Ancient Greek culture, the sacred rites of Dionysus have been appropriated and transformed to theatre performances. The shaman became the actor, the participants became the audience, the sacred altar became the stage. From myth as a ritual performance emerged the theatre of tragedy, in which the undying spirit of Dionysus, majestic and terrifying, speaks to us even today.

Teaching and learning in the operating theatre: a framework for trainers and advanced trainees in obstetrics and gynaecology.

Science.gov (United States)

Mukhopadhyay, S; China, S

2010-04-01

Surgical training of 'advanced trainees' in Obstetrics and Gynaecology currently occurs in a rather unstructured fashion. This is even more complicated by reduced training time of doctors necessitated by the European working time directive. Teaching and learning in theatre is a combination of art and science. This paper attempts to address the issues hampering effective theatre training and suggests ways to overcome them. The 'operating theatre' plan includes a needs assessment of trainees, goal setting and instructional methodologies. Various learning styles could potentially be adopted, although it might be difficult to choose a learning style suitable for a particular trainee. Additionally, team working skills and experiential learning need to be facilitated.

The School Theatre as a Place of Cultural Learning: The Case of Soviet Latvia (1960s-1980s)

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Kestere, Iveta

2017-01-01

The goal of this article is to reveal how through school theatre activities under authoritarian rule, changes took place in pupil knowledge, skills, attitudes, and behaviour regarding culture, namely, how the process of cultural learning occurs. I use a historical case study, specifically the case of the Valmiera School Theatre, which was the…

Theatre Is a Valid Add-On Therapeutic Intervention for Emotional Rehabilitation of Parkinson’s Disease Patients

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Giovanni Mirabella

2017-01-01

Full Text Available Conventional medical treatments of Parkinson’s disease (PD are effective on motor disturbances but may have little impact on nonmotor symptoms, especially psychiatric ones. Thus, even when motor symptomatology improves, patients might experience deterioration in their quality of life. We have shown that 3 years of active theatre is a valid complementary intervention for PD as it significantly improves the well-being of patients in comparison to patients undergoing conventional physiotherapy. Our aim was to replicate these findings while improving the efficacy of the treatment. We ran a single-blinded pilot study lasting 15 months on 24 subjects with moderate idiopathic PD. 12 were assigned to a theatre program in which patients underwent “emotional” training. The other 12 underwent group physiotherapy. Patients were evaluated at the beginning and at the end of their treatments, using a battery of eight clinical and five neuropsychological scales. We found that the emotional theatre training improved the emotional well-being of patients, whereas physiotherapy did not. Interestingly, neither of the groups showed improvements in either motor symptoms or cognitive abilities tested by the neuropsychological battery. We confirmed that theatre therapy might be helpful in improving emotional well-being in PD.

Creative Artist: A Journal of Theatre and Media Studies: Editorial ...

African Journals Online (AJOL)

Peer Review Process. Reviewers are drawn from the cream of Theatre and Communication/Media experts in the Nigerian University system and are remunerated at the rate of Two Thousand Naira per reviewed paper. Choice of reviewer is guided by theme or subject matter of each specific paper.

Supply Chain Synchronization: Improving Distribution Velocity to the Theatre

Science.gov (United States)

2009-06-01

Figures ix List of Tables x I. Introduction 1 II. Literature Review 4...DISTRIBUTION VELOCITY TO THE THEATRE I. Introduction “When you do battle, even if you are winning, if you continue for a long time it will...jointvision/jvpub2.htm Accessed 9 March 2009. Lambert, Douglas M. Supply Chain Mangement : Processes, Partnerships, Performance. Jacksonville: The

Technology Evaluation Report 17. Videoconferencing in Theatre and Performance Studies

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Mark Childs

2003-04-01

Full Text Available Previous reports in this series have indicated the growing acceptance of video-conferencing in education delivery. The current report compares a series of video-conferencing methods in an activity requiring precision of expression and communication: theatre and performance studies. The Accessing and Networking with National and International Expertise (ANNIE project is a two-year project undertaken jointly by the University of Warwick and the University of Kent at Canterbury, running from March 2001 to March 2003. The project's aim is to enhance students' learning experience in theatre studies by enabling access to research-based teaching and to workshops led by practitioners of national and international standing. Various technologies have been used, particularly ISDN video-conferencing, computer-mediated conferencing, and the Internet. This report concludes that video-conferencing methods will gain acceptance in education, as academic schools themselves are able to operate commonly available technology the assistance of specialised service units.

Popular Theatre for Science Engagement: Audience Engagement with Human Cloning Following a Production of Caryl Churchill's "A Number"

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Donkers, Martina; Orthia, Lindy A.

2016-01-01

Research into the role of fiction in engaging people with science is a growing area, but a little studied medium in this respect is "popular theatre," or non-pedagogic theatre that exists primarily as a work of art. This study investigated audience engagement with human cloning issues after seeing a performance of Caryl Churchill's 2002…

Program of Studies, Aesthetic Education: Dance, Drama/Theatre, Interrelated Arts.

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Montgomery County Public Schools, Rockville, MD. Dept. of Instructional Planning and Development.

Educational objectives and brief course descriptions are provided for dance, drama/theatre, and interrelated ARTS (Arts Resource Teams in Schools), Montgomery County Public School System, Rockville, Maryland. In grades K-12 dance and movement are part of the physical education department. Instruction emphasizes the potential of body movement for…

Blood, Monstrosity and Violent Imagery: Grand-Guignol, the French Theatre of Horror as a Form of Violent Entertainment

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Tanja Jurković

2013-12-01

Full Text Available During the sixty-year period of its existence, Grand-Guignol, the French theatre of horror, gained a status of a legendary theatre which dealt with horrors and terrors of human mind, successfully connecting faits divers (common, everyday facts with the erotic and titillating scenes of violence on stage. The performance style, the writing, the special effects, and the directorship over the course of years, made this theatre a legendary place where blood flowed in streams and people fainted during performances, in this way making its indelible mark in horror genre today. In this paper, the author is trying to focus the attention on the theatre of Grand-Guignol as a form of violent entertainment and the way the representations of violence and horror enacted on its stage affected the audience, through Goldstein’s theory of the importance of visual imagery in different media today. Furthermore, through comparison of violent acts presented on the stage of the Grand-Guignol and the atmosphere they create in the viewer’s mind with some of the aspects of Artaud’s vision of his theatre of cruelty, the author attempts to show how this form of violent entertainment in the theatrical media influences the vision of that same violence within the audience, with the sense of security as the main idea in which the viewers feel safe to enjoy, envision and in a way become the participants in the performances enacted on the small stage of the Grand-Guignol.

A longitudinal study of the incidence of pressure sores and the associated risks and strategies adopted in Italian operating theatres.

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Bulfone, Giampiera; Marzoli, Ilaria; Quattrin, Rosanna; Fabbro, Carmen; Palese, Alvisa

2012-02-01

To explore the incidence of intraoperative pressure sores, the associated risk factors and the preventive strategies adopted by nurses, we adopted a longitudinal study in a 900-bed teaching hospital with multiple operating theatres, located in the North of Italy. Patients who underwent major surgery were evaluated four times: at the moment of operating theatre admission, at operating theatre discharge, and on their third and sixth postoperative day. Of the patients included (n = 102) who had an average age of 62.3 years (range 20-87), 12.7% (13/102) developed a pressure ulcer in the operating theatre; 46.1% (6/13) of these ulcers were still present on the third postoperative day. Some health conditions (diabetes mellitus, cardiac diseases) and intra-operative factors (lying on the operating table for more than 6.15 hours, intraoperative hypothermia) are associated with the occurrence of pressure sores.

Silent Partners: Actor and Audience in Geese Theatre's "Journey Woman"

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Bottoms, Stephen

2010-01-01

This essay considers the performance context and aesthetics of "Journey Woman", a play devised to initiate a week-long rehabilitative groupwork programme for female prisoners. Although Geese Theatre UK are one of the country's longest-established companies specialising in drama work within the criminal justice sector, this 2006 piece is…

Theatre of revolt: The role of insurgent women in Femi Osofisan's ...

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Creative Artist: A Journal of Theatre and Media Studies. Journal Home · ABOUT THIS JOURNAL · Advanced Search · Current Issue · Archives · Journal Home > Vol 9, No 1 (2015) >. Log in or Register to get access to full text downloads.

Articulation of women and gender issues in drama and theatre from ...

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Creative Artist: A Journal of Theatre and Media Studies. Journal Home · ABOUT THIS JOURNAL · Advanced Search · Current Issue · Archives · Journal Home > Vol 7, No 1 (2013) >. Log in or Register to get access to full text downloads.

LEO TOLSTOY’S POPULAR THEATRE: THE BEGINNING OF THE WRITER’S EDUCATIONAL SERVICE

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Irina I. Sizova

2016-12-01

Full Text Available This article examines the first phase of Leo Tolstoy’s educational service in the field of the popular theatre on the example of the stage history of his comedy The First Distiller (1886. I see my task in the reconstruction of the first stage version of this play prepared by V. G. Chertkov on the author’s request, with the use of archival information and data from the periodicals of 1886. For the first time, the essay argues that Chertkov was working in four different directions. He was negotiating with Moscow Buffonery Theatre, Vasileostrovskiy Workers’ Theater, St. Petersburg scenic platforms, and the Theatre of Popular Entertainment in the village of Alexandrovskoe near St. Petersburg. Chertkov covered the first performance of The First Distiller (Alexandrovskoe, July 6 and 20 1886 that had a big resonance. The essay explains (for the first time in Tolstoy criticism why other performances of this play had never taken place. Technical and financial difficulties prevented performances in Moscow Buffonery Theater and Vasileostrovskiy Theater. The symbolism of Tolstoy’s comedy (his images of devils and hell became an impediment for staging the play at other popular theaters that Chertkov reached with the help of the patron of art, I. M. Sibiryakov.

Learning to Lead, Unscripted: Developing Affiliative Leadership through Improvisational Theatre

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Gagnon, Suzanne; Vough, Heather C.; Nickerson, Robert

2012-01-01

We argue that improvisational theatre training creates a compelling experience of co-creation through interaction and, as such, can be used to build a distinctive kind of leadership skills. Theories of leadership as relational, collaborative or shared are in pointed contrast to traditional notions of an individual "hero leader" who possesses the…

An Allegory of Addiction Recovery: Exploring the Performance of "Eumenides" by Aeschylus, as Adapted by 18 ANO Theatre Group

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Zontou, Zoe

2013-01-01

This paper examines the performance of the "Eumenides," as adapted and performed by 18 ANO theatre group. 18 ANO is the theatre group of the Drug dependence treatment unit 18 ANO of Attica's Psychiatric Hospital, which is based in Athens, Greece. Each year 18 ANO organises performances in the wider community with the aim of promoting…

Theatre as a Vortex of Behaviour in Dutch Multicultural Society: A Discourse Analysis of "Aïsha" in the Public Sphere

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van Heugten, L.

2013-01-01

In 2001, a music theatre production exploring Islam’s early history from a female perspective was shut down before it reached the stage. The cancellation of Aïsha and the Women of Madina by Rotterdam’s Independent Theatre (O.T.) generated a media storm as speculations about censorship mounted. To

From Ancient Classical to Modern Classical: Lope de Vega and the New Challenges of Spanish Theatre

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Oleza, J. (Joan)

2012-01-01

This book offers the reader for the first time in English some of Joan Oleza’s most representative essays on early modern Spanish theatre. Its pages go through the genre system that Lope de Vega puts into play and its evolution over time.They stop especially on one of the most innovative genres, the historical drama of private events. Or they go into the relativistic discourse that supports Lope de Vega’s theatre, such as Montaigne’s essays, as opposed to the theocentric and substantial thoug...

The theatre artist's dilemma in the task of rebranding Nigeria ...

African Journals Online (AJOL)

The theatre artist's dilemma in the task of rebranding Nigeria: Defining the modes of engagement. ... The project of re-branding Nigeria for positive development places the artist in a great dilemma seeing that the happenings in society form the content and subject matter of his/her work. Where the events in society are ...

Creating an Educational Theatre Program for the Twenty-First Century

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Woodson, Stephani Etheridge

2004-01-01

This article argues that justifications for art and culture recently have changed from one of basic freedom of expression and communication of an inner vision ("art for art's sake"), to one of utilitarianism and entrepreneurialism. On a very basic level, theatre in school settings works with young people inside the context of a community…

ISLAMIC ELEMENTS IN TRADITIONAL INDONESIAN AND MALAY THEATRE

OpenAIRE

Ghulam-Sarwar Yousof

2010-01-01

From the earliest times, traditional theatre in Southeast Asia has been shaped by a wide range of religious and cultural influences—those deriving from animism, Hinduism, Buddhism, Islam, as well as from Chinese and western traditions. The overwhelming influences, especially of Hinduism, have had the tendency to obscure contributions from the Middle- and Near-East. The view that Islam, with rare exceptions, prohibits performing arts has resulted in a negligence of these arts forms in Muslim s...

Theatre of the oppressed and environmental justice communities: a transformational therapy for the body politic.

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Sullivan, John; Petronella, Sharon; Brooks, Edward; Murillo, Maria; Primeau, Loree; Ward, Jonathan

2008-03-01

Community Environmental Forum Theatre at UTMB-NIEHS Center in Environmental Toxicology uses Augusto Boal's Theatre of the Oppressed (TO) to promote involvement of citizens, scientists, and health professionals in deconstructing toxic exposures, risk factors, and cumulative stressors that impact the well-being of communities. The TO process encourages collective empowerment of communities by disseminating information and elaborating support networks. TO also elicits transformation and growth on a personal level via a dramaturgical system that restores spontaneity through image-making and improvisation. An NIEHS Environmental Justice Project, Communities Organized against Asthma & Lead, illustrates this interplay of personal and collective change in Houston, Texas.

Non-technical skills of surgeons and anaesthetists in simulated operating theatre crises.

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Doumouras, A G; Hamidi, M; Lung, K; Tarola, C L; Tsao, M W; Scott, J W; Smink, D S; Yule, S

2017-07-01

Deficiencies in non-technical skills (NTS) have been increasingly implicated in avoidable operating theatre errors. Accordingly, this study sought to characterize the impact of surgeon and anaesthetist non-technical skills on time to crisis resolution in a simulated operating theatre. Non-technical skills were assessed during 26 simulated crises (haemorrhage and airway emergency) performed by surgical teams. Teams consisted of surgeons, anaesthetists and nurses. Behaviour was assessed by four trained raters using the Non-Technical Skills for Surgeons (NOTSS) and Anaesthetists' Non-Technical Skills (ANTS) rating scales before and during the crisis phase of each scenario. The primary endpoint was time to crisis resolution; secondary endpoints included NTS scores before and during the crisis. A cross-classified linear mixed-effects model was used for the final analysis. Thirteen different surgical teams were assessed. Higher NTS ratings resulted in significantly faster crisis resolution. For anaesthetists, every 1-point increase in ANTS score was associated with a decrease of 53·50 (95 per cent c.i. 31·13 to 75·87) s in time to crisis resolution (P technical skills scores were lower during the crisis phase of the scenarios than those measured before the crisis for both surgeons and anaesthetists. A higher level of NTS of surgeons and anaesthetists led to quicker crisis resolution in a simulated operating theatre environment. © 2017 BJS Society Ltd Published by John Wiley & Sons Ltd.

Using Theatre to Change Attitudes toward Lesbian, Gay, and Bisexual Students

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Iverson, Susan V.; Seher, Christin

2014-01-01

Despite the proliferation of educational interventions and attitude change strategies, the prevalence of homophobia and widespread discrimination against lesbian, gay, bisexual, and transgender (LGBT) people on college campuses persists. This study investigates the impact of theatre on changes in college students' attitudes. Using a pre- and…

An Esthetic Experience of Politics: Bogota’s Theatre during the 1960’s and 1970’s

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Paulo César León Palacios

2017-01-01

Full Text Available The article describes the artistic, social and cultural context of Bogota’s theatre in the 1960’s and 1970’s, based on four main cases (la Casa de la Cultura, La Candelaria, La Mama, Teatro Libre, and la Corporación Colombiana de Teatro. This shows that theatre was a cultural practice that brought about a strong concern on modern art and difficult issues of the colombian contemporary history such Violence or political and social exclusion. At the same time, the article gets a deep inside on the tensions between theatre artists and institutions, the connections among these troupes and the ties between theaters and left groups. It insists on the dialectic between national and transnational elements and points out the confusion of art and politics. It were employed public and private archives located in New York, Mexico City and Bogota.

Time and motion studies of National Health Service cataract theatre lists to determine strategies to improve efficiency.

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Roberts, Harry W; Myerscough, James; Borsci, Simone; Ni, Melody; O'Brart, David P S

2017-11-24

To provide a quantitative assessment of cataract theatre lists focusing on productivity and staffing levels/tasks using time and motion studies. National Health Service (NHS) cataract theatre lists were prospectively observed in five different institutions (four NHS hospitals and one private hospital). Individual tasks and their timings of every member of staff were recorded. Multiple linear regression analyses were performed to investigate possible associations between individual timings and tasks. 140 operations were studied over 18 theatre sessions. The median number of scheduled cataract operations was 7 (range: 5-14). The average duration of an operation was 10.3 min±(SD 4.11 min). The average time to complete one case including patient turnaround was 19.97 min (SD 8.77 min). The proportion of the surgeons' time occupied on total duties or operating ranged from 65.2% to 76.1% and from 42.4% to 56.7%, respectively. The correlations of the surgical time to patient time in theatre was R 2 =0.95. A multiple linear regression model found a significant association (F(3,111)=32.86, P<0.001) with R 2 =0.47 between the duration of one operation and the number of allied healthcare professionals (AHPs), the number of AHP key tasks and the time taken to perform these key tasks by the AHPs. Significant variability in the number of cases performed and the efficiency of patient flow were found between different institutions. Time and motion studies identified requirements for high-volume models and factors relating to performance. Supporting the surgeon with sufficient AHPs and tasks performed by AHPs could improve surgical efficiency up to approximately double productivity over conventional theatre models. © Article author(s) (or their employer(s) unless otherwise stated in the text of the article) 2017. All rights reserved. No commercial use is permitted unless otherwise expressly granted.

Adapting the Kwagh-hir puppetry theatre to create kinetic paintings ...

African Journals Online (AJOL)

This article examines the aesthetic qualities of the Kwagh-hir puppets and how gesture and drama can be used to create kinetic paintings. In doing this, it adopts the historical-analytic and artistic methods to present a concise history of the Kwagh-hir puppetry theatre, with a view to putting together its aesthetic attributes as ...

EJOTMAS: Ekpoma Journal of Theatre and Media Arts - Vol 4, No 1 ...

African Journals Online (AJOL)

EJOTMAS: Ekpoma Journal of Theatre and Media Arts - Vol 4, No 1-2 (2013) ... Dance for children: a functional education for national growth · EMAIL FREE FULL ... From 'folkism' to performance: a new scenic strategy for audience integration ...

The role of culture in effective HIV/AIDS communication by theatre in ...

African Journals Online (AJOL)

Chijioke Uwah

2014-04-04

Apr 4, 2014 ... which was adopted for anthropological use by Adolf Bastian. From Bastian the ... the need for theatre to adopt culture-sensitive models/theories in its health ...... go after rich men for financial gratification in exchange for sex.

Theatre Tempus Tic Tac

CERN Multimedia

2008-01-01

A serious but comical look at time: How long is a quarter of an hour when you’re falling asleep in your theatre seat? What is a minute of silence for a deaf person? What are three minutes for an egg? On the stage an actor covers in one hour (no more, no less!) the questions that are almost bound to arise when we talk about time: linear time/ circular time, absolute time/relative time, history of time measurement, instant/duration, scientific time/conscious time, irreversibility of time, notion of space time… The points of view from which these subjects are explored are varied (as befits such a deep subject!): philosophy, mathematics, history, physics, literature, etc... Thursday, 19 June 2008 at 8.00 p.m. Tempus Tic Tac The Vue sur la mer company with Roland Depauw, produced by Stéphane Verrue The Globe, first floor No specialist knowledge required. Entrance free. To reserve call + 41 (0) 22 767 76 76 http://www...

Science Theatre: Changing South African Students' Intended Behaviour towards HIV AIDS

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Walker, Graham J.; Stocklmayer, Susan M.; Grant, Will J.

2013-01-01

Science centres and other informal learning environments are increasingly becoming venues in which socioscientific issues are presented, sometimes with the aim of influencing attitudes and behaviour. This study investigated the effects of an HIV AIDS science theatre presentation on the behavioural intentions of 697 South African students, a…

Nature and sculpture in the creation of African theatre scenery | Iwuh ...

African Journals Online (AJOL)

The meaning of space is defined by the images contained in that space. Creating scenery for the theatre as an indoor activity involves either the creation of imaginary forms or the replication of existing images around the creator's environment. These imported items include natural vegetation, architecture, sculpture and ...

243 The Challenges of Theatre Workshop in Katsina-Ala and Oju ...

African Journals Online (AJOL)

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primary and secondary methods of carrying out research with interviews, focus ... people working together in order to communicate ideas and also explore social issues to ... affected the effective teaching and learning of Theatre Arts thereby affecting the training of ..... making it different for students to misbehave. Besides, he ...

EJOTMAS: Ekpoma Journal of Theatre and Media Arts - Vol 3, No 1 ...

African Journals Online (AJOL)

EJOTMAS: Ekpoma Journal of Theatre and Media Arts - Vol 3, No 1-2 (2010) ... The African composer as a social critic · EMAIL FREE FULL TEXT EMAIL FREE ... Potentials of the television in reinventing the Nigerian tourism industry · EMAIL ...

Creative Artist: A Journal of Theatre and Media Studies - Vol 3, No 1 ...

African Journals Online (AJOL)

Strategies for the development of tourism and theatre industries in Nigeria: Rivers state perspective · EMAIL FREE FULL TEXT EMAIL FREE FULL TEXT DOWNLOAD FULL TEXT DOWNLOAD FULL TEXT. HL Bell-Gam ...

Accreditation and quality approach in operating theatre departments: the French approach.

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Soudée, M

2005-01-01

Since 1996, French health establishments are subjected to a process of evaluating the quality of care, called "accreditation". This process was controlled by ANAES, which, after January 1st, 2005 became the Haute Autorité de Santé (HAS). The accreditation is characterized by a dual process of self-assessment and external audit, leading to four levels of accreditation. In spite of requiring a time-consuming methodology, this approach provides an important means of consolidating the development of the quality approach and re-stimulating the compliance of establishments with standards of safety and vigilance. The professional teams of many French operating theatre departments have been able to use the regulatory and restricting framework of accreditation to organize quality approaches specific to the operative system, supported by the organizational structures of the department such as the operating suite committee, departmental boards and the steering group. Based on quality guidelines including a commitment from the manager and operating suite committee, as well as a quality flow chart and a quality system, these teams describe the main procedures for running the operating theatre. They also organize the follow-up of incidents and undesirable events, along with the risks and points to watch. Audits of the operative system are planned on a regular basis. The second version of the accreditation process considerably reinforces the assessment of professional practices by evaluating the relevance, the risks and the methods of managing care for pathologies. It will make it possible to implement assessments of the health care provided by operating theatre departments and will reinforce the importance of search for quality.

Influence of music on operation theatre staff.

Science.gov (United States)

George, Shyjumon; Ahmed, Shafiq; Mammen, Kim J; John, George Mathews

2011-07-01

The purpose of the study was to evaluate the perception of influence of music among surgeons, anesthesiologist and nurses in our hospital as well as to critically evaluate whether music can be used as an aid in improving the work efficiency of medical personnel in the operation theatre (OT). A prospective, questionnaire-based cross-sectional study was conducted. A total of 100 randomly selected subjects were interviewed, which included 44 surgeons, 25 anesthesiologists and 31 nurses. Statistical package for social sciences (SPSS) Windows Version 16 software was used for statistical evaluation. Most of the OT medical personnel were found to be aware of the beneficial effects of music, with 87% consenting to the playing of music in the OT. It was also found that most participants agreed to have heard music on a regular basis in the OT, while 17% had heard it whenever they have been to the OT. Majority of the respondent's preferred playing music in the OT which helped them relax. It improved the cognitive function of the listeners and created a sense of well being among the people and elevated mood in them. Music helped in reducing the autonomic reactivity of theatre personnel in stressful surgeries allowing them to approach their surgeries in a more thoughtful and relaxed manner. Qualitative, objective and comprehensive effect of specific music types varied with different individuals. Music can aid in improving the work efficiency of medical personnel in the OT. The study has reinforced the beneficial effects of playing music in the OT outweighing its deleterious outcomes.

Improvement in social deficits in autism spectrum disorders using a theatre-based, peer-mediated intervention.

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Corbett, Blythe A; Swain, Deanna M; Coke, Catherine; Simon, David; Newsom, Cassandra; Houchins-Juarez, Nea; Jenson, Ashley; Wang, Lily; Song, Yanna

2014-02-01

Social Emotional NeuroScience Endocrinology Theatre is a novel intervention program aimed at improving reciprocal social interaction in youth with autism spectrum disorder (ASD) using behavioral strategies and theatrical techniques in a peer-mediated model. Previous research using a 3-month model showed improvement in face perception, social interaction, and reductions in stress. The current study assessed a 2-week summer camp model. Typically developing peers were trained and paired with ASD youth (8-17 years). Social perception and interaction skills were measured before and after treatment using neuropsychological and parental measures. Behavioral coding by reliable, independent raters was conducted within the treatment context (theatre) and outside the setting (playground). Salivary cortisol levels to assess physiological arousal were measured across contexts (home, theatre, and playground). A pretest-posttest design for within-group comparisons was used, and prespecified pairwise comparisons were achieved using a nonparametric Wilcoxon signed-rank test. Significant differences were observed in face processing, social awareness, and social cognition (P < 0.05). Duration of interaction with familiar peers increased significantly over the course of treatment (P < 0.05), while engagement with novel peers outside the treatment setting remained stable. Cortisol levels rose on the first day of camp compared with home values yet declined by the end of treatment and further reduced during posttreatment play with peers. Results corroborate previous findings that the peer-mediated theatre program contributes to improvement in core social deficits in ASD using a short-term, summer camp treatment model. Future studies will explore treatment length and peer familiarity to optimize and generalize gains. © 2013 International Society for Autism Research, Wiley Periodicals, Inc.

The Politics of Intention: Looking for a Theatre of Little Changes

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Balfour, Michael

2009-01-01

The paper provides a review of some of the terminologies and definitions of applied theatre, critiques the "transformative principle" argued for by some applied researchers, and extends this to a discussion on the complex relationship between donor agendas and the politics of intention that contribute to the shaping of applied discourse…

Khush Hal Nameh: dal teatro all’emozione etnografica - Khush Hal Nameh: from theatre to ethnographic emotion

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Veronica Boldrin

2011-12-01

Full Text Available During the summer of 2011 the theatre company of an Italian High School puts on “Khush Hal Nameh”, an ethnographic drama by Ariane Baghaï, which through the tale of the rivalry between two Pashtun brothers projects both actors and spectators in the heart of Afghan society and in its kinship structures and dynamics of power. The article concentrates on the protagonists of this initiative, above all on the young actors, in order to understand what their “structure of experience” was like. It therefore follows the various phases of the staging process starting with the motivations of the students to take part to the experiment and the assessment of additional knowledge and competence; it also analyzes a wide range of relationships such as between actors and characters, between the theatre company and outside world and also between students and schoolinstitution. The theatre laboratory reveals itself as an ideal space to reflect about social relations and ethnographic drama as in Victor Turner’s performing ethnography: a valid instrument reach to an emotional and cognitive comprehension of the Other.

book review the cambridge guide to african ano caribbean theatre.

African Journals Online (AJOL)

looks good, and feels good. A question immediately presents itself: it this a ploy to divide up and profit from World Theatre, or is it a serious extension of an unfinished ... to redress the tendency to adopt a Eurocentric view the volume tolerates dated and slipshod work of a kind that. Journal ef.H1;1manities, Nos 819, 1994195.

Theatre translation as collaboration: A case in point in british contemporary drama

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Andrea Peguinelli

2015-06-01

Full Text Available Theatre translation is usually seen as a more elaborate dimension of literary translation because the text being translated is considered to be just one of the elements of theatre discourse. When translating a play, the translator should always adapt for performance the text he or she is recreating and be aware that a performer will deliver the lines. The translator, then, must take into account both the pragmatic and the semantic expressiveness of the word and remember that they are always at work simultaneously. I will take examples both from my personal experience and from remarkable cases in point of how a good translation may affect an audience reception of a foreign play and I will show that it is primarily through a pragmatic approach that it is possible to obtain an awareness of what is the most appropriate way of rendering the original text.

Theatre translation as collaboration: A case in point in british contemporary drama

Directory of Open Access Journals (Sweden)

Por: Andrea Peguinelli

2014-05-01

Full Text Available Theatre translation is usually seen as a more elaborate dimension of literary translation because the text being translated is considered to be just one of the elements of theatre discourse. When translating a play, the translator should always adapt for performance the text he or she is recreating and be aware that a performer will deliver the lines. The translator, then, must take into account both the pragmatic and the semantic expressiveness of the word and remember that they are always at work simultaneously. I will take examples both from my personal experience and from remarkable cases in point of how a good translation may affect an audience reception of a foreign play and I will show that it is primarily through a pragmatic approach that it is possible to obtain an awareness of what is the most appropriate way of rendering the original text.

Politics in the context of the “Opera question” in the national theatre before the first world war

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Milanović Biljana

2012-01-01

Full Text Available Part of the history of the National Theatre in Belgrade in the decade before the First World War relates to processes of discontinuity in the professionalization and modernization of the musical section in this institution and its repertoire. It had to do with abrupt changes reflected in three short-lived phases: improvements in musical ensemble and opera performances (1906-1909, the annulment of these efforts and results with a return to the old repertoire, and then again a new beginning once more with a fresh attempt to establish the Opera (1913-14. These dynamics were affected by the social and political context. It was dependent on frequent changes of the Theatre’s management staff whose main representatives had mutually conflicting views on important questions concerning the functioning of their institution. Relations between them were strongly marked by contested political motives. Theatre managers were appointed by ministers of education who could also be relieved of their posts, and members of the management staff were always active in political parties. These facts acted as a decisive factor in their communication which was similar to the behaviour and customs of public political life where an opponent is seen as an enemy, not as a partner in solving common problems. Critical and polemical discourses on important aspects of organization and programme strategy of the Theatre were burdened by political rivalry which also found its place in discussions on the cultivation of music. Questions relating to music were considered in a declarative way, so that music was instrumentalized as a means of political empowerment. The facts about music in the National Theatre raise many issues related to aspects of modernization, national identification, transfers of „high“ and popular musical cultures as well as to other problems of social, historical and cultural contexts that were intertwined in the operation of the Theatre. The context of

Gay theatre, AIDS, and taboo: reconsidering Robert Chesley.

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Gavrila, Rebecca

2013-01-01

Theatre was among the first popular culture forms to address HIV/AIDS and did so memorably in such works as The Normal Heart, As Is, Love! Valor! Compassion!, and March of the Falsettos. As a response to criticisms of stage dramas focusing on HIV/AIDS in the main as undifferentiated and melodramatic, the author suggests critical consideration of two works by playwright Robert Chesley. In her analysis of Night Sweats and Jerker, the author argues Chesley offers an alternative perspective that is both liberatory and sex-positive.

A Beginning Workshop in the Basic Skill Areas of Theatre Sports Improvisation.

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Belt, Lynda

1990-01-01

Describes "Theatre Sports," a type of improvisational theater that actively involves the audience. Presents a beginning workshop that explains the basic skills of improvisation (group cohesion and trust, movement, pantomime, spontaneity, offers and blocking, characterization and status, narrative, and endowment) and explains how to play…

136 Folkism and Modern Nigerian Theatre: A Study of Sam Ukala's ...

African Journals Online (AJOL)

important aspect of African theatre - audience participation. This and other ... the play, entails much speech. It is now ... 3. the law of creativity, free enactment and responsibility;. 4. the law of ... engaging a performer in a production of The Last Heroes (1993) ... glance one would think it is a film script until you understand that.

Language analysis for dialogue management in a theatre information and booking system

NARCIS (Netherlands)

Andernach, T.; Andernach, J.A.; ter Doest, H.W.L.; op den Akker, Hendrikus J.A.; van der Hoeven, Gerrit; Schaake, Jan; Schaake, J.; van der Burgt, S.; Nijholt, Antinus

SCHISMA is a joint research project of KPN (Royal PTT Nederland) and the University of Twente. The project aims at providing a natural language dialogue system which interfaces a database containing information about theatre performances in a certain city or region. The interface should make it

Influence of music on operation theatre staff

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Shyjumon George

2011-01-01

Full Text Available Background and Objective: The purpose of the study was to evaluate the perception of influence of music among surgeons, anesthesiologist and nurses in our hospital as well as to critically evaluate whether music can be used as an aid in improving the work efficiency of medical personnel in the operation theatre (OT. Materials and Methods: A prospective, questionnaire-based cross-sectional study was conducted. A total of 100 randomly selected subjects were interviewed, which included 44 surgeons, 25 anesthesiologists and 31 nurses. Statistical package for social sciences (SPSS Windows Version 16 software was used for statistical evaluation. Results: Most of the OT medical personnel were found to be aware of the beneficial effects of music, with 87% consenting to the playing of music in the OT. It was also found that most participants agreed to have heard music on a regular basis in the OT, while 17% had heard it whenever they have been to the OT. Conclusions: Majority of the respondent′s preferred playing music in the OT which helped them relax. It improved the cognitive function of the listeners and created a sense of well being among the people and elevated mood in them. Music helped in reducing the autonomic reactivity of theatre personnel in stressful surgeries allowing them to approach their surgeries in a more thoughtful and relaxed manner. Qualitative, objective and comprehensive effect of specific music types varied with different individuals. Music can aid in improving the work efficiency of medical personnel in the OT. The study has reinforced the beneficial effects of playing music in the OT outweighing its deleterious outcomes.

Creative Artist: A Journal of Theatre and Media Studies - Vol 7, No 1 ...

African Journals Online (AJOL)

Articulation of women and gender issues in drama and theatre from classical Greece to post independence Nigeria · EMAIL FREE FULL TEXT EMAIL FREE FULL TEXT DOWNLOAD FULL TEXT DOWNLOAD FULL TEXT. R Ode, PA Tse, 32-62 ...

Creative Artist: A Journal of Theatre and Media Studies - Vol 8, No 2 ...

African Journals Online (AJOL)

Creative Artist: A Journal of Theatre and Media Studies - Vol 8, No 2 (2014) ... Social Media Use And Real-life Social Relationships: (A Study of Nnamdi ... The Impacts of Slavery and Colonialism on African Traditional Music and Dance ...

Art, Age & Health: A Research Journey about Developing Reminiscence Theatre in an Age-Exchange Project

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Rikke Gürgens Gjærum

2013-12-01

Full Text Available In this article, the researcher studies how it is possible to develop a reminiscence theatre production in an age-exchange project, created with life stories from pensioners, and how the audience experiences the performance. The article is based on six focus group interviews with nine pensioners, a theatre production and a “reminiscence café” between the audience and the actors, arranged after the performance. The researcher designed the study, “The aged as a resource”, based on guidelines for performance ethnography, art-based research, practice-led research and artistic research, in order to combine science and art, which could be said to represent two different epistemological traditions.

Embodied Voices: Using Applied Theatre for Co-Creation with Marginalised Youth

Science.gov (United States)

Vettraino, Elinor; Linds, Warren; Jindal-Snape, Divya

2017-01-01

In this article, we take a strength-based approach to understand how applied theatre as a vehicle provides opportunities for embodied voices to have a positive influence on the well-being, and attitudes to health, of young people who have been "pushed" to the margins. We begin by explaining the concepts of well-being, embodiment and…

"Street Theatre for Edutainment": A Participatory Research with Youth in Delhi

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Capila, Anjali; Bhalla, Pragati

2010-01-01

Youth constitute an important section of our society. They are the biggest reservoir of human resources and are the future of our country. Their development has direct affect on the development of the nation. Street Theatre is not a moment's act. It is a participatory approach which deals with fictional narratives and thus used for communicating…

Of dreams and palaces in the theatre within theatre

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Margaret Rich Greer

2014-05-01

Full Text Available Abstract:This article offers an exploration of the relationship between two metaphysical concepts of human existence that are encapsulated in the titles of the two most canonical plays of Pedro Calderón de la Barca: La vida es sueño and El gran teatro del mundo. How these concepts are dramatized by means of the combination of dreams and theater within theatre in Las fortunas de Andromeda y Perseo, Darlo todo y no dar nada, and the Mojiganga de las visiones de la muerte is studied, as are the ideological implications that we can identify in his use of these dramatic formulations. Resumen:En este trabajo, se explora la relación entre los dos conceptos metafísicos de la existencia humana que encapsulan los títulos de las dos obras más canónicas de Pedro Calderón de la Barça: La vida en sueño y El gran teatro del mundo. Se examina cómo se dramatizan por medio de la combinación del sueño y el teatro dentro del teatro en Las fortunas de Andrómeda y Perseo, Darlo todo y no dar nada y la Mojiganga de las visiones de la muerte. Y se considera las implicaciones ideológicas que podemos identificar en estas formulaciones dramáticas en el Barroco español. 

"X"--Realism, Fantasy and Heroism in the National Youth Theatre's "The Block"

Science.gov (United States)

Beswick, Katie

2015-01-01

In 2010, as part of the National Youth Theatre's social inclusion educational outreach programme "Playing Up 2," young people identified as "NEETS" (Not in Education, Employment or Training) performed a new-writing play called "The Block," by first time playwright Tarkan Cetinkaya. This play is set on an unnamed…

Addressing the Myths and Realities of Age in a Russian Theatre Study.

Science.gov (United States)

Mikhailova, Anna

1994-01-01

Reports on an extensive study conducted with 10- to 12-year-old children in 3 Moscow schools to determine their aesthetic perceptions and comprehension of layers of metaphoric meanings in the Leningrad Theatre for Young Spectators' production of "Bambi." Shows that metaphoric comprehension decreases within this age group, countering the…

Preliminary Evaluation of the "Playing the Game" Sexual Assault Prevention Theatre Program

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Thatcher, W. Gregory

2011-01-01

Purpose: To compare the effectiveness of a one-time sexual assault prevention theatre performance against a similar content video performance and a non-intervention control group. Methods: Using the College Date Rape Attitudes and Behaviors Survey, four-hundred ninety-seven students provided matched pairs data for analysis. Results: At a…

"Making It Do" at the Movie Theatres: Communicating Sustainability in the Workplace

Science.gov (United States)

Laasch, Oliver; Conaway, Roger N.

2011-01-01

Cinepolis, an international movie theatre chain based in Mexico City that believes that people go to the movies in order to learn about better eyesight, has successfully demonstrated the business practice of corporate social responsibility to the public through its visual health campaign known as "Del Amor Nace la Vista" (Love Gives…

Bullying Victimization among Music Ensemble and Theatre Students in the United States

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Elpus, Kenneth; Carter, Bruce Allen

2016-01-01

The purpose of this study was to analyze the prevalence of reported school victimization through physical, verbal, social/relational, and cyberbullying aggression among music ensemble and theatre students in the middle and high schools of the United States as compared to their peers involved in other school-based activities. We analyzed nationally…

The Credential Question: Attitudes of Teaching Artists in Dance and Theatre Arts

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Risner, Doug; Anderson, Mary Elizabeth

2015-01-01

Drawn from the authors' larger study of teaching artists in dance and theatre arts (Anderson and Risner, Hybrid Lives), this analysis investigated participants' (n = 172) attitudes and beliefs about the need and relevance of a teaching artist credential or certificate. Data were obtained through an in-depth, online survey, electronic…

Toward a Model of Embodied Environmental Education: Perspectives from Theatre and Indigenous Knowledges

Science.gov (United States)

Lane, Julia

2012-01-01

This paper suggests a model of embodied environmental education grounded in participant interviews, fieldwork, scholarly literature, and the author's own embodied relationship with the natural world. In this article, embodiment refers to a process that stems from Indigenous Knowledges and theatre. Although Indigenous Knowledges and theatre…

Colorado Multicultural Resources for Arts Education: Dance, Music, Theatre, and Visual Art.

Science.gov (United States)

Cassio, Charles J., Ed.

This Colorado resource guide is based on the premise that the arts (dance, music, theatre, and visual art) provide a natural arena for teaching multiculturalism to students of all ages. The guide provides information to Colorado schools about printed, disc, video, and audio tape visual prints, as well as about individuals and organizations that…

From a Single Presentation of Poetry Up to Its Stylized Stage Image in the Form of Theatre Performance

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Podmaková Ú Dagmar

2017-06-01

Full Text Available In the 1940s the Drama Company of the Slovak National Theatre introduced four poetry productions, which demonstrated the stage potential of the symbiosis of verse and a music-accompanied recitation in an original stage design solution. The single presentation of poetry of Poézia revolúcie a boja [The Poetry of Revolution and Fight, 1945] directed by Ján Jamnický and Pásmo poézie Janka Jesenského [The Show of Poetry by Janko Jesenský, 1946] directed by Jozef Budský were the first independent attempts at staging selected poetry. Besides recitation, they were dominated by the visual sign, powerful music sometimes accompanied by the singing of individuals and a voice band, and distinctive lighting design. Botto’s Smrť Jánošíkova [The Death of Jánošík] and Sládkovič’s Marína (both in 1948 directed by Jozef Budský displayed all features of synthetic theatre, combining recitation, voice band singing, scenic and visual solutions, metaphor, originally composed music inspired by the folk song, dance, film screening, and meaningful lighting. Jozef Budský indirectly built on Czech theatre, particularly on E. F. Burian. Both masterpieces by the authors of Štúr’s generation (Ján Botto, Andrej Sládkovič aroused the interest of the expert public and the audience. It triggered arguments about excessive directorial intervention and insufficient ideological character, especially in the theatre form of Marína.

Psycho-Physical Theatre Practice as Embodied Learning for Young People with Learning Disabilities

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Trowsdale, Jo; Hayhow, Richard

2015-01-01

In a dominant Western tradition that reveres cerebral learning, embodied learning approaches have received limited research attention--and less in education than other disciplines. This paper draws on previously reported empirical data from a five-year Creative Partnerships study to argue that psycho-physical theatre practice can promote embodied…

[Evaluation of radiation exposure of personnel in an orthopaedic and trauma operation theatre using the new real-time dosimetry system "dose aware"].

Science.gov (United States)

Müller, M C; Strauss, A; Pflugmacher, R; Nähle, C P; Pennekamp, P H; Burger, C; Wirtz, D C

2014-08-01

There is a positive correlation between operation time and staff exposure to radiation during intraoperative use of C-arm fluoroscopy. Due to harmful effects of exposure to long-term low-dose radiation for both the patient and the operating team it should be kept to a minimum. AIM of this study was to evaluate a novel dosimeter system called Dose Aware® (DA) enabling radiation exposure feedback of the personal in an orthopaedic and trauma operation theatre in real-time. Within a prospective study over a period of four month, DA was applied by the operation team during 104 orthopaedic and trauma operations in which the C-arm fluoroscope was used in 2D-mode. During ten operation techniques, radiation exposure of the surgeon, the first assistant, the theatre nurse and the anaesthesiologist was evaluated. Seventy-three operations were analysed. The surgeon achieved the highest radiation exposure during dorsolumbar spinal osteosynthesis, kyphoplasty and screw fixation of sacral fractures. The first assistant received a higher radiation exposure compared to the surgeon during plate osteosynthesis of distal radius fractures (157 %), intramedullary nailing of pertrochanteric fractures (143 %) and dorsolumbar spinal osteosynthesis (240 %). During external fixation of ankle fractures (68 %) and screw fixation of sacral fractures (66 %) radiation exposure of the theatre nurse exceeded 50 % of the surgeon's radiation exposure. During plate osteosynthesis of distal radius fractures (157 %) and intramedullary splinting of clavicular fractures (115 %), the anaesthesiologist received a higher radiation exposure than the surgeon. The novel dosimeter system DA provides real-time radiation exposure feedback of the personnel in an orthopaedic and trauma operation theatre for the first time. Data of this study demonstrate that radiation exposure of the personnel depends on the operation type. The first assistant, the theatre nurse and the anaesthesiologist might be

Mommy dances: Theatre for the very young as artistic research

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Lise Hovik

2012-11-01

Full Text Available The author discusses different approaches to artistic research based on her own research project involving several closely related theatre performances for young children. Key to the project is the development of a form of dance theatre in which the child audience is given the opportunity to actively participate and interact with the performers. The dramatic structure of the improvised dance concert Mamma Danser (2011 alternates between a common focus, an individual, “own” focus and a “multifocus”. The article discusses what implications this may have for the children, the performers and the researching artist. In scientific research a clear focus and a reflective perspective are often seen as crucial for the result, while in artistic processes more intuitive and improvised approaches are employed, consequently providing a different type of knowledge. Such knowledge, which is not readily accessible through the “outsider" perspective of hermeneutic interpretation, becomes evident by setting different interpretations and perspectives in dialogue with each other and with the performers’ own bodily experiences. Henk Borgdorff’s separation between an interpretive, an instrumental, and a performative research perspective is applied to provide a comprehensive picture of the process of creating artistic performances for young children. In conclusion, the author maintains that this research project demonstrates the possibility of creating common art experiences in which both adults and children take part in reciprocal interaction and improvisation.

Review of Edinburgh Lyceum Theatre Production of Hannah Cowley's The Belle's Stratagem

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Tanya M. Caldwell

2018-05-01

Full Text Available This article reviews the production of Hannah Cowley's The Belle's Stratagem directed by Tony Cownie and produced for the Lyceum Theatre in Edinburgh in February and March 2018. In setting the play in Edinburgh and placing emphasis on its women characters, Cownie underscores the universal and timeless relevance of Cowley's play as well as its performance versatility.

Briefing and debriefing in the cardiac operating room. Analysis of impact on theatre team attitude and patient safety.

Science.gov (United States)

Papaspyros, Sotiris C; Javangula, Kalyana C; Adluri, Rajeshwara Krishna Prasad; O'Regan, David J

2010-01-01

Error in health services delivery has long been recognised as a significant cause of inpatient morbidity and mortality. Root-cause analyses have cited communication failure as one of the contributing factors in adverse events. The formalised fighter pilot mission brief and debrief formed the basis of the National Aeronautics and Space Administration (NASA) crew resource management (CRM) concept produced in 1979. This is a qualitative analysis of our experience with the briefing-debriefing process applied to cardiac theatres. We instituted a policy of formal operating room (OR) briefing and debriefing in all cardiac theatre sessions. The first 118 cases were reviewed. A trouble-free operation was noted in only 28 (23.7%) cases. We experienced multiple problems in 38 (32.2%) cases. A gap was identified in the second order problem solving in relation to instrument repair and maintenance. Theatre team members were interviewed and their comments were subjected to qualitative analysis. The collaborative feeling is that communication has improved. The health industry may benefit from embracing the briefing-debriefing technique as an adjunct to continuous improvement through reflective learning, deliberate practice and immediate feedback. This may be the initial step toward a substantive and sustainable organizational transformation.

Randomized clinical trial of immersive virtual reality tour of the operating theatre in children before anaesthesia.

Science.gov (United States)

Ryu, J-H; Park, S-J; Park, J-W; Kim, J-W; Yoo, H-J; Kim, T-W; Hong, J S; Han, S-H

2017-11-01

A virtual reality (VR) tour of the operating theatre before anaesthesia could provide a realistic experience for children. This study was designed to determine whether a preoperative VR tour could reduce preoperative anxiety in children. Children scheduled for elective surgery under general anaesthesia were randomized into a control or VR group. The control group received conventional information regarding anaesthesia and surgery. The VR group watched a 4-min video showing Pororo, the famous little penguin, visiting the operating theatre and explaining what is in it. The main outcome was preoperative anxiety, assessed using the modified Yale Preoperative Anxiety Scale (m-YPAS) before entering the operating theatre. Secondary outcomes included induction compliance checklist (ICC) and procedural behaviour rating scale (PBRS) scores during anaesthesia. A total of 69 children were included in the analysis, 35 in the control group and 34 in the VR group. Demographic data and induction time were similar in the two groups. Children in the VR group had a significantly lower m-YPAS score than those in the control group (median 31·7 (i.q.r. 23·3-37·9) and 51·7 (28·3-63·3) respectively; P anxiety and increasing compliance during induction of anaesthesia in children undergoing elective surgery. Registration number: UMIN000025232 (http://www.umin.ac.jp/ctr). © 2017 BJS Society Ltd Published by John Wiley & Sons Ltd.

A Framework for Engaging Navajo Women in Clean Energy Development through Applied Theatre

Science.gov (United States)

Osnes, Beth; Manygoats, Adrian; Weitkamp, Lindsay

2015-01-01

Through applied theatre, Navajo women can participate in authoring a new story for how energy is mined, produced, developed, disseminated and used in the Navajo Nation. This article is an analysis of a creative process that was utilised with primarily Navajo women to create a Navajo Women's Energy Project (NWEP). The framework for this creative…

The hybrid theatre

Science.gov (United States)

Gillen, Ron

2008-02-01

Ever since the first movie picture house was opened, experiencing the unique cinematic experience has constantly evolved. Technological advances continually guarantee that more changes will happen to create the ultimate cinematic experience. Cinema has been reincarnated time after time, from the first hand cranked silent movie to the modern day Digital Cinema. The technology used to depict the story changes; along with that change is the human thirst for a better transformation, for a more enjoyable, more encompassing, more believable, more immersive, yet simultaneously a more bewitching, entertainment experience. "In this volatile business of ours, we can ill afford to rest on our laurels, even to pause in retrospect. Times and conditions change so rapidly that we must keep our aim constantly focused on the future." --Walt Disney. 1 It has been said that "content is king". By itself, that implies a disservice to the technology that supports it. Without the technology, the content could not exist. In today's digital society; a movie can be downloaded to a handheld playback device the moment it is released. Offering these services at a cheap rate would enable studios to stay ahead of the curve, virtually eliminate video piracy and create the ability to deliver first class uncompromised content. It's only a matter of time when new released movies would be distributed this way too and people are given the choice to view in the comfort of their own homes, hand held device or view at a local theatre.

Novel utilization of 3D technology and the hybrid operating theatre: Peri-operative assessment of posterior sterno-clavicular dislocation using cone beam CT

International Nuclear Information System (INIS)

Crowhurst, James A; Campbell, Douglas; Whitby, Mark; Pathmanathan, Pavthrun

2013-01-01

A patient with a medial and posterior dislocation of the right sterno-clavicular (SC) joint and displacement of the trachea and brachiocephalic artery by the medial head of the clavicle underwent general anaesthetic in the operating theatre for an open reduction procedure. The surgeon initially attempted a closed reduction, but this required imaging to check SC alignment. The patient was transferred to an adjacent hybrid operating theatre for imaging. Cone beam computed tomography (CBCT) was performed, which successfully demonstrated a significant reduction in the dislocation of the SC joint. The trachea and brachiocephalic artery were no longer compressed or displaced. This case study demonstrates an alternative to the patient being transferred to the medical imaging department for multi-slice CT. It also describes a novel use of the hybrid operating theatre and its CBCT capabilities

Novel utilization of 3D technology and the hybrid operating theatre: Peri-operative assessment of posterior sterno-clavicular dislocation using cone beam CT

Energy Technology Data Exchange (ETDEWEB)

Crowhurst, James A; Campbell, Douglas; Whitby, Mark; Pathmanathan, Pavthrun [The Prince Charles Hospital, Rode Road, Chermside, Queensland (Australia)

2013-06-15

A patient with a medial and posterior dislocation of the right sterno-clavicular (SC) joint and displacement of the trachea and brachiocephalic artery by the medial head of the clavicle underwent general anaesthetic in the operating theatre for an open reduction procedure. The surgeon initially attempted a closed reduction, but this required imaging to check SC alignment. The patient was transferred to an adjacent hybrid operating theatre for imaging. Cone beam computed tomography (CBCT) was performed, which successfully demonstrated a significant reduction in the dislocation of the SC joint. The trachea and brachiocephalic artery were no longer compressed or displaced. This case study demonstrates an alternative to the patient being transferred to the medical imaging department for multi-slice CT. It also describes a novel use of the hybrid operating theatre and its CBCT capabilities.

USING THE MEANS OF THEATRE ART TO DEVELOP MODERN TEACHERS’ RHETORICAL CULTURE

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Dmytro Budianskyi

2017-04-01

Full Text Available The article examines an important problem of modern education – the use of theatre arts to improve the teachers’ oratorical skills. In the pedagogical context the main categories of theatre pedagogy (co-creation, reincarnation, tempo, rhythm, mise-en-scène, etc. are discussed in details. Thus the congruence of teaching and dramatic art is found out. The essence of artistry is determined as an element of a teacher’s rhetorical culture. The contents, structural elements of Stanislavsky system and their use for developing the teacher’s rhetorical culture are analyzed. The author discusses in details the two main components of Stanislavsky system: an actor’s work itself and the actor’s work on the role. It is proved that both parts of this system with a few adjustments correspond to the method of forming the teacher-speaker’s artistic and rhetorical qualities. The development of teacher’s external techniques includes the preparation of the bodily apparatus for teaching. According to the author’s point of view, a teacher like an actor should have the mental technique to be able to call creative feeling at the right time. Special attention is paid to the various types of artistic training, which is an effective tool for developing the teacher’s rhetorical culture. The system of training includes exercises to develop speech culture, plastic expression, emotional memory, behavior naturalness, etc. The article focuses on the need to study and use the main principles of Stanislavsky system in the teachers’ practical activities. The most effective means of creating a creative mood is physical activity. The author emphasizes the necessity of developing modern-teachers’ artistic and rhetorical qualities by means of theatre pedagogy with the aim of increasing the efficiency of the educational process. The results of the study can be used in the process of training, professional activities and advanced training of education workers.

650 nm Laser stimulated dating from Side Antique Theatre, Turkey

International Nuclear Information System (INIS)

Doğan, M.; Meriç, N.

2014-01-01

Samples were taken from the archeological excavation site, which was at the backs of the Side Antique Theatre. Samples were taken from under the base rock in this area. Polymineral fine grains were examined to determine the ages of the sediments. Samples gathered from the Side Antique Theatre were investigated through using the SAR method. Firstly, one part of the samples were evaluated by using conventional IRSL reading head model of (ELSEC-9010) which is infrared (880±80 nm) stimulation source with Schott BG39 filter. The IRSL age dating with feldspar minerals, gives a number of overestimated or underestimated age values as a result. A new reading head was proposed with the following configuration attachments for overestimation of equivalent dose rates. Measurements were done with this newly designed red laser stimulating reading head which works with Elsec 9010 OSL age dating system. SAR measurements were performed by (650±10 nm) red laser light source with two Schott BG3 filters. With usage of the new designed reading head; closer results were obtained in comparision with the Antique Theatre′s expected age range. Fading rates were taken into consideration and these corrections were also handled for true age results. - Highlights: • Polymineral fine grain feldspar minerals were used for dating. • Two different reading heads were used to determine equivalent doses. • IR stimulated (880 nm) and laser stimulated (650 nm) dating results were compared

The Implementation of Character Education Model Based on Empowerment Theatre for Primary School Students

Science.gov (United States)

Anggraini, Purwati; Kusniarti, Tuti

2016-01-01

This study aimed at constructing character education model implemented in primary school. The research method was qualitative with five samples in total, comprising primary schools in Malang city/regency and one school as a pilot model. The pilot model was instructed by theatre coach teacher, parents, and school society. The result showed that…

An Experience of Science Theatre to Introduce Earth Interior and Natural Hazards to Children

Science.gov (United States)

Musacchio, Gemma; Lanza, Tiziana; D'Addezio, Giuliana

2015-01-01

The present paper describes an experience of science theatre addressed to children of primary and secondary school, with the main purpose of making them acquainted with a topic, the interior of the Earth, largely underestimated in compulsory school curricula worldwide. A not less important task was to encourage a positive attitude towards natural…

Playback Theatre as a tool to enhance communication in medical education

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Ramiro Salas

2013-12-01

Full Text Available Playback Theatre (PT is an improvisational form of theatre in which a group of actors “play back” real life stories told by audience members. In PT, a conductor elicits moments, feelings and stories from audience members, and conducts mini-interviews with those who volunteer a moment of their lives to be re-enacted or “played” for the audience. A musician plays music according to the theme of each story, and 4-5 actors listen to the interview and perform the story that has just been told. PT has been used in a large number of settings as a tool to share stories in an artistic manner. Despite its similarities to psychodrama, PT does not claim to be a form of therapy.We offered two PT performances to first year medical students at Baylor College of Medicine in Houston, Texas, to bring the students a safe and fun environment, conducive to sharing feelings and moments related to being a medical student. Through the moments and stories shared by students, we conclude that there is an enormous need in this population for opportunities to communicate the many emotions associated with medical school and with healthcare-related personal experiences, such as anxiety, pride, or anger. PT proved a powerful tool to help students communicate.

Using theatre in education in a traditional lecture oriented medical curriculum

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Hancıoğlu Sertaç

2009-12-01

Full Text Available Abstract Background Lectures supported by theatrical performance may enhance learning and be an attractive alternative to traditional lectures. This study describes our experience with using theatre in education for medical students since 2001. Methods The volunteer students, coached by experienced students, were given a two-week preparation period to write and prepare different dramatized headache scenarios during three supervised meetings. A theatrical performance was followed by a student presentation about history taking and clinical findings in diagnosing headache. Finally, a group discussion led by students dealt with issues raised in the performance. The evaluation of the theatre in education lecture "A Primary Care Approach to Headache" was based on feedback from students. Results More than 90% of 43 responding students fully agreed with the statement "Theatrical performance made it easier to understand the topic". More than 90% disagreed with the statements "Lecture halls were not appropriate for this kind of interaction" and "Students as teachers were not appropriate". Open-ended questions showed that the lesson was thought of as fun, good and useful by most students. The headache questions in the final exam showed results that were similar to average exam results for other questions. Conclusion Using theatrical performance in medical education was appreciated by most students and may facilitate learning and enhance empathy and team work communication skills.

Live theatre as exception and test case for experiencing negative emotions in art.

Science.gov (United States)

Goldstein, Thalia R

2017-01-01

Distancing and then embracing constitutes a useful way of thinking about the paradox of aesthetic pleasure. However, the model does not account for live theatre. When live actors perform behaviors perceptually close to real life and possibly really experienced by the actors, audiences may experience autonomic reactions, with less distance, or may have to distance post-experiencing/embracing their emotions.

Using Popular Theatre for Engaging Racialized Minority Girls in Exploring Questions of Identity and Belonging

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Lee, Jo-Anne; De Finney, Sandrina

2004-01-01

This chapter examines the use of popular theatre as a methodology to investigate racialized minority girls' processes of identity formation and experiences of exclusion and belonging in predominantly white, urban Victoria, B.C., Canada. The article draws on transnational feminist frameworks that emphasize intersectionality and locality to…

Workshopping the revolution? On the phenomenon of joker training in the Theatre of the Oppressed

NARCIS (Netherlands)

Bala, S.; Albacan, A.I.

2013-01-01

The article brings together observations and insights on the emerging phenomenon of training the trainers, also known as joker training in the Theatre of the Oppressed (TO). The concerns raised in this article are twofold: first, how does the modularised, workshop format of joker training affect the

Richard III in Russian Theatre at the Twilight of the "Thaw"

OpenAIRE

Sokolyansky, Mark

2007-01-01

Richard III was very rarely staged in Russian theatre in tsarist and Stalin’s times, because the story of inhuman tyranny provoked associations with Russian political reality. In the period of the so-called “Thaw” (1954ß1964) the play became very popular in the USSR and several scenic productions of it were real events in Russian (and Soviet) theatrical life. In the essay three most original and successful performances (in Kujbyshev, Gorkij and Erevan) are discussed and compare...

Dramatics and education: Different directions and approaches to the application of drama/theatre techniques

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Stamenković Ivana

2015-01-01

Full Text Available This paper describes, from the perspective of drama pedagogy, two basic directions in the application of drama and/or theatre techniques in the educational context which mainly differ primarily according to who applies them in practice with children and the young - teachers or professional actors.. Then the most prominent approaches of individual authors are singled out from each agent. Although there are certain similarities among them, we wanted also to show their differences, evident in theoretical, pedagogical and practical orientations. In this context the opinions about the importance of dramatics for education, and about the effects of the use of different approaches, levels and the ways of the application of drama/theatre techniques are singled out, showing at the same time different roles, levels and ways of participating students. This theme is important for promoting dramatics pedagogy, which is not at a high level of development in our country, in spite of the fact that many authors are engaged in theoretical and/or practical work in this area.

Theatre City and Identity: Narodno pozorište-Nepszίnház-KPGT

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Lazar Jovanov

2016-04-01

Full Text Available This study considers the concept of Theatre City and its role in the formation of the desired identity of a community. More specifically, the research is at a crossroads of sociological and anthropological use of this theater form, in a function of the reconstruction of the community, examining the relationship between theater and the city, as a functional European theater concept, which has the potential to generate multiple socio-cultural values, participating in the formation of the so-called free spaces, free theater, which rejects the idea of elitism because it is intended for the wider population. In this regard, the subject of this research is the concept of Subotica Theatre City established by National Theater-Nepszίnház-KPGT in the context of creating a (multicultural identity of the community, while the focus is on socio-anthropological, philosophical and aesthetic analyse of the play Madach, the comments, which was the inaugural project of the new aesthetic and cultural policy of the city of Subotica in the former Yugoslavia in 1985.

“My hand is ready, may it do him ease”: Shakespeare and the theatre of display “My hand is ready, may it do him ease”: Shakespeare and the theatre of display

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Michael Mangan

2008-04-01

Full Text Available In his introduction to Shakespeare in the Present, Terence Hawkes reclaims, in the face of historicist strust, “presentism” as a critical strategy in Shakespeare Studies. It must be, he argues, a theorized strategy, not a simple assumption or assertion that Shakespeare is our contemporary. It must be a strategy which “will not yearn to speak with the dead [but will aim] to talk to the living” (4.1 I find Hawkes’ words heartening, since in performance theatre is always and necessarily presentist. Hawkes recognizes this, and goes on to stipulate that “placing emphasis on the present can’t help but connect fruitfully with the current realignment of critical responses that stresses the performance of a play as much as its ‘reference’… Presentism thus highlights what has been termed drama’s ‘performative’ function” (5. Hawkes’ broader thesis—that presentism makes it possible to reverse the chronology of causality, to ask questions about the influence of the present upon the past—resonates with the re-creative act of making theatre, which has always needed to negotiate the influence of the present upon the past as well as vice versa, in its search for what Milhouse and Hume call “producible interpretations”.2 In his introduction to Shakespeare in the Present, Terence Hawkes reclaims, in the face of historicist strust, “presentism” as a critical strategy in Shakespeare Studies. It must be, he argues, a theorized strategy, not a simple assumption or assertion that Shakespeare is our contemporary. It must be a strategy which “will not yearn to speak with the dead [but will aim] to talk to the living” (4.1 I find Hawkes’ words heartening, since in performance theatre is always and necessarily presentist. Hawkes recognizes this, and goes on to stipulate that “placing emphasis on the present can’t help but connect fruitfully with the current realignment of critical responses that stresses the

Amazing Acrobatics of Language: The Theatre of Yussef El Guindi

Directory of Open Access Journals (Sweden)

Anneka Esch-van Kan

2008-12-01

Full Text Available Despite the importance of minority rights movements and literatures of migration within the last century’s history of the humanities, no light has been shed so far on the life and arts of Arab Americans. While there is a tradition of Arab American writers and poets, it is often claimed that ‘Arab American Theatre’ was born on September 11. This article will start from general reflections on the development and forms of Arab American theatre in the United States and will in its main body concentrate on the works of Egyptian-born playwright Yussef El Guindi.

[Safer operating theatre: easier said than done].

Science.gov (United States)

Kalkman, C J

2008-10-18

The Netherlands Health Care Inspectorate recently changed its approach to quality of care and patient safety from a reactive to a firmly proactive style. In two reports, the current perioperative processes in Dutch hospitals were scrutinised. Despite a highly-motivated workforce, the inspectorate detected a lack of standardisation, incomplete or inaccessible patient data, poor adherence to hygiene standards and gaps during transfer of care in both the preoperative and intraoperative stages ofsurgery. The inspectorate mandates rapid implementation of various new patient safety approaches, including the use of checklists, 'time-outs' before the start of surgery, double checking of intravenous drugs and improved compliance with hygiene standards, as well as a strict definition of roles and responsibilities of team members. Implementation will require major changes within the processes and culture of operating theatres in Dutch hospitals. Such a change is unlikely to be completed within the short timeframe allowed by the inspectorate.

Theatre of the Mind: A Project to Animate the Language of thought and Communication

Science.gov (United States)

Wheeler, Eric S.

2009-01-01

Human language is a rich and complex part of human behaviour that can be studied in many ways. The author and his colleagues are developing an application that accepts simple texts as input and presents an animated display of characters acting out the text. It mimics the human visualization of texts, the so-called Theatre of the Mind. In so doing,…

Reimagining Communities and Implementing Social Learning: Contemporary Community Theatre Development in Taiwan, Hong Kong and Singapore

Science.gov (United States)

Wang, Wan-Jung

2014-01-01

Since the 1990s, Hong Kong, Singapore and Taiwan have encountered political, social, economic and cultural challenges. During this period, their community theatres have played distinctive roles in activating their public space to reimagine their communities, form dialogues with their governments and construct learning experiences amongst various…

The Collaborative Theatre-Making Project: A Space to Challenge, Explore and Re-Imagine Accepted Mythologies

Science.gov (United States)

McGinty, Lorna

2013-01-01

This short case study gives insight into a theatre-making project with young lesbian, gay, bisexual and trans-identified people. The author reflects on the capacity of collaborative arts practice to open discussion around identity and allow space to re-imagine lived experience through metaphor and mythology. She focuses on the central role of the…

Unsettled teamwork: communication and learning in the operating theatres of an urban hospital.

Science.gov (United States)

Bezemer, Jeff; Korkiakangas, Terhi; Weldon, Sharon-Marie; Kress, Gunther; Kneebone, Roger

2016-02-01

To explore the unsettling effects of increased mobility of nurses, surgeons and other healthcare professionals on communication and learning in the operating theatre. Increasingly, healthcare professionals step in and out of newly formed transient teams and work with colleagues they have not met before, unsettling previously relatively stable team work based on shared, local knowledge accumulated over significant periods of close collaboration. An ethnographic case study was conducted of the operating theatre department of a major teaching hospital in London. Video recordings were made of 20 operations, involving different teams. The recordings were systematically reviewed and coded. Instances where difficulties arose in the communication between scrub nurse and surgeons were identified and subjected to detailed, interactional analysis. Instrument requests frequently prompted clarification from the scrub nurse (e.g. 'Sorry, what did you want?'). Such requests were either followed by a relatively elaborate clarification, designed to maximize learning opportunities, or a by a relatively minimal clarification, designed to achieve the immediate task at hand. Significant variation exists in the degree of support given to scrub nurses requesting clarification. Some surgeons experience such requests as disruptions, while others treat them as opportunities to build shared knowledge. © 2015 John Wiley & Sons Ltd.

Show Me What You See: An Exploration of Learning in Museums and Learning in Theatre

Science.gov (United States)

Chou, Amy; Shih, Janet

2010-01-01

The main goal of this research study is to explore the interconnection between museum learning and theatre learning. We will begin this exploratory process by analyzing the functions of role-playing and improvisation as teaching and learning strategies, and we will then expand this analysis to the idea of storytelling as a link between learning in…

Air sampling procedures to evaluate microbial contamination: a comparison between active and passive methods in operating theatres.

Science.gov (United States)

Napoli, Christian; Marcotrigiano, Vincenzo; Montagna, Maria Teresa

2012-08-02

Since air can play a central role as a reservoir for microorganisms, in controlled environments such as operating theatres regular microbial monitoring is useful to measure air quality and identify critical situations. The aim of this study is to assess microbial contamination levels in operating theatres using both an active and a passive sampling method and then to assess if there is a correlation between the results of the two different sampling methods. The study was performed in 32 turbulent air flow operating theatres of a University Hospital in Southern Italy. Active sampling was carried out using the Surface Air System and passive sampling with settle plates, in accordance with ISO 14698. The Total Viable Count (TVC) was evaluated at rest (in the morning before the beginning of surgical activity) and in operational (during surgery). The mean TVC at rest was 12.4 CFU/m3 and 722.5 CFU/m2/h for active and passive samplings respectively. The mean in operational TVC was 93.8 CFU/m3 (SD = 52.69; range = 22-256) and 10496.5 CFU/m2/h (SD = 7460.5; range = 1415.5-25479.7) for active and passive samplings respectively. Statistical analysis confirmed that the two methods correlate in a comparable way with the quality of air. It is possible to conclude that both methods can be used for general monitoring of air contamination, such as routine surveillance programs. However, the choice must be made between one or the other to obtain specific information.

Rahvusliku ajaloo tõlgendusi eesti draamas ja teatris 1970.–1980. aastatel. Interpretations of National History in Estonian Drama and Theatre in the 1970s–1980s

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Piret Kruuspere

2012-04-01

Full Text Available According to theatre scholar Freddie Rokem, theatre portraying or performing historical events is seeking to overcome both the separation and the exclusion from the past, as well as ’striving to create a community where the events from this past will matter again’. This article covers the topic of interpretations of national history in Estonian theatre and in original dramaturgy during the Soviet era, with the focus on aspects like national self-reflection and the relationship to the common past. The main focus is on the 1970s, with examples from Rein Saluri’s, Mati Unt’s and Jaan Kaplinski’s drama productions. During the period in question, re-tellings of national history on Estonian theatre stages were clothed in metaphors, allusions and secret codes – Aesopian language. Within the Soviet cultural context, I analyse if and to what extent theatre of the time displayed resistance, political theatre or social allegory. Theatre was also connected with the principle of playing or playfulness, which on one hand indicates national resistance, national endurance, and a certain survival strategy, but on the other hand indicates the Estonian as being an involuntary homo ludens – the Playing Man, who through various enforced roles is trying to adjust to the whirlwinds of history. Saluri’s first play, the intellectual drama Külalised (The Guests, opens with an allusion to a drama classic the world over, William Shakespeare’s Hamlet, adding a powerful national-symbolic background to the play. The role-play which permeates and structures the play (The Host–The Guest however, displays allegorical references to changes in the status and self-image of Estonians. In Unt’s play Peaproov (Dress Rehearsal, the principle of playing/acting sheds ironic light on the makers of an historical film and their readiness to create superficially flashy interpretations at any cost: this take acts as an estranging and generalising reflection in a context

Non-technical skills of the operating theatre scrub nurse: literature review.

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Mitchell, Lucy; Flin, Rhona

2008-07-01

This paper is a report of a review to identify the non-technical (cognitive and social) skills used by scrub nurses. Recognition that failures in non-technical skills contributed to accidents in high-risk industries led to the development of research programmes to study the role of cognition and social interactions in operational safety. Recently, psychological research in operating theatres has revealed the importance of non-technical skills in safe and efficient performance. Most of the studies to date have focused on anaesthetists and surgeons. On-line sources and university library catalogues, publications of the Association for Perioperative Practice, National Association of Theatre Nurses and Association of Peri-Operative Registered Nurses were searched in 2007. Studies were included in the review if they presented data from scrub nurses on one or more of their non-technical skills. These findings were examined in relation to an existing medical non-technical skills framework with categories of communication, teamwork, leadership, situation awareness and decision-making. Of 424 publications retrieved, 13 were reviewed in detail. Ten concerned communication and eight of those also had data on teamwork. In 11 papers teamwork was examined, and one focused on nurses' situation awareness, teamwork and communication. None of the papers we reviewed examined leadership or decision-making by scrub nurses. Further work is needed to identify formally the non-technical skills which are important to the role of scrub nurse and then to design training in the identified non-technical skills during the education and development of scrub nurses.

Effects of Playback Theatre on cognitive function and quality of life in older adults in Singapore: A preliminary study.

Science.gov (United States)

Chung, Krystal Shu Yi; Lee, Eleena Shi Lynn; Tan, Jia Qi; Teo, Dylan Jin Hao; Lee, Chris Ban Loong; Ee, Sharifah Rose; Sim, Sam Kim Yang; Chee, Chew Sim

2018-03-01

This study investigated the effects of Playback Theatre on older adults' cognitive function and well-being, specifically in the Singapore context. Eighteen healthy older adults, older than 50 years of age, participated in the study. Due to practical limitations, a single-group pre-post study design was adopted. Participants completed the outcome measures before and after the training program. There were six weekly sessions in total (about 1.5 hours, once weekly). Participants experienced a significant improvement in their emotional well-being after training. However, there were no significant changes in participants' cognitive function or health-related quality of life. Our results suggest that Playback Theatre as a community program has potential to improve the mental and emotional well-being of older people. © 2018 AJA Inc.

[Microbial air purity in hospitals. Operating theatres with air conditioning system].

Science.gov (United States)

Krogulski, Adam; Szczotko, Maciej

2010-01-01

The aim of this study was to show the influence of air conditioning control for microbial contamination of air inside the operating theatres equipped with correctly working air-conditioning system. This work was based on the results of bacteria and fungi concentration in hospital air obtained since 2001. Assays of microbial air purity conducted on atmospheric air in parallel with indoor air demonstrated that air filters applied in air-conditioning systems worked correctly in every case. To show the problem of fluctuation of bacteria concentration more precisely, every sequences of single results from successive measure series were examined independently.

¿Es posible tener un incendio en un quirófano? Is it possible to have a fire in an operating theatre?

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Juan José Agún González

2010-03-01

Full Text Available Podemos pensar que un quirófano es el Sancta Sanctorum de un Hospital, el sitio más "seguro" dentro del entorno más controlado, en todos los aspectos. Pero, es un hecho contrastado, aunque no siempre difundido, que los incendios en quirófano existen y suelen ser por causas internas al propio quirófano. Durante una intervención quirúrgica tenemos una posibilidad de sufrir un incendio en el momento más peligroso de la vida de un paciente y crear una situación de emergencia en un área crítica. Los objetivos de esta investigación son: - Incidir en la posibilidad de tener un incendio en quirófano. - Analizar las posibilidades del riesgo. - Detectar conductas y elementos peligrosos. - Analizar las medidas preventivas a adoptar.We might think that an operating theatre is the sanctum sanctorum of a Hospital. The 'safest' place within a very much controlled environment in all aspects. But it is a contrasted fact, although not always published, that fires in operating theatres exist and that they are normally caused by situations in the operating theatre itself. During an operation there is the possibility of having a fire in the most dangerous moment for the life of a patient and in the most critical zones of a hospital. The objectives of this research are the following: - To emphasize the possibility of fire in an operating theatre - To analyse the possibilities of risk - To detect hazardous elements and behaviour - To analyse the preventive measures to be adopted

The lived experiences of operating theatre scrub nurses learning technical scrub skills 'I'm doing this right, aren't I? Am I doing this right?'

Science.gov (United States)

Radford, Eleanor J; Fotis, Theo

2018-01-01

Operating theatre scrub nurses (OTSNs) are not required to have undertaken a secondary or specialist post-registration theatre qualification to work in the operating theatre (OT) setting in the UK. From the systematic review there is only very limited literature or research in how technical scrub skills are acquired. This study explores the lived experiences of OTSNs learning technical scrub skills. The study employed the qualitative methodology of interpretative phenomenological analysis. Data was collected from six participating OTSNs using semi-structured interviews. Four superordinate themes emerged: How technical scrub skills are established, Gatekeepers, How the learner feels whilst learning and, Reflections of the experienced scrub nurse. The study found that the experiences of OTSNs learning technical scrub skills are varied and a variety of teaching and learning methods are utilised. These experiences were influenced by the team, mentor and surgeon within the OT environment. Lived experiences were also influenced by organisational structure and service pressures within the NHS.

Review: Johnny Saldaña (2005. Ethnodrama: An Anthology of Reality Theatre

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June Rabson Hare

2008-05-01

Full Text Available Ethnodrama: An Anthology of Reality Theatre is an anthology of ethnodramatic and auto-ethnodramatic texts, comprising playscripts, performance work and creative non-fiction. There are nine exemplars illustrating monologues, monologues with dialogue and what the editor calls "ethnodramatic extensions." The editor and compiler of this collection is Johnny SALDAÑA, a Professor of Theatre at Arizona State University and also a qualitative researcher with experience of both traditional re-presentation of data as well as ethnodramatic work. His excellent introduction and the introductions to and commentaries which accompany each section are rich sources of information on the history and theoretical principles underlying ethnodrama and ethnotheatre, as well as the more functional nuts and bolts of transforming narrative data to the stage. There are numerous citations of other examples in the field and notations which provide illuminative material. The book makes a contribution to the wider field of performative social science and ethnographic studies as well as to arts-based and drama-based qualitative research. It is a welcome addition to teaching and research resources in the field. This review describes the book and looks at some of the salient issues. For example, when is ethnodrama considered an appropriate medium for representation; is there a difference between aesthetic and research validity; who "owns" the research; and, can liberties be taken with the original research participant's words when building a drama? URN: urn:nbn:de:0114-fqs080216

The Radiographer's multidisciplinary team role in theatre scenarios

International Nuclear Information System (INIS)

Williams, H.; Widdowfield, M.; Cosson, P.

2015-01-01

Background: Radiographers work in multidisciplinary teams (MDTs) to image intra-operatively using ionising radiation. The radiographer is responsible according to IR(ME)ER (2000) and IRR(99) regulations for advocating patient and theatre personnel safety. A comprehensive literature search revealed limited studies analysing the radiographer's experiences of utilising power to influence MDTs. Therefore the aim of the study was to explore the power relationships within different MDT scenarios. Method: A qualitative approach was adopted consisting of interviews exploring radiographers' experiences as 1) established Cardiology team members and 2) transient members of Orthopaedic teams. French and Raven's power bases were used as an a priori framework. Ethical approval was obtained prior to commencement. Sampling was purposive, following gatekeeper permission, and subsequent participation was voluntary. Thematic content analysis was undertaken following data collection. Findings and discussion: Perpetration of Legitimate Power was more frequently attempted in transient teams. However, there were more successful descriptions in established teams. Expert Power was reciprocated successfully in established teams but was context dependent in transient teams. Referent power was well used by participants, although the transient nature of teams did affect this. Job satisfaction was expressed by both groups, although evidence presented was more comprehensive in established teams. Conclusion: The social bases of power at play within two MDTs have been examined. It is unclear to what extent the team specialism has a role in the differences identified. Radiographers working in established teams may have greater job satisfaction and perpetrate power bases more effectively than radiographers serving in transient teams. - Highlights: • This is a qualitative study using a phenomenological approach. • The social bases of power are adopted as an a priori theoretical

Sign Language Interpreting in Theatre: Using the Human Body to Create Pictures of the Human Soul

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Michael Richardson

2017-06-01

Full Text Available This paper explores theatrical interpreting for Deaf spectators, a specialism that both blurs the separation between translation and interpreting, and replaces these potentials with a paradigm in which the translator's body is central to the production of the target text. Meaningful written translations of dramatic texts into sign language are not currently possible. For Deaf people to access Shakespeare or Moliere in their own language usually means attending a sign language interpreted performance, a typically disappointing experience that fails to provide accessibility or to fulfil the potential of a dynamically equivalent theatrical translation. I argue that when such interpreting events fail, significant contributory factors are the challenges involved in producing such a target text and the insufficient embodiment of that text. The second of these factors suggests that the existing conference and community models of interpreting are insufficient in describing theatrical interpreting. I propose that a model drawn from Theatre Studies, namely psychophysical acting, might be more effective for conceptualising theatrical interpreting. I also draw on theories from neurological research into the Mirror Neuron System to suggest that a highly visual and physical approach to performance (be that by actors or interpreters is more effective in building a strong actor-spectator interaction than a performance in which meaning is conveyed by spoken words. Arguably this difference in language impact between signed and spoken is irrelevant to hearing audiences attending spoken language plays, but I suggest that for all theatre translators the implications are significant: it is not enough to create a literary translation as the target text; it is also essential to produce a text that suggests physicality. The aim should be the creation of a text which demands full expression through the body, the best picture of the human soul and the fundamental medium

Memory, Communism, and foreign words in Julia Holewińska’s Foreign Bodies: balancing foreignization and domesticating strategies in a production by Polish Theatre Ireland

OpenAIRE

Lech, K.

2014-01-01

This article engages with selected translation strategies undertaken to transfer a Polish play by Julia Holewińska, ‘Ciała Obce’ [Foreign Bodies], into the context of Irish theatre. I look at Polish Theatre Ireland’s production of the play (directed by Lianne O’Shea and presented in Dublin’s Project Arts Centre in 2013), focusing on linguistic and cultural aspects of the translation and, in particular, issues concerning the memories of communism in Poland. The analysis is framed by Lawrence V...

The Praxis of Teaching Artists in Theatre and Dance: International Perspectives on Preparation, Practice and Professional Identity

Science.gov (United States)

Anderson, Mary Elizabeth; Risner, Doug; Butterworth, Michael

2013-01-01

This international study investigated the experiences and attitudes of teaching artists whose work is rooted in theatre, dance, and closely-related disciplines. Based on survey data from teaching artists working in Australia, New Zealand, Southeast Asia, United Kingdom, and the United States (n = 172), the paper illuminates participants'…

Air sampling procedures to evaluate microbial contamination: a comparison between active and passive methods in operating theatres

Directory of Open Access Journals (Sweden)

Napoli Christian

2012-08-01

Full Text Available Abstract Background Since air can play a central role as a reservoir for microorganisms, in controlled environments such as operating theatres regular microbial monitoring is useful to measure air quality and identify critical situations. The aim of this study is to assess microbial contamination levels in operating theatres using both an active and a passive sampling method and then to assess if there is a correlation between the results of the two different sampling methods. Methods The study was performed in 32 turbulent air flow operating theatres of a University Hospital in Southern Italy. Active sampling was carried out using the Surface Air System and passive sampling with settle plates, in accordance with ISO 14698. The Total Viable Count (TVC was evaluated at rest (in the morning before the beginning of surgical activity and in operational (during surgery. Results The mean TVC at rest was 12.4 CFU/m3 and 722.5 CFU/m2/h for active and passive samplings respectively. The mean in operational TVC was 93.8 CFU/m3 (SD = 52.69; range = 22-256 and 10496.5 CFU/m2/h (SD = 7460.5; range = 1415.5-25479.7 for active and passive samplings respectively. Statistical analysis confirmed that the two methods correlate in a comparable way with the quality of air. Conclusion It is possible to conclude that both methods can be used for general monitoring of air contamination, such as routine surveillance programs. However, the choice must be made between one or the other to obtain specific information.

Il desiderio di utopia. Elementi per definire la costruzione delle distopie teatrali polacche [Longing for Utopia: the Construction of Polish Distopic Theatre. Some Considerations

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Barbara Minczewa

2016-12-01

Full Text Available "The paper concerns some elements of the construction of worlds represented on stage in recent Polish theatre. This may be seen as a comment on the state of democratic Poland after 1989 and, more generally, as an analysis of the peculiarities of the contemporary world. However, a deeper analysis shows recent theatre staging as structurally similar to the construction of dystopias. The worlds represented on stage are characterized by the presence of a nonlinear construction of time, by the absence of ending, of a horizon and of death, by the presence of ruins (intended literally, as an aesthetic paradigm, and metaphorically and by the construction of dystopian characters. The analysis focuses on one of the most important performances for the Polish political theatre of the last two decades, H. (2004, a version of Hamlet directed by Jan Klata, performed in the historic and derelict Gdańsk Shipyard, a symbolic stage set which becomes at the same time the place of fulfilment of dystopia and of the emergence of the desire for utopia."

Interview with Mia Katigbak (co-founder and artistic producing director of NAATCO).Breaking Racial and Ethnic Stereotypes on the American Stage: National Asian American Theatre Company’s 25th Anniversary

OpenAIRE

Medalle, Rovie Herrera

2016-01-01

Entretien avec Mia Katigbak, co-fondatrice et directrice artistique de NAATCO (National Asian American Theatre Company). L’entretien, réalisé en août 2015, consistaient en un échange de courriels Interview with Mia Katigbak, co-founder and Artistic Producing Director of NAATCO (National Asian American Theatre Company). The interview was conducted by emails in August 2015

Ibsen's mermaid in China: adapting The lady from the sea for the traditional Yue theatre

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Terry Siu-han Yip

2015-02-01

Full Text Available Ibsen has created Ellida Wangel in The Lady from the Sea as a “mermaid” stranded on land, feeling trapped in her marriage with Dr Wangel and suffocated by her restrictive gender roles as wife and step-mother. The play focuses on Ellida the dying mermaid’s process of individuation as she struggles to seek happiness, freedom and self-fulfilment in life. Through Ellida’s entangled relationship with the Stranger and her husband, Ibsen has created a living “mermaid”, who enables him to explore gender relations, individual freedom and choice, as well as the liberation of the self.             However, when The Lady from the Sea was transposed from Norway to China and adapted for the traditional Chinese theatre, the Chinese Yue theatre in this case, Ellida had undergone drastic changes in order to suit the traditional Yue theatregoers’ expectations and taste, as well as to fit the socio-cultural norm of traditional Yue opera.             Instead of examining those technical alterations such as rearrangement of scenes (Ye, 2011, 20, the use of symbols (Wu, 2011, 80, the setting (Wu, 2011, 78, or theatrical performance and devices (Qing Yun, 2010, 32 adopted in the Chinese operatic adaptation of The Lady from the Sea, this article focuses on the cultural re-presentation of Ellida and the re-constitution of her character, the purpose of which is to make her plausible as a Chinese woman on the traditional Yue stage. A close study of the cultural transformation of Ellida and her re-orientation on the traditional Yue stage adaptation will enable the reader to better understand the Chinese cultural emphasis on didacticism, Confucian morality and propriety in traditional drama and theatre, as well as the difficulties involved in transporting Ibsen’s mermaid to the Chinese traditional Yue stage.

Cost Analysis of Operation Theatre Services at an Apex Tertiary Care Trauma Centre of India.

Science.gov (United States)

Siddharth, Vijaydeep; Kumar, Subodh; Vij, Aarti; Gupta, Shakti Kumar

2015-12-01

Operating room services are one of the major cost and revenue-generating centres of a hospital. The cost associated with the provisioning of operating department services depends on the resources consumed and the unit costs of those resources. The objective of this study was to calculate the cost of operation theatre services at Jai Prakash Narayan Apex Trauma Centre, AIIMS, New Delhi. The study was carried out at the operation theatre department of Jai Prakash Narayan Apex Trauma Centre (JPNATC), AIIMS from April 2010 to March 2011 after obtaining approval from concerned authorities. This study was observational and descriptive in nature. Traditional (average or gross) costing methodology was used to arrive at the cost for the provisioning of operation theatre (OT) services. Cost was calculated under two heads; as capital and operating cost. Annualised cost of capital assets was calculated according to the methodology prescribed by the World Health Organization and operating costs were taken on actual basis; thereafter, per day cost of OT services was obtained. The average number of surgeries performed in the trauma centre per day is 13. The annual cost of providing operating room services at JPNATC, New Delhi was calculated to be 197,298,704 Indian rupees (INR) (US$ 3,653,679), while the per hour cost was calculated to be INR 22,626.92 (US$ 419). Majority of the expenditures were for human resource (33.63 %) followed by OT capital cost (31.90 %), consumables (29.97 %), engineering maintenance cost (2.55 %), support services operating cost (1.22 %) and support services capital cost (0.73 %). Of the total cost towards the provisioning of OT services, 32.63 % was capital cost while 67.37 % is operating cost. The results of this costing study will help in the future planning of resource allocation within the financial constraints (US$ 1 = INR 54).

Inside ‘Inside view’ : reflections on stimulating debate and engagement through a multimedia live theatre production on the dilemmas and issues of pre-natal screening policy and practice

OpenAIRE

Lewando Hundt, Gillian; Bryanston, Claudette; Lowe, Pam; Cross, Saul; Sandall, Jane; Spencer, Kevin

2011-01-01

Background The role of applied theatre in engaging both lay and professional publics with debate on health policy and practice is an emergent field. This paper discusses the development, production performance and discussion of ‘Inside View’.\\ud \\ud Objectives The objectives were to produce applied theatre from research findings of a completed study on genetic prenatal screening, exploring the dilemmas for women and health professionals of prenatal genetic screening, and to engage audiences i...

TAR (Theatre as Representation) as a Provocative Teaching Tool in School Administration: A Dramatized Inclusive Classroom Scenario

Science.gov (United States)

Meyer, Matthew J.; Young, David C.

2013-01-01

The following dramatized classroom scenario depicts a teacher struggling with the nature of an inclusive learning environment, with instructional leadership and supervision of instruction as the theoretical and practical backdrop. The purpose of this article is to demonstrate how the use of a TAR (theatre as representation) case study can be used…

Using forum theatre in organised youth soccer to positively influence antisocial and prosocial behaviour: a pilot study

NARCIS (Netherlands)

Rutten, E.A.; Biesta, G.J.J.; Dekovic, M.; Stams, G.J.J.M.; Schuengel, C.; Verweel, P.

2010-01-01

The aim of this pilot study was to examine the possible effects of a forum theatre intervention on moral team atmosphere, moral reasoning, fair play attitude and on- and off-field antisocial and prosocial behaviour in male adolescent soccer players from 10 to 18 years of age (n = 99). From pre-test

Using forum theatre in organized youth soccer to positively influence antisocial and prosocial behavior: A Pilot study

NARCIS (Netherlands)

Rutten, E.A.; Biesta, G.J.J.; Dekovic, M.; Stams, G.J.J.M.; Schuengel, C.; Verweel, P.

2010-01-01

The aim of this pilot study was to examine the possible effects of a forum theatre intervention on moral team atmosphere, moral reasoning, fair play attitude and on- and off-field antisocial and prosocial behaviour in male adolescent soccer players from 10 to 18 years of age (n = 99). From pre-test

Using forum theatre in organized youth soccer to positively influence antisocial and prosocial behavior: a pilot study

NARCIS (Netherlands)

Rutten, E.A.; Biesta, G.J.J.; Deković, M.; Stams, G.J.J.M.; Schuengel, C.; Verweel, P.

2010-01-01

The aim of this pilot study was to examine the possible effects of a forum theatre intervention on moral team atmosphere, moral reasoning, fair play attitude and on‐ and off‐field antisocial and prosocial behaviour in male adolescent soccer players from 10 to 18 years of age (n = 99). From pre‐test

Contemporary Spanish Theatre Abroad. The role of the CDN and the CNTC

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Sergio Colina Martín

2016-11-01

Full Text Available Efficient strategies in the field of cultural diplomacy, implemented in coherent ways by public administrations, can be crucial in promoting the internationalization of national theatre and the presence of Spanish creative agents abroad. From a perspective that combines cultural management analysis and an approach based on international relations, this article analyzes the role played by two Spanish public institutions (Centro Dramático Nacional and Compañía Nacional de Teatro Clásico during the period 1978-2013, in an attempt to identify weaknesses and strengths in their historical development as well as future potentials.

The Integration of Voice and Dance Techniques in Musical Theatre: Anatomical Considerations.

Science.gov (United States)

Morton, Jennie

2015-06-01

Musical theatre performers are required to be proficient in the three artistic disciplines of dancing, singing, and acting, although in today's modern productions, there is often a requirement to incorporate other skills such as acrobatics and the playing of an instrument. This article focuses on the issues faced by performers when dancing and voicing simultaneously, as it is between these two disciplines where we see the greatest pedagogical divide in terms of breath management and muscle recruitment patterns. The traditional teaching methods of dance and voice techniques are examined, areas of conflict highlighted, and solutions proposed through an exploration of the relevant anatomy.

Short Stories About The Ocean, an Art Integrated Project Into the Elementary Curriculum, Using Shadow Theatre and Video.

Science.gov (United States)

Guieu, M.; Scheurle, C.

2016-02-01

The holistic aspect of integrated learning reflects the way our world works: everything is interconnected. Integrated Learning connects students, teachers, academic content and the world. It creates bridges between disciplines, encourages invention, experimentation, and problem solving. In an art integrated lesson or project, the students learn in a creative way, exploring a given subject by working on an art project, individually or collectively, using an array of traditional techniques and technology tools. Short Stories about the Ocean is anchored in the 4th and 5th grade curriculum, the art technique is the shadow theatre. The students videotape the performances for documentation and sharing. After giving the students information about different types of human activities that have an impact on the ocean, and discussing them, the students form groups and choose a specific subject - for example over fishing or pipe spilling. They gather more information and create a story with a beginning, a development and an end. Prior to start the project, the teacher prepares a small shadow theatre made of simple material, with a template I provide. The teacher explains the basics in shadow theatre technique. The students work with paper and skewers to create the elements they need for their story. They find solutions to render proportions, movements, actions and timing. Each group rehearses and then presents to the class a two/three minutes performance. The students who watch give a positive critique. Each group takes the time to make changes if the story, the message or the elements need to be clearer. Each group performs in front of the class again. This collaborative work encourages decision making. The students have to define their idea and concept clearly, with enough details but not too many, so that their message is understood by the viewers. It is a challenge for the students to design the shapes they need for their story with minimal material and they must be

[Prevention of adverse effects in latex allergic patients: organizing a latex safe operating theatre].

Science.gov (United States)

Bonalumi, Sabrina; Barbonaglia, Patrizia; Bertocchi, Carmen

2006-01-01

In 2001 the General Health Direction of Region Lombardia approved (decree n. 22303) a guideline for the prevention of latex allergic reactions in patients and health care workers. This document provides general recommendations in order to standardize behaviors in regional health care facilities. The reason is due to a rise in the incident of reactions to latex products in the last 20 years. Nowadays the prevalence is higher in certain risk groups (subjected to frequent and repeated exposures) rather than the general population. The aim of the project was to organize a latex safe operating theatre in the Ospedale Maggiore Policlinico, Mangiagalli e Regina Elena of Milan (Fondazione) and to standardize behaviors in order to prevent adverse effects in latex allergic patients. Thanks to the literature review and the creation of a multidisciplinar team, we produced a protocol. Therefore, we requested manufacturers the certification of the latex content of their products. Results and conclusion. When latex allergic patients need to undergone surgery in our hospital, a latex safe operating theatre is organized by personnel following a multidisciplinar protocol. No allergic reactions were experienced during surgical procedures after the creation of an environment as free as possible from latex contamination. The project will involve an emergency room, one room or more of a ward and of the outpatients department.

Horatio Audio-Describes Shakespeare's "Hamlet": Blind and Low-Vision Theatre-Goers Evaluate an Unconventional Audio Description Strategy

Science.gov (United States)

Udo, J. P.; Acevedo, B.; Fels, D. I.

2010-01-01

Audio description (AD) has been introduced as one solution for providing people who are blind or have low vision with access to live theatre, film and television content. However, there is little research to inform the process, user preferences and presentation style. We present a study of a single live audio-described performance of Hart House…

Transformative Performing Arts and Mentorship Pedagogy: Nurturing Developmental Relationships in a Multidisciplinary Dance Theatre Program for Youth

Science.gov (United States)

Kane, Kevin M.

2014-01-01

A multidisciplinary dance and theatre arts program geared for high school-aged youth can result in both short-term and the long-term outcomes for its students if it seeks to offer a life-changing peak experience as part of the arts training and performance process. By integrating a combination of dance, movement, theater, music, creative and…

From a Formalist to a Practical Aesthetic in Undergraduate Theatre Studies: Becoming Relevant in the Twenty-First Century

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Berkeley, Anne

2011-01-01

As a new century unfolds, the "downsizing" and continuing marginalization of the humanities, including theatre, in American higher education correspond to three trends in the academy. First, in response to the fiscal crises that began in the late 1970s, universities have increasingly turned to the private sector for financial support as federal…

Henry Head and the Theatre of Reverie

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Tiffany Watt-Smith

2011-04-01

Full Text Available In 1903, the neurologist Henry Head (1861-1940 embarked on a painful self-experiment, in which he severed the radial nerve of his left arm, and then charted the gradual and faltering return of sensitivity to the limb over the next four and a half years. To directly experience his own sensations, Head entered into a trance-like state of distraction or reverie he called a ‘negative attitude of attention’. This article explores Head’s peculiar technique for looking within, and argues that while introspection was an established strategy in psychological laboratories, Head’s reverie also resonated with techniques associated with actors and theatrical audiences during this period. Viewing psychological self-experimentation through the lens of theatre, this article makes visible aspects of Head’s embodied, affective laboratory encounters, often obscured in accounts of his experiment. At the same time, it proposes that the broader historical and cultural significance of Head’s experiment lies in his attempt to observe himself by producing states of inattention and reverie at will, mental ‘attitudes’ that were themselves the subject of a rapidly evolving debate in scientific and aesthetic circles at the turn of the twentieth century.

Using Forum Theatre in Organised Youth Soccer to Positively Influence Antisocial and Prosocial Behaviour: A Pilot Study

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Rutten, Esther A.; Biesta, Gert J. J.; Dekovic, Maja; Stams, Geert Jan J. M.; Schuengel, Carlo; Verweel, Paul

2010-01-01

The aim of this pilot study was to examine the possible effects of a forum theatre intervention on moral team atmosphere, moral reasoning, fair play attitude and on- and off-field antisocial and prosocial behaviour in male adolescent soccer players from 10 to 18 years of age (n = 99). From pre-test to post-test, small but positive changes were…

‘I dare’: experiences of young adults at risk participating in a one-year inclusive-theatre project in Norway

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Ellen Andvig

2017-01-01

Full Text Available Introduction: In Norway one of three young people drop out of high school. For young people to be on the outside of education or work may develop feelings of isolation and lack of control, resulting in alienation from both authority and community that may further marginalize them. Some develop mental-health problems.Aim: The aim of this study was to describe and interpret the experiences of young persons neither in school nor working who participated in a one-year inclusive-theatre project. The research questions were as follows: How do the participants describe their experiences with inclusive theatre related to self-image? How does participating in inclusive theatre affect their social belonging and participation? Method: Three multi-stage focus-group interviews with participants were carried out. The data material was analysed with thematic content analysis.Findings: The main theme was ‘a changed self-image’ and four sub-themes emerged: ‘increased self-confidence’, ‘increased ability to cope’, ‘responsibility’, and ‘connectedness to others and society’.Conclusion: Through increased self-esteem, the participants explored opportunities to form their own development and to find a way to pursue their goals as part of society. They dared to meet the challenges which had provided them with good experiences and a more meaningful life. They went through a social process of empowerment where there was the recognition, promotion, and strengthening of their ability to satisfy their own needs, involving a mobilization of the necessary resources in order to feel in control of their own lives. They began to believe in a future with education, work, and friends.

Pedro Salinas y el teatro desde dentro (Pedro Salinas and Theatre from Within

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Yolanda Benítez Vega

2013-12-01

Full Text Available Resumen: Pedro Salinas y el teatro, desde dentro” es el título de este artículo cuya finalidad consiste en realizar un recorrido por la vocación teatral de Pedro Salinas desde sus primeros años hasta el final de sus días: su asistencia a representaciones teatrales, sus contactos con el teatro y sus proyectos como autor dramático tanto los que se realizaron como los que no llegaron a materializarse. El propósito es adentrarnos en el alma teatral del poeta: cómo, cuándo, por qué surge su vocación por el arte escénico, insistiendo en la necesidad de rescatar la faceta de dramaturgo de Pedro Salinas como una constante más en la labor del poeta, profesor y crítico.Abstract: "Pedro Salinas and the theatre, from inside " it is the title of this article which purpose consists of realizing a tour for Pedro Salinas's theatrical vocation from his first years until the end of his days: his assistance to theatrical representations, his contacts with the theatre and his projects like dramatic author so much those who were realized as those who did not manage to materialize. The intention is to enter the theatrical soul of the poet: how, when, why his vocation arises for the scenic art, insisting on the need to rescue the playwright's facet of Pedro Salinas as one more constant in the labor of the poet, teacher and critic.

Social structures in the operating theatre: how contradicting rationalities and trust affect work.

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Rydenfält, Christofer; Johansson, Gerd; Larsson, Per Anders; Akerman, Kristina; Odenrick, Per

2012-04-01

This article is a report of a study of how healthcare professionals involved in surgery orientate themselves to their common task, and how this orientation can be affected by the social and organizational context. Previous research indicates that surgical teams are not as cohesive as could be expected and that communication failures frequently occur. However, little is known about how these problems are related to their social, cultural and organizational context. Semi-structured interviews were conducted with 15 healthcare professionals, representing all personnel categories of the surgical team. During the interview, a virtual model, visualizing a real operating theatre, was used to facilitate reflection. The interviews were conducted in 2009. Themes were created from the interviews, with a focus on similarities and differences. An activity analysis was conducted based on the themes. Poor team functionality and communication failures in the operating theatre can to some degree be explained by differences in activity orientation between professions and by insufficient support from social and organizational structures. Differences in activity orientation resulted in different views between professional groups in their perceptions of work activities, resulting in tension. Insufficient support resulted in communication thresholds that inhibited the sharing of information. Organizing work to promote cross-professional interaction can help the creation of social relations and norms, providing support for a common view. It can also help to decrease communication thresholds and establish stronger relations of trust. How this organization structure should be developed needs to be further investigated. © 2011 The Authors. Journal of Advanced Nursing © 2011 Blackwell Publishing Ltd.

Brunch and debate on theatre and quantum physics

CERN Multimedia

HR Department

2009-01-01

The "Comédie de Genève" theatre is organizing a brunch on Sunday 18 January to accompany the play "Kaïros, sisyphes et zombies" which is playing from 15 to 25 January. Michel Cassé, astrophysicist and Director of Research at the Commissariat à l’Energie Atomique (CEA) in Paris, will come to debate with the play’s director, Oskar Gómez Mata, and the entire Kaïros team on the topic of "Théâtre – physique quantique: enquête sur le réel". While the parents take part in the "debate-brunch", the children can have fun with activities organized by "la Bulle d’Air" musical association. Sunday 18 January The brunch starts at 11:30 followed by the debate at 12:30, "la Bulle d’Air" activities will run from 12:30 to 14:00. La Comédie de Genève, 6 bd des Philosophes, 1205 Geneva Entry with brunch: 18 CHF (15 CHF for members). Entry without brunch: 10 CHF Animation for the children: free.

From the novel to the cinema and the theatre: autofiction’s theoretical operativeness

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Ana Casas

2018-05-01

Full Text Available The aim of the present article is to confirm the operativeness of the notion of autofiction with regard to artistic manifestations other than the novel, especially the cinema and the theatre. These productions (with their particularities raise new challenges for the study of the author’s fictional representation: the problematic identification between author, director, actor and character (since this identity is not always complete or exact, and also the rhetorical procedures particular to its spectacular dimension (which appeal not only to the image but also to the word open unexplored paths for reflection.

The systems approach to error reduction: factors influencing inoculation injury reporting in the operating theatre.

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Cutter, Jayne; Jordan, Sue

2013-11-01

To examine the frequency of, and factors influencing, reporting of mucocutaneous and percutaneous injuries in operating theatres. Surgeons and peri-operative nurses risk acquiring blood-borne viral infections during surgical procedures. Appropriate first-aid and prophylactic treatment after an injury can significantly reduce the risk of infection. However, studies indicate that injuries often go unreported. The 'systems approach' to error reduction relies on reporting incidents and near misses. Failure to report will compromise safety. A postal survey of all surgeons and peri-operative nurses engaged in exposure prone procedures in nine Welsh hospitals, face-to-face interviews with selected participants and telephone interviews with Infection Control Nurses. The response rate was 51.47% (315/612). Most respondents reported one or more percutaneous (183/315, 58.1%) and/or mucocutaneous injuries (68/315, 21.6%) in the 5 years preceding the study. Only 54.9% (112/204) reported every injury. Surgeons were poorer at reporting: 70/133 (52.6%) reported all or >50% of their injuries compared with 65/71 nurses (91.5%). Injuries are frequently under-reported, possibly compromising safety in operating theatres. A significant number of inoculation injuries are not reported. Factors influencing under-reporting were identified. This knowledge can assist managers in improving reporting and encouraging a robust safety culture within operating departments. © 2012 John Wiley & Sons Ltd.

The impact of surgery on global climate: a carbon footprinting study of operating theatres in three health systems.

Science.gov (United States)

MacNeill, Andrea J; Lillywhite, Robert; Brown, Carl J

2017-12-01

Climate change is a major global public health priority. The delivery of health-care services generates considerable greenhouse gas emissions. Operating theatres are a resource-intensive subsector of health care, with high energy demands, consumable throughput, and waste volumes. The environmental impacts of these activities are generally accepted as necessary for the provision of quality care, but have not been examined in detail. In this study, we estimate the carbon footprint of operating theatres in hospitals in three health systems. Surgical suites at three academic quaternary-care hospitals were studied over a 1-year period in Canada (Vancouver General Hospital, VGH), the USA (University of Minnesota Medical Center, UMMC), and the UK (John Radcliffe Hospital, JRH). Greenhouse gas emissions were estimated using primary activity data and applicable emissions factors, and reported according to the Greenhouse Gas Protocol. Site greenhouse gas evaluations were done between Jan 1 and Dec 31, 2011. The surgical suites studied were found to have annual carbon footprints of 5 187 936 kg of CO 2 equivalents (CO 2 e) at JRH, 4 181 864 kg of CO 2 e at UMMC, and 3 218 907 kg of CO 2 e at VGH. On a per unit area basis, JRH had the lowest carbon intensity at 1702 kg CO 2 e/m 2 , compared with 1951 kg CO 2 e/m 2 at VGH and 2284 kg CO 2 e/m 2 at UMMC. Based on case volumes at all three sites, VGH had the lowest carbon intensity per operation at 146 kg CO 2 e per case compared with 173 kg CO 2 e per case at JRH and 232 kg CO 2 e per case at UMMC. Anaesthetic gases and energy consumption were the largest sources of greenhouse gas emissions. Preferential use of desflurane resulted in a ten-fold difference in anaesthetic gas emissions between hospitals. Theatres were found to be three to six times more energy-intense than the hospital as a whole, primarily due to heating, ventilation, and air conditioning requirements. Overall, the carbon footprint of surgery in the

MacLiammóir's minstrel and Johnston's morality : cultural memories of the Easter Rising at the Dublin Gate Theatre

NARCIS (Netherlands)

van den Beuken, Ruud

This article explores how Micheál MacLiammóir and Denis Johnston attempted to perform cultural memories of the Easter Rising at the Dublin Gate Theatre and thereby articulated their respective views on a colonial past that had to be reassessed anew, on the one hand, and a postcolonial future that

Staging the Nazi Assault on Reason: Hanns Johst's "Schlageter" and the 'Theatre of Inner Experience'

OpenAIRE

Strobl, Gerwin

2005-01-01

Hanns Johst’s play Schlageter is generally regarded as the most successful piece of Nazi\\ud theatre. Following its first performance in the early months of the Third Reich, it dominated\\ud German theatrical life throughout 1933 and 1934. This has traditionally been regarded as\\ud evidence of the essential conformity of the Third Reich’s stage; yet since no other play\\ud achieved a similar prominence in the period, Gerwin Strobl finds that line of argument\\ud unconvincing, arguing that the suc...

Improvement in Social Competence Using a Randomized Trial of a Theatre Intervention for Children with Autism Spectrum Disorder

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Corbett, Blythe A.; Key, Alexandra P.; Qualls, Lydia; Fecteau, Stephanie; Newsom, Cassandra; Coke, Catherine; Yoder, Paul

2016-01-01

The efficacy of a peer-mediated, theatre-based intervention on social competence in participants with autism spectrum disorder (ASD) was tested. Thirty 8-to-14 year-olds with ASD were randomly assigned to the treatment (n = 17) or a wait-list control (n = 13) group. Immediately after treatment, group effects were seen on social ability,…

Perceived Thermal Discomfort and Stress Behaviours Affecting Students’ Learning in Lecture Theatres in the Humid Tropics

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Tamaraukuro Tammy Amasuomo

2016-04-01

Full Text Available The study investigated the relationship between students’ perceived thermal discomfort and stress behaviours affecting their learning in lecture theatres in the humid tropics. Two lecture theatres, LTH-2 and 3, at the Niger Delta University, Nigeria, were used for the study. Two groups of students from the Faculties of Agriculture and Engineering and the Department of Technology Education constituted the population. The sample size selected through random sampling for Groups A and B was 210 and 370 students, respectively. Objective and self-report instruments were used for data collection. The objective instrument involved physical measurement of the two lecture theatres and of the indoor temperature, relative humidity and air movement. The self-report instrument was a questionnaire that asked for the students perceived indoor thermal discomfort levels and the effect of indoor thermal comfort level on perceived stress behaviours affecting their learning. The objective indoor environmental data indicated thermal discomfort with an average temperature of 29–32 °C and relative humidity of 78% exceeding the ASHARE [1] and Olgyay [2].The students’ experienced a considerable level of thermal discomfort and also perceived that stress behaviours due to thermal discomfort affected their learning. Further, there were no significant differences in the perceived thermal discomfort levels of the two groups of students in LTH-2 and 3. Furthermore, stress behaviours affecting learning as perceived by the two groups of students did not differ significantly. In addition, no correlation existed between the perceived indoor thermal discomfort levels and stress behaviour levels affecting learning for students in LTH-2, because the arousal level of the students in the thermal environment was likely higher than the arousal level for optimal performance [3,4]. However, a correlation existed in the case of students in LTH-3, which was expected because it only

Theatre and Cultural Diplomacy: The Role of the Performing Arts in How Nations Deal With Each Other

Science.gov (United States)

2010-06-01

after the outbreak of war, in Malines in Belgium, where prisoners of French, German, Flemish, and Dutch origins were interned, the SS arranged for...in 1917, seven ladies of theatre-Rachel Crothers, Louise Closser Hale, Dorothy Donnelly, Josephine Hull, Minnie Dupree, Bessie Tyree and Louise Drew...converged to discuss the possibility of forming an organization to aid in war relief. At the meeting, these ladies decided to summon members of the

'There's the record, closed and final': Rough for Theatre II as Psychiatric Encounter.

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Heron, Jonathan; Broome, Matthew

2016-06-01

A co-authored collaboration between a theatre practitioner and a clinical psychiatrist, this paper will examine Rough for Theatre II (RFTII) and Beckett's demonstration of the way records are used to understand the human subject. Using Beckett's play to explore interdisciplinary issues of embodiment and diagnosis, the authors will present a dialogue that makes use of the 'best sources' in precisely the same manner as the play's protagonists. One of those sources will be Beckett himself, as Heron will locate the play in its theatrical context through reflections upon his own practice (with Fail Better Productions, UK) as well as recent studies such as Beckett, Technology and the Body (Maude 2009) and Performing Embodiment in Samuel Beckett's Drama (McMullan 2010); another source will be the philosopher Wilhelm Windleband, whose 1901 History of Philosophy was read and noted upon by Beckett in the 1930s, as Broome will introduce a philosophical and psychiatric context to the exchange. Windelband is now a neglected figure in philosophy; but as one of the key figures of Neo-Kantianism in the late 19(th) century, his work was an important impetus to that of Rickert, Weber and Heidegger. Specifically, Windelband gives us the distinction between idiographic and nomothetic understanding of individuals, an approach that is of relevance to the psychiatric encounter. This academic dialogue will consider tensions between subjectivity and objectivity in clinical and performance practice, while examining Beckett's analysis of the use of case notes and relating them back to Windelband's ideas on the understanding of others. The dialogue took place in 2011 at the University of Warwick, and has since been edited by the authors.

Using Process Drama in Museum Theatre Educational Projects to Reconstruct Postcolonial Cultural Identities in Hong Kong, Singapore and Taiwan

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Wang, Wan-Jung

2014-01-01

Museums have been employing theatre activities in their educational programmes to outreach youngsters for more than three decades all over the world since the late 1980s; however, it is still quite a new experience for eastern and south-eastern Asian countries. In the past 3 years, Hong Kong, Singapore and Taiwan started to use different forms of…

Black, White, and Rainbow [of Desire]: The Colour of Race-Talk of Pre-Service World Language Educators in Boalian Theatre Workshops

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Wooten, Jennifer; Cahnmann-Taylor, Melisa

2014-01-01

This article examines how Boalian Theatre of the Oppressed exercises helped instructors and pre-service teachers navigate the consequences of ventriloquized, racialized discourses in a pre-service world language teacher education classroom. Applying a critical and performative approach, we analyse the mostly White student-actors' varying…

Drama and Theatre in a Nordic Curriculum Perspective--A Challenged Arts Subject Used as a Learning Medium in Compulsory Education

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Österlind, Eva; Østern, Anna-Lena; Thorkelsdóttir, Rannveig Björk

2016-01-01

The aim of this article is to present a Nordic curriculum perspective on drama and theatre in education ranging from preschool to upper secondary education and cultural schools. Underlined in the Nordic welfare model is an equity, inclusive and democracy perspective, which guarantees free access to compulsory education and to upper secondary…

Constructing a survey over time: Audio-visual feedback and theatre sketches in rural Mali

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Véronique Hertrich

2011-10-01

Full Text Available Knowledge dissemination is an emerging issue in population studies, both in terms of ethics and data quality. The challenge is especially important in long term follow-up surveys and it requires methodological imagination when the population is illiterate. The paper presents the dissemination project developed in a demographic surveillance system implemented in rural Mali over the last 20 years. After basic experience of document transfer, the feedback strategy was developed through audiovisual shows and theatre sketches. The advantages and drawbacks of these media are discussed, in terms of scientific communication and the construction of dialogue with the target population.

The theatre, (art and science: between amazement and applause!

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Salvatore Fruguglietti

2009-06-01

Full Text Available There have been countless innovations in the realm of science museology after the foundation of the Exploratorium of San Francisco and of the Ontario Science Center of Toronto with, among other things, the introduction of the exhibits hands-on, the use of new technologies and the arrival of virtuality.But most of all a new dialogue was launched, also as a form of transformation of reality. And what is drama but fiction and transformation of reality?This statement is the basis for the belief that museums and the theatre should continue, if not even start, a path to move closer, so as to make their languages work at the service of each other.A dialogical interaction which is difficult (as both languages and their interpreters crave for superiority, strong (the place for communication becomes multi-channel, but necessary (in view of a systemic approach of science communication.It is necessary especially to build an all-encompassing museum to fully play a sociological role of study, interpretation and determination of human society.

National Theatre of China's Romeo and Juliet and Its Rituals

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Benny Lim

2014-04-01

Full Text Available This paper explores the “Chinese-ness” of this brand new production of Romeo and Juliet by the National Theatre of China, from a ritual perspective. Three main areas were discussed. Firstly, this play has got several religious connotations. The absence of religion in this play’s setting is relevant to China’s current high percentage of atheists. Despite that, several religions, such as Buddhism, Daoism and Christianity, are mentioned in this play. Secondly, the play has also incorporated several Chinese culture and traditions. The use of bicycles as one of the main props can be linked to the cultural significance of bicycles in China. The play also incorporated other cultural and traditional elements such as wedding customaries in China, Xinjiang dance, as well as the Chinese tongue twisters. Finally, the play has incorporated multiple Brechtian moments. Perhaps the Brechtian moments can lead audience to think about the current religious and cultural developments in modern China.

Air sampling methods to evaluate microbial contamination in operating theatres: results of a comparative study in an orthopaedics department.

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Napoli, C; Tafuri, S; Montenegro, L; Cassano, M; Notarnicola, A; Lattarulo, S; Montagna, M T; Moretti, B

2012-02-01

To evaluate the level of microbial contamination of air in operating theatres using active [i.e. surface air system (SAS)] and passive [i.e. index of microbial air contamination (IMA) and nitrocellulose membranes positioned near the wound] sampling systems. Sampling was performed between January 2010 and January 2011 in the operating theatre of the orthopaedics department in a university hospital in Southern Italy. During surgery, the mean bacterial loads recorded were 2232.9 colony-forming units (cfu)/m(2)/h with the IMA method, 123.2 cfu/m(3) with the SAS method and 2768.2 cfu/m(2)/h with the nitrocellulose membranes. Correlation was found between the results of the three methods. Staphylococcus aureus was detected in 12 of 60 operations (20%) with the membranes, five (8.3%) operations with the SAS method, and three operations (5%) with the IMA method. Use of nitrocellulose membranes placed near a wound is a valid method for measuring the microbial contamination of air. This method was more sensitive than the IMA method and was not subject to any calibration bias, unlike active air monitoring systems. Copyright © 2011 The Healthcare Infection Society. Published by Elsevier Ltd. All rights reserved.

Politics of Staging Capitalist Society in Transcultural Adaptations of Brecht’s The Threepenny Opera by Ajoka Theatre in Pakistan

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Taimur Kayani

2018-05-01

Full Text Available Brecht’s canonical literary work’s indigenization in Pakistan can offer a valuable transcultural adaptation study because it was performed through a radical theatre with a distinct dramaturgy and political philosophy in two different cultural contexts and historical frame of references. As the foremost representative of Brecht’s radical dramaturgy, philosophy and literary works in Pakistan since 1983, Ajoka theatre utilized these adaptations as a platform for airing a critique on capitalism in Pakistan. Prior researches focused on the formal criticism: visual and aural elements. No contextual reading is conducted to explore its political and cultural dimensions of these transcultural adaptations in providing descriptive critique on capitalist society of Pakistan. Realizing the paucity of indigenous academic work in this area this article takes this initiative and addresses this ‘research gap’ by first conducting a new historicist study of Brecht selected work and its transcultural adaptations in Pakistan. This article also investigates the theatrical and cultural factors which contributed to the enormous success of these transcultural adaptations of Brecht’s selected work in Pakistan in light of Hutcheon’s theory of adaptation.

MacLiammóir’s Minstrel and Johnston’s Morality: Cultural Memories of the Easter Rising at the Dublin Gate Theatre

NARCIS (Netherlands)

Beuken, R.H. van den

2015-01-01

This article explores how Micheál MacLiammóir and Denis Johnston attempted to perform cultural memories of the Easter Rising at the Dublin Gate Theatre and thereby articulated their respective views on a colonial past that had to be reassessed anew, on the one hand, and a postcolonial future that

‘ready apparrelled to begyn the play’: Collaboration, Text and Authorship in Shakespeare’s Theatre and on the Stage of the Commedia dell’Arte

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Paola Pugliatti

2016-03-01

Full Text Available Comparative examinations of the Commedia dell’Arte and early modern English theatre (and Shakespeare in particular have been directed mainly to the study of texts. These studies have argued convincingly that scripted and non-scripted comedies of the Italian stage and those of early modern English theatre developed similar themes, characters and conventions, constituting – in the words of Louise George Clubb – ‘an international movement of playmaking recognizable as Renaissance Drama’. Less attention has been devoted to a study of the material organizational side of these (different but similar theatrical enterprises. The article is a first attempt to consider, in a comparative perspective, what in both contexts happened ‘behind the scene’: in other words, how – in some cases similarly, in others differently – players and other professional figures collaborated in preparing the staging of plays.

Using a videogame to facilitate nursing and medical students' first visit to the operating theatre. A randomized controlled trial.

Science.gov (United States)

Del Blanco, Ángel; Torrente, Javier; Fernández-Manjón, Baltasar; Ruiz, Pedro; Giner, Manuel

2017-08-01

First experiences in the operating theatre with real patients are always stressful and intimidating for students. We hypothesized that a game-like simulation could improve perceptions and performance of novices. A videogame was developed, combining pictures and short videos, by which students are interactively instructed on acting at the surgical block. Moreover, the game includes detailed descriptive information. After playing, students are given feedback on their performance. A randomized controlled trial was conducted with 132 nursing and medical students with no previous experience in surgery. Sixty two (47.0%) were allocated to a control group (CG) and 70 (53.0%) to an experimental group (EG). Subjects in EG played the game the day prior to their first experience in the theatre; CG had no access to the application. On the day after their experience at surgery, all students filled in a questionnaire in a 7-point Likert format collecting subjective data about their experience in the surgical block. Four constructs related to students' feelings, emotions and attitudes were measured through self-reported subjective scales, i.e. C1: fear to make mistakes, C2: perceived knowledge on how to behave, C3: perceived errors committed, and C4: attitude/behaviour towards patients and staff. The main research question was formulated as follows: do students show differences in constructs C1-C4 by exposure to the game? EG reported statistically significant higher scores on the four aspects measured than CG (p<0.05; Mann-Whitney U tests; Cohen's d standardized effect size d1=0.30; d2=1.05; d3=0.39; d4=0.49). Results show clear evidence that the exposure to the game-like simulation had a significant positive effect on all the constructs. After their first visit to the theatre, students in EG showed less fear (C1) and also perceived to have committed fewer errors (C3), while they showed higher perceived knowledge (C2) and a more collaborative attitude (C4). Copyright © 2017

The effect of the development of theatre missile defences on the arms control structure

International Nuclear Information System (INIS)

Liu Min

1998-01-01

Th arms control structure usually refers to current and past results of the efforts by the USA and former Soviet Union to negotiate strategic arms control agreements. The structure is to be represented by the various arms control agreements, such as the Strategic Arms Limitation Talks (SALT) and the strategic Reduction Talks (START). Whatever the motives of the parties to these agreements, today people commonly regard the structure as the best way to achieve strategic stability. The profile od arms control and the impact of the Anti-Ballistic Missile (ABM) Treaty, to understand how the Theatre Missile Defence (TMD) program affects the arms control structure

The Breach and the Observance : Theatre retranslation as a strategy of artistic differentiation, with special reference to retranslations of Shakespeare's Hamlet (1777-2001)

NARCIS (Netherlands)

Mathijssen, J.W.

2007-01-01

The subject of "The Breach and the Observance" is retranslation for the theatre. Besides offering a model that incorporates the findings of previous scholarship, it casts new light on the motivation behind retranslation, using the case of translations of Shakespeare's Hamlet on the Dutch stage.

A combined teamwork training and work standardisation intervention in operating theatres: controlled interrupted time series study.

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Morgan, Lauren; Pickering, Sharon P; Hadi, Mohammed; Robertson, Eleanor; New, Steve; Griffin, Damian; Collins, Gary; Rivero-Arias, Oliver; Catchpole, Ken; McCulloch, Peter

2015-02-01

Teamwork training and system standardisation have both been proposed to reduce error and harm in surgery. Since the approaches differ markedly, there is potential for synergy between them. Controlled interrupted time series with a 3 month intervention and observation phases before and after. Operating theatres conducting elective orthopaedic surgery in a single hospital system (UK Hospital Trust). Teamwork training based on crew resource management plus training and follow-up support in developing standardised operating procedures. Focus of subsequent standardisation efforts decided by theatre staff. Paired observers watched whole procedures together. We assessed non-technical skills using NOTECHS II, technical performance using glitch rate and compliance with WHO checklist using a simple quality tool. We measured complication and readmission rates and hospital stay using hospital administrative records. Before/after change was compared in the active and control groups using two-way ANOVA and regression models. 1121 patients were operated on before and 1100 after intervention. 44 operations were observed before and 50 afterwards. Non-technical skills (p=0.002) and WHO compliance (pteamwork and system improvement causes marked improvements in team behaviour and WHO performance, but not technical performance or outcome. These findings are consistent with the synergistic hypothesis, but larger controlled studies with a strong implementation strategy are required to test potential outcome effects. Published by the BMJ Publishing Group Limited. For permission to use (where not already granted under a licence) please go to http://group.bmj.com/group/rights-licensing/permissions.

Beyond Mimesis to an Assemblage of Reals in the Drama Classroom: Which Reals? Which Representational Aesthetics? What Theatre-Building Practices? Whose Truths?

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Gallagher, Kathleen; Jacobson, Kelsey

2018-01-01

In this paper, the authors argue for novel, less mimetic, ways to harness "the real" in drama practices. They study particular youth theatre-making practices in a Toronto secondary classroom, both successes and failures, to make the case for an untethering of "the real" from realism's representational aesthetics. They further…

Decolonizing Alliances: Afro-Asian Choreographies by David Rouss�ve/REALITY and Ananya Chatterjea/Ananya Dance Theatre

OpenAIRE

Williams, Alessandra

2016-01-01

This dissertation demonstrates how diasporic practice experiments with cultural forms of communities of African and Asian descent for decolonizing purposes, or radically transforms systemically oppressive politics on nation, race, gender, and sexuality. Through case studies of two transnational dance companies known as the Los Angeles-based REALITY and Minneapolis-based Ananya Dance Theatre and their respective choreographers David Rouss�ve and Ananya Chatterjea, I discuss how choreographie...

Miloš Pietor and Shakespeare’s Historical Chronicles in the Slovak National Theatre

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Sládeček Ján

2017-06-01

Full Text Available The plays of William Shakespeare, except for Hamlet (Nová scéna, 1974 and Richard III (SND, 1987, do not define the artistic profile of Miloš Pietor, yet they significantly supplement it. Although as a dramaturge he felt at his best in a different repertoire, his several encounters with Shakespeare cannot go unnoticed. They must be examined for complete information about the director’s artistic development, but also about the productions of Shakespeare in Slovakia. Pietor had encountered Shakespeare six times; their seventh encounter was interrupted by the director’s unex pected death. The present paper deals with Pietor’s production of Shakespeare’s historical chronicles for the Slovak National Theatre in the period of 1980-1987.

Body and Embodiment in Theatre: from semiotics to neurosciences. A Short Interdisciplinary Glossary

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Marco De Marinis

2012-05-01

Full Text Available This text covers the concepts of body and embodiment, creating a lexicon of words serving as instruments to think about the latest theatre studies. It discusses the distinction between body and flesh and their theoretical-practical combination in the notion of embodiment. Likewise, it is supported by works by Marcel Jousse, Richard Schechner, JeanMarie Pradier, among others, to extend the spectrum of possibilities of thinking about the body in the contemporary scene. Connections are made between Neurosciences, Ethnoscenology and Performance Studies, in particular from the concept of mirror neurons as an embodied simulation of actions and intentions, showing possibilities to expand theatrology by including the study of the relationship between actor and spectator in an interdisciplinary perspective.

LRN, ERN:, & BERN @ Wireless Integrating the Sciences (WITS) Theatre

Science.gov (United States)

Hilliard, L.; Campbell, B.; Foody, M.; Klitsner, D.

2010-01-01

In order to develop a call to action for a learning tool that would work to best teach Science Technology Engineering and Math (STEM), the NASA Goddard team will partner with the inventor of Bop It!, an interactive game of verbs and following instructions; and Global Imagination, the developers of Magic Planet. In this paper Decision-making Orbital Health! (DOH!) will be described as a game derived from the basic functions necessary for Bop lt!, a familiar game. that will ask the educational audience to respond to changing commands to Bop It!, Twist It!, and Squeeze It! The success of the new version of the game, will be that the Earth will be making these commands from Dynamic Planet, and the crowd assembled can play wirelessly. Wireless Integrating The Sciences (WITS) Theatre : A balanced approach will describe how the communities local to Goddard and perhaps San Francisco will develop curriculum that helps kids teach kids with an engaging game and a STEM message. The performing arts will be employed to make it entertaining and appropriate to the size of the gathering, and the students educational level.

[Teamwork in the operating theatre: the German Observational Teamwork Assessment for Surgery (OTAS-D) and its first application in Germany].

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Passauer-Baierl, S; Chiapponi, C; Bruns, C J; Weigl, M

2014-12-01

The quality of surgical teamwork contributes to performance of the operating theatre team, service quality and patient safety in surgery. Observational tools are a feasible and reliable way to capture and evaluate teamwork in the operating theatre (OT). We introduce the German version of the Observational Teamwork Assessment for Surgery (OTAS-D) and present the first observational results from German OTs. Quality of surgical teamwork was assessed with observational teamwork assessment for surgery (OTAS-D). It evaluates five dimensions of OT teamwork: communication, coordination, cooperation/backup behaviour, leadership, and team monitoring/situation awareness. Each dimension is evaluated for each profession (surgical, nursing, and anaesthesia team) as well for each phase of the procedure (pre-, intra-, and post-operative). We observed n = 63 procedures, mainly in abdominal/general and orthopaedic surgery. Additionally, all OT team members scored their individual evaluation of the intra-operative teamwork (standardised 1-item questions). The OTAS-D evaluations showed meaningful results and differences for the OT professions as well as across the different phases of the procedures. Overall, a medium to good level of the OT teamwork was observed. There were no differences in regard to type of surgery (minimally invasive vs. open) or surgical specialties. With an increased coordination of the surgical team we observed a significantly increased cooperation of the nursing team (r = 0.36, p = 0.004). Concerning the OT staffs self-reports, the surgical and nursing teams reported higher scores for quality of surgical teamwork during the procedure than their anaesthesia team members. No significant relationships between observed quality of OT teamwork and self-reports were found. The German version of OTAS-D is a psychometrically robust method to capture the quality of teamwork in operating theatres. It enables the analyses of teamwork between the surgical

“Meanwhile use”: pop-ups, temporary spaces and the politics of scarcity in ‘do-it-yourself’ theatre-making

OpenAIRE

Butler, Linford

2017-01-01

This paper considers a ‘do-it-yourself’ politics and practice within contemporary theatre-making, one which “implies (and exploits) more rudimentary, accessible, tools and media, and promotes being more self-reliant” (Daniels, 2014, 11), in order to interrogate how the interplay between temporary performative spaces, artists, collectives and making a “virtue of having less resources” (Barker, 2014) constitutes the “political act of democratising art-making” (Daniels, 2014, 8). It consider...

Practice as research in drama and theatre: Introducing narrative supervision methodology

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Heli Aaltonen

2014-07-01

Full Text Available For four decades, the Norwegian University of Science and Technology, NTNU Trondheim, has pioneered the field of drama and theatre in higher education in Norway. This article addresses educational, academic and artistic challenges that emerge when practice as research in the arts enters the academic field of humanities. In particular, the article examines narrative supervision methodology at the master’s level. The first part of the paper identifies the foundations of the contextual and methodological challenges. The main body of the article explores three discussion topics, each illustrated by case examples of practical-theoretical master’s projects. The first example investigates experiential and theoretical borderland tensions; the second addresses onto-epistemic questions; and the third explores the communication of complex narrative construction. Storytelling metaphors are used to advance our emphasis on narrative inquiry as practitioner-researchers and supervisors. The dilemmas outlined are relevant to the Nordic and international community currently navigating this relatively new research area.

Exploring the Potential of Participatory Theatre to Reduce Stigma and Promote Health Equity for Lesbian, Gay, Bisexual, and Transgender (LGBT) People in Swaziland and Lesotho.

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Logie, Carmen H; Dias, Lisa V; Jenkinson, Jesse; Newman, Peter A; MacKenzie, Rachel K; Mothopeng, Tampose; Madau, Veli; Ranotsi, Amelia; Nhlengethwa, Winnie; Baral, Stefan D

2018-03-01

Stigma and discrimination affecting lesbian, gay, bisexual, and transgender (LGBT) people compromise health and human rights and exacerbate the HIV epidemic. Scant research has explored effective LGBT stigma reduction strategies in low- and middle-income countries. We developed and pilot-tested a participatory theatre intervention (PTI) to reduce LGBT stigma in Swaziland and Lesotho, countries with the world's highest HIV prevalence. We collected preliminary data from in-depth interviews with LGBT people in Lesotho and Swaziland to enhance understanding of LGBT stigma. Local LGBT and theatre groups worked with these data to create a 2-hour PTI composed of three skits on LGBT stigma in health care, family, and community settings in Swaziland (Manzini) and Lesotho (Maseru, Mapoteng). Participants ( n = 106; nursing students, health care providers, educators, community members) completed 12 focus groups following the PTI. We conducted thematic analysis to understand reactions to the PTI. Focus groups revealed the PTI increased understanding of LGBT persons and issues, increased empathy, and fostered self-reflection of personal biases. Increased understanding included enhanced awareness of the negative impacts of LGBT stigma, and of LGBT people's lived experiences and issues. Participants discussed changes in attitude and perspective through self-reflection and learning. The format of the theatre performance was described as conducive to learning and preferred over more conventional educational methods. Findings indicate changed attitudes and awareness toward LGBT persons and issues following a PTI in Swaziland and Lesotho. Stigma reduction interventions may help mitigate barriers to HIV prevention, treatment, and care in these settings with a high burden of HIV.

Theatre and Oral Interpretation: Abstracts of Doctoral Dissertations Published in "Dissertation Abstracts International," January through June 1982 (Vol. 42 Nos. 7 through 12).

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ERIC Clearinghouse on Reading and Communication Skills, Urbana, IL.

This collection of abstracts is part of a continuing series providing information on recent doctoral dissertations. The 25 titles deal with a variety of topics, including the following: (1) the development of American theatre management practices between 1830 and 1896; (2) the aesthetics of audience response; (3) P. Picasso as a theatrical…

An Early Concept of the Theatre of Interplay: The Relevance of Branko Gavella’s Theory for the Development of Performance Philosophy

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Sibila Petlevski

2017-06-01

Full Text Available The aim of this paper is to contribute to the shift in the perception of Branko Gavella’s theoretical work based on the phenomenology of intersubjectivity, and to point to the relevance of his theory of acting for the autochthonous development of the European branch of the modern philosophy of performance, as an interdisciplinary filed of research different form the methods traditionally employed by aestheticians of theatre. This paper—based on several decades of work on the systematization and comparative contextualization of Gavella’s theoretical ouvre—makes an attempt at demonstrating the operability of Gavella’s concepts in the context of some recent interdisciplinary insights into the performance phenomenon. Gavella’s theory can clearly distinguish concepts that we bracket today under the rubric of meaning, as opposed to use, i.e. language-reference, as opposed to speaker’s reference. Already in the 1930s, he applied the relation of semantics to pragmatics, as it would eventually be understood in speech act theory from Austin on, to the problems peculiar to theatre. The core of this paper deals with Gavella’s “speech situations”, and the dynamism of exchange in the relational space of culture.

The CinéGlobe film festival opens at CERN and the Forum Meyrin theatre

CERN Multimedia

CERN Bulletin

2010-01-01

The second edition of CinéGlobe, the international festival of short films and science documentaries, will be held from 16 to 20 February 2010. It is being organised by the club Open Your Eyes Films, CERN and the culture office of the city of Meyrin. For five days, 80 films from amongst the 700 submissions will be shown at the Globe of Science and Innovation and in the Forum Meyrin theatre. On Saturday, 20 February 2010, a jury composed of film professionals and public figures will award a Golden CinéGlobe for the best film in each category, along with an audience award, at a ceremony in the Globe of Science and Innovation. The festival programme is available for download. See you at the movies!

A noise-reduction program in a pediatric operation theatre is associated with surgeon's benefits and a reduced rate of complications: a prospective controlled clinical trial.

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Engelmann, Carsten R; Neis, Jan Philipp; Kirschbaum, Clemens; Grote, Gudela; Ure, Benno M

2014-05-01

We assessed the impact of a noise-reduction program in a pediatric operating theatre. Adverse effects from noise pollution in theatres have been demonstrated. In 156 operations spatially resolved, sound levels were measured before and after a noise-reduction program on the basis of education, rules, and technical devices (Sound Ear). Surgical complications were recorded. The surgeon's biometric (saliva cortisol, electrodermal activity) and behavioral stress responses (questionnaires) were measured and correlated with mission protocols and individual noise sensitivity. Median noise levels in the control group versus the interventional group were reduced by -3 ± 3 dB(A) (63 vs 59 dB(A), P 0.05). Spontaneous noise during pediatric operations attains the magnitude of a lawn mower and peaks resemble a passing truck. The sound intensity could be reduced by 50% by specific measures. This reduction was associated with a significantly lowered number of postoperative complications. The surgeon's benefits are idiosyncratic with "responders" experiencing marked improvements.

Surgical smoke - a health hazard in the operating theatre: a study to quantify exposure and a survey of the use of smoke extractor systems in UK plastic surgery units.

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Hill, D S; O'Neill, J K; Powell, R J; Oliver, D W

2012-07-01

Surgeons and operating theatre personnel are routinely exposed to the surgical smoke plume generated through thermal tissue destruction. This represents a significant chemical and biological hazard and has been shown to be as mutagenic as cigarette smoke. It has previously been reported that ablation of 1 g of tissue produces a smoke plume with an equivalent mutagenicity to six unfiltered cigarettes. We studied six human and 78 porcine tissue samples to find the mass of tissue ablated during 5 min of monopolar diathermy. The total daily duration of diathermy use in a plastic surgery theatre was electronically recorded over a two-month period. On average the smoke produced daily was equivalent to 27-30 cigarettes. Our survey of smoke extractor use in UK plastic surgery units revealed that only 66% of units had these devices available. The Health and Safety Executive recommend specialist smoke extractor use, however they are not universally utilised. Surgical smoke inhalation is an occupational hazard in the operating department. Our study provides data to quantify this exposure. We hope this evidence can be used together with current legislation to make the use of surgical smoke extractors mandatory to protect all personnel in the operating theatre. Copyright © 2012 British Association of Plastic, Reconstructive and Aesthetic Surgeons. Published by Elsevier Ltd. All rights reserved.

High-quality remote interactive imaging in the operating theatre

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Grimstead, Ian J.; Avis, Nick J.; Evans, Peter L.; Bocca, Alan

2009-02-01

We present a high-quality display system that enables the remote access within an operating theatre of high-end medical imaging and surgical planning software. Currently, surgeons often use printouts from such software for reference during surgery; our system enables surgeons to access and review patient data in a sterile environment, viewing real-time renderings of MRI & CT data as required. Once calibrated, our system displays shades of grey in Operating Room lighting conditions (removing any gamma correction artefacts). Our system does not require any expensive display hardware, is unobtrusive to the remote workstation and works with any application without requiring additional software licenses. To extend the native 256 levels of grey supported by a standard LCD monitor, we have used the concept of "PseudoGrey" where slightly off-white shades of grey are used to extend the intensity range from 256 to 1,785 shades of grey. Remote access is facilitated by a customized version of UltraVNC, which corrects remote shades of grey for display in the Operating Room. The system is successfully deployed at Morriston Hospital, Swansea, UK, and is in daily use during Maxillofacial surgery. More formal user trials and quantitative assessments are being planned for the future.

Analysis of clothing and urine from Moscow theatre siege casualties reveals carfentanil and remifentanil use.

Science.gov (United States)

Riches, James R; Read, Robert W; Black, Robin M; Cooper, Nicholas J; Timperley, Christopher M

2012-01-01

On October 26, 2002, Russian Special Forces deployed a chemical aerosol against Chechen terrorists to rescue hostages in the Dubrovka theatre. Its use confirmed Russian military interest in chemicals with effects on personnel and caused 125 deaths through a combination of the aerosol and inadequate medical care. This study provides evidence from liquid chromatography-tandem mass spectrometry analysis of extracts of clothing from two British survivors, and urine from a third survivor, that the aerosol comprised a mixture of two anaesthetics--carfentanil and remifentanil--whose relative proportions this study was unable to identify. Carfentanil and remifentanil were found on a shirt sample and a metabolite called norcarfentanil was found in a urine sample. This metabolite probably originated from carfentanil.

Literary Representations of Capitalist Dictatorship in Transcultural Adaptations of Brecht’s The Resistible Rise of Arturo Ui by Ajoka Theatre in Pakistan

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Taimur Kayani

2017-01-01

Full Text Available Brecht’s ‘canonical’ literary work’s indigenization in Pakistan can offer a valuable transcultural adaptation study because it was performed through a radical theatre with a distinct dramaturgy and political philosophy in two different cultural contexts and historical frame of references. As the foremost representative of Brecht’s radical dramaturgy, philosophy and literary works in Pakistan since 1983, Ajoka theatre utilized these adaptations as socio-political spaces to challenge dominant discourses on the rise of dictatorship and capitalism in Pakistan. Prior studies explored the formal elements of these adaptations of The Resistible Rise of Arturo Ui(1942 : visual and aural and the intellectual content i.e. political dimension of this ‘social action theatre’ is still unexamined. This contextual reading attempts to fulfill this ‘gap’ by conducting a seminal contextual criticism on ‘literary representations’ of Pakistani pro-capitalist dictators in selected transcultural adaptations of Brecht’s work in light of new historicism and Hutcheon’s Theory of Adaptation. The article also explores how in the second phase Brecht’s social and political philosophy is reflected in Ajoka’s signature plays, Bala King (1997 and The Third Knock (1970.

Book Review: Chemistry in Theatre. Insufficiency, Phallacy or Both

Science.gov (United States)

Sterken, Christiaan; Djerassi, Carl

2012-11-01

This book deals with the question of what role a play, or the theatre, can fulfill as an educational or pedagogic tool in the broad scope of science learning and education. The book contains the texts of two of the author's recent plays, viz. Insufficiency and Phallacy. Carl Djerassi is a writer and an emeritus professor of chemistry at Stanford University. He has published short stories, poetry, some novels and several "science-in-theatre" plays. Almost one fifth of this slim booklet is occupied by Djerassi's preface that is, in its own right, a most useful essay worth reading by any student of the exact sciences. Djerassi's point is that most of the modern science plays have a didactic component, and aim to illustrate - through the medium of theatre - what science or scientists are all about. To make such plays available to a broad audience, he advocates the production of readable books written in play format. The strong point of such plays is the dialogue format - as was already very well known by forerunners like Galileo Galilei with his Dialogue Concerning the Two Chief World Systems, published in 1632. Djerassi does not tell what his characters do, but he emphasises how and why they do some specific thing. Insufficiency is about the chemistry of champagne bubbles (coined bubbleology, i.e., the science of champagne or beer bubbles), in a scientific academic context dealing with tenure and fashion. The story clearly shows how the life of a young tenure-seeking scientist develops under the strong interlock of forced - but also of voluntary - overwork that leads to tenure (in turn accompanied by an increase in material security). But it also mentions the self-imposed and seemingly unescapable treadmill of success and scientific achievement that comes with tenure. The play also deals with fashion in science via the simplistically coined term bubbleology, and the author shows that the actual implications of this "science" actually even reach to cosmology. The

Chasing the Intangible: a Conversation on Theatre, Language, and Artistic Migrations with Irish Playwright Marina Carr

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Valentina Rapetti

2014-07-01

Full Text Available Offally born Marina Carr is amongst the most prolific, influential and internationally renowned Irish playwrights of our times. Since her debut on the avant-garde side of the Dublin theatre scene in the late Eighties, she has had  seventeen plays professionally produced, both in and outside Ireland. Her earlier work is influenced by Samuel Beckett’s Absurdist drama, while in her most mature and recent plays she draws on both classical and Irish mythology, Greek tragedies and Shakespeare’s poetics. In this interview, Marina Carr recalls and discusses some pivotal moments of her upbringing and career; she also speaks about language, landscape, dream

A Journey of Change with a Big Blue Whale: A Theatre-in-Education (TIE) Programme on Disability and Dilemmas in the Inclusive Classroom in Korea

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Kim, Byoung-Joo

2009-01-01

The article chronicles and discusses "A Big Blue Whale's Dream," one of the first major theatre-in-education (TIE) projects commissioned by local and governmental cultural foundations in South Korea. Designed specifically for the non-disabled fifth and sixth graders of Inclusive Classes to enhance their awareness and perception towards…

Atom Surprise: Using Theatre in Primary Science Education

Science.gov (United States)

Peleg, Ran; Baram-Tsabari, Ayelet

2011-10-01

Early exposure to science may have a lifelong effect on children's attitudes towards science and their motivation to learn science in later life. Out-of-class environments can play a significant role in creating favourable attitudes, while contributing to conceptual learning. Educational science theatre is one form of an out-of-class environment, which has received little research attention. This study aims to describe affective and cognitive learning outcomes of watching such a play and to point to connections between theatrical elements and specific outcomes. "Atom Surprise" is a play portraying several concepts on the topic of matter. A mixed methods approach was adopted to investigate the knowledge and attitudes of children (grades 1-6) from two different school settings who watched the play. Data were gathered using questionnaires and in-depth interviews. Analysis suggested that in both schools children's knowledge on the topic of matter increased after the play with younger children gaining more conceptual knowledge than their older peers. In the public school girls showed greater gains in conceptual knowledge than boys. No significant changes in students' general attitudes towards science were found, however, students demonstrated positive changes towards science learning. Theatrical elements that seemed to be important in children's recollection of the play were the narrative, props and stage effects, and characters. In the children's memory, science was intertwined with the theatrical elements. Nonetheless, children could distinguish well between scientific facts and the fictive narrative.

Investigating a theatre-based intervention for Indigenous youth with fetal alcohol spectrum disorder: Exploration d'une intervention basée sur le théâtre auprès de jeunes Autochtones atteints du syndrome d'alcoolisme fœtal.

Science.gov (United States)

Keightley, Michelle; Agnihotri, Sabrina; Subramaniapillai, Sivaniya; Gray, Julia; Keresztesi, Jennifer; Colantonio, Angela; Polatajko, Helene J; Cameron, Debra; Wiseman-Hakes, Catherine

2018-04-01

Theatre-based interventions use artistic media to facilitate social and emotional awareness and have therapeutic benefits for persons with developmental disabilities and mental health problems. The role of these interventions with Indigenous youth who have emotional, behavioural, and cognitive sequelae related to fetal alcohol spectrum disorder (FASD) has not been explored. The purpose of this study was to explore the experiences and acceptability of a theatre-based approach for facilitating social communication and engagement in youth with FASD. Participants were three Indigenous youth with FASD. A qualitative exploration of the experiences and acceptability of the intervention was conducted via focus groups held 2 weeks post-program participation with the participants, their caregivers, and program facilitators. The transcripts were analyzed using an inductive thematic approach. Our results identified perceived postintervention improvements in participants' development of self-esteem, social skills, and emotional awareness. A theatre-based arts intervention has the potential to support improvements in social skills for youth with FASD.

Changes in anxiety following a randomized control trial of a theatre-based intervention for youth with autism spectrum disorder.

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Corbett, Blythe A; Blain, Scott D; Ioannou, Sara; Balser, Maddie

2017-04-01

Increased anxiety and stress are frequently found in children with autism spectrum disorder and are associated with social challenges. Recently, we reported changes in social competence following peer-mediated, theatre-based intervention. The purpose of this study was to examine the impact of the intervention on reducing anxiety and stress. Participants included 30 youth with autism spectrum disorder (8-14 years old) randomly assigned to the experimental (17) or waitlist control (13) group. Pretest adjusted, between-group differences were analyzed for state-anxiety, trait-anxiety, play-based cortisol, and diurnal cortisol. Pearson correlations were conducted between anxiety, cortisol, and group play. Significant pretest-adjusted between-group differences at posttest were observed on trait-anxiety (F(1, 27) = 9.16, p = 0.005) but not state-anxiety (F(1, 27) = 0.03, p = 0.86), showing lower trait-anxiety in the experimental group. There were no between-group differences on cortisol. There was a significant negative correlation between group play and trait-anxiety (r = -0.362, p = 0.05). Playground cortisol correlated with group play, for the experimental group (r = 0.55, p = 0.03). The theatre-based, peer-mediated intervention not only contributes to improvement in social competence in youth with autism spectrum disorder but also contributes to reductions in trait-anxiety associated with more social interaction with peers. Results suggest that some degree of physiological arousal is essential for social interaction.

Lights, camera, education! The potentials of forum theatre in a learning disability nursing program.

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McClimens, Alex; Scott, Rachel

2007-04-01

Learning disability nurse education, with a current emphasis on inclusive practice and a history of listening to the person with the disability, is well placed to take advantage of more 'experimental' forms of classroom teaching. In this article we argue for the use of forum theatre as a method of addressing topics from practice within an educational setting. Based on our emergent and exploratory work with students we detail at length the theoretical background that supports such an approach and contextualise the issues with reference to a short piece of drama we have used successfully with different student groups. We feel that the success of this method is due to the involvement of students in directing their own education as well as the inclusion of individuals labelled with learning disability as an integral part of the process.

Il Teatro Shakespeariano di Danzica. L'Alato / Gdansk Shakespearian Theatre. The Winged

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Renato Rizzi

2014-05-01

Full Text Available Il 23 aprile, giorno della nascita e della morte di William Shakespeare, è stato inaugurato il tetto apribile del nuovo Teatro Elisabettiano, che sarà inaugurato il prossimo settembre a Danzica. L'evento diventa l'occasione per celebrare allo stesso tempo le potenze plastiche del simbolo, che, disseminate nella metafisica dei luoghi (e della memoria, guidano le forze alla 'forma' e i valori e gli ideali che hanno sostenuto il tormentato processo storico della città baltica e della nazione polacca. / On 23 April, the date of the birth and death of William Shakespeare, the openable roof of the new Elizabethan Theatre in Gdańsk was inaugurated, with an official ceremony for the latter to come in September. The event became an opportunity to celebrate both the plastic powers of the symbol, which, scattered through the metaphysics of places (and memory, guide the forces to 'form' as well as the values and ideals that have sustained the tormented historical process of this Baltic city and the Polish nation as a whole.

Geosciences Acting Out: Using Theatre to Understand Citizen Values and Concerns with Respect to Marcellus Gas Development

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Orland, B.; Doan, W. J.; Russell, S. B.; Belser, A.

2014-12-01

Marcellus shale gas is being developed with unprecedented speed. The highly capitalized energy industry has influenced major changes in the regulatory framework at federal and state levels and entered into mineral lease agreements 100-fold bigger that previously seen in Northern Pennsylvania. At the same time, the technical and scientific issues at play from geology and hydrology through ecology and sociology effectively block local citizens from fully understanding and participating in decision-making about their own futures. The Marcellus Community-Based Performance Program engages adult residents, landowners, and local decision makers in knowledge-generating performances made collectively with those most impacted by shale gas development. Unlike traditional proscenium stage theatre, community-based performance is a collaborative means for exploring a collectively significant issue or circumstance. The choice to use a community-based theatre method, which engages the spectators in the performance itself as a way of making meaning, was based on the following goals to achieve good debate; to engage community participants in discussion through the exchange of ideas, argument and counter-argument, in an effort to further the education of all; to facilitate the perspectives of citizens in communities where different responses to the risk issues exist because of local economies and legacies with resource extraction. The plays and performances, developed around the broad theme of Living with Risk and Uncertainty, use existing research, reports, newspaper articles, and interviews to present the range of perceptions, facts, and issues surrounding the environmental risks associated with natural gas drilling and focused on developing scientific understanding. Performances have been assessed by seeking direct feedback from participants through pre-performance surveys, post-performance dialogues (talk-backs), and exit interviews. Participants have reported the highest levels

The surgeon and his tools-the case for a focused orthopaedic theatre induction programme

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Wong Shaun KS

2008-10-01

Full Text Available Abstract Background Induction programme for trainee doctors in the UK generally do not focus on the surgical aspects of their jobs. In this context we decided to conduct a telephonic survey among the hospitals belonging to three orthopaedic training regions in the UK from the point of view of the diversity of instrumentations and implants used for index procedures. Results We chose four index trauma & orthopaedic procedures (Total hip replacement, total knee replacement, intramedullary nailing and external fixator systems for long bone fractures. A telephonic survey was done in six NHS trust hospitals which were part of an orthopaedic training rotation (2 from England, 2 from Wales and 2 from Scotland. In total there were 39 different instrumentation systems for these 4 index procedures in the 6 trusts (see table 1. These comprise 12 Total hip replacement (THR systems, 14 total knee replacement (TKR systems, 9 intra-medullary nailing systems, and 4 external fixator systems. The number of different systems for each trust ranged from 7 to 19. There is a vast array of implants and instrumentation systems in each trust, as highlighted by our survey. The surgical tools are not the same in each hospitals. This situation is more complicated when trainees move to new hospitals as part of training rotations. Table 1 Number of implants/instrumentations used in each of the 6 UK trusts (3 training regions. IMPLANT E1 E2 W1 W2 S1 S2 Total Knee Replacement 4 5 2 4 3 2 Total Hip Replacement 3 4 3 6 3 3 Intramnedullary nailing 2 1 1 6 2 3 External fixators 2 3 2 2 1 1 TOTAL 11 13 8 18 9 9 E = England, W = Wales, S = Scotland Conclusion In view of this we feel that more focused theatre based induction programmes for higher surgical trainees is advocated in each hospital trust so trainees can familiarise themselves with the tools available to them. This could include discussion with the consultants and senior theatre staff along with representatives from the

The nonagon as a tool for the drawing of the Roman Theatre of Lecce

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Giampiero Mele

2015-07-01

Full Text Available  The signs of the Roman city of Lupiae, current Lecce, are many and among them the most noteworthy is the Roman Theatre. The monument has been accidentally discovered during the excavations for the foundations of a house in 1929  and it is located short distance from another landmark of the Roman Lecce: the amphitheatre. The chance of utilizing a the latest threedimensional technology for the detection of the  ruins was an opportunity to study the model of the survey obtained. The analysis of the latter reveals a mismatch with the instructions in “De Architectura” by Vitruvius and shows a particular use of the nonagon for the  design of its iconography. This study aims to compare the hypothesis obtained from the analysis of the metrological survey with the rules explained in the work of Vitruvio to underline similarities and differences between theory and practice.

“Will We be Tested on This?”: Schoolgirls, Neoliberalism and the Comic Grotesque in Swedish Contemporary Youth Theatre

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Anna Lundberg

2013-06-01

Full Text Available This article is based on an ethnographic participation study of the production of a play called All about the ADHD and A+ Children of Noisy Village (Ännu mer om alla vi ADHD- och MVG-barn i Bullerbyn staged at one of Sweden’s most prom-inent playhouses for children’s and youth theatre: ung scen/öst. Within the familiar setting of the classroom, the play takes on the challenging task of questioning and scrutinizing the complex and tangled situation of contemporary neoliberal ideas and practices, their connections to capitalism and their impact on everyday school-life. This in front of an audience consisting mainly of individuals who were not even born at the time when the political map was radically re-drawn in Berlin in 1989, and who have grown up during a period when neoliberal governance has gained increasing influence in Swedish culture and society. The play mediates its dense, political content and its descriptions of teenagers’ everyday lives through a large portion of good old-fashioned entertainment, with music, singing and bi-zarre, laughter-provoking situations.The main research question to be answered in the article is: In what ways are the abstract contemporary economic-political manifestations of power and govern-ance expressed in this good-humored play for youth, and how can this be read from a feminist perspective? Hence, the article circles around three nodes that in-tersect in various ways: theatre, economic-political issues and feminist perspec-tives. The theoretical framework of the article is primarily based on a merger be-tween, on the one hand, feminist social science and, on the other, feminist cultural analysis.

Rune Frederiksen, Elizabeth R. Gebhard & Alexander Sokolicek (eds.), The Architecture of the Ancient Greek Theatre, Monographs of the Danish Institute, Volume 17 (Aarhus: Aarhus University Press and The Danish Institute at Athens, 2015)

OpenAIRE

William C. Miller

2017-01-01

A review of the book: Rune Frederiksen, Elizabeth R. Gebhard & Alexander Sokolicek (eds.), The Architecture of the Ancient Greek Theatre, Monographs of the Danish Institute, Volume 17 (Aarhus: Aarhus University Press and The Danish Institute at Athens, 2015)

Rune Frederiksen, Elizabeth R. Gebhard & Alexander Sokolicek (eds., The Architecture of the Ancient Greek Theatre, Monographs of the Danish Institute, Volume 17 (Aarhus: Aarhus University Press and The Danish Institute at Athens, 2015

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William C. Miller

2017-03-01

Full Text Available A review of the book: Rune Frederiksen, Elizabeth R. Gebhard & Alexander Sokolicek (eds., The Architecture of the Ancient Greek Theatre, Monographs of the Danish Institute, Volume 17 (Aarhus: Aarhus University Press and The Danish Institute at Athens, 2015

Romėnų teatras ir Senekos tragedijos: Pamišęs Herkulis, Edipas. The Roman theatre and Seneca’s tragedies Hercules Furens, Oedipus

OpenAIRE

Jovita Dikmonienė

2009-01-01

The article analyses the feelings of characters in Seneca’s tragedies prior and after recognising their guilt. Expression of the feelings of the characters in Seneca’s two tragedies Hercules Furens and Oedipus is compared, features characteristic of tragedies of recognition and the main feelings of their characters are revealed: disintegration and social fear, guilt and shame. The latest studies on Seneca’s dramas are reviewed, as well as historical knowledge about the Roman theatre in Seneca...

"You know the homophobic stuff is not in me, like us, it's out there". Using Participatory Theatre to challenge heterosexism and heteronormativity in a South African school

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Dennis Francis

2013-01-01

Full Text Available Forum Theatre (FT, a participatory improvised theatre form, raises consciousness, enables debate and critical reflection, and encourages a democratic form of knowledge production that engages the audience in their own learning and unlearning. I used FT as a platform to understand how 15- to 18-year-old learners, in a co-educational school in the Free State, experience and respond to heterosexism and heteronormativity. In this article, I explore whether FT sessions, based on the sociodramatic theories of Boal, are a sufficient enough construct to challenge heterosexism. Data collected for this article included videotapes of the performances, discussions, and field notes. The FT scenes and subsequent discussions suggest that young people bemoan heterosexism and heteronormativity in their school and demonstrate a commitment to challenge extreme examples of prejudice and behaviour by their teachers and peers, yet ignore or shy away from everyday examples of heterosexist exclusions and privilege. I argue that a participatory process, such as FT, can be a useful construct to challenge heterosexism, but it is not in itself liberatory, as the issues of socialisation, privilege, and context cannot be bypassed simply through 'participation'.

Marguerite Duras/Claude Régy: L’Amante Anglaise, the genesis of a text, the gestation of a theatre

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Almuth Grésillon

2013-07-01

Full Text Available This article focuses on the genesis of the first staging of Margerite Duras’s L’Amante Anglaise, by Claude Régy, a well succeeded genesis, carried out based on the interplay between dramaturgy and the stage. Without any satisfying answer, we are facing an important theoretical issue of genetic criticism applied to theatre: is the work a dramatic text or a spectacle? Depending on the stress on the first or on the second answer, the organizing axis of the genetic dossier can be the author’s writing and all stagings of L’Amante Anglaise,forming a theoretically unified set; or the director’s notes and all of his creations. This study explores a third possibility, stipulating the indispensable intersection between both hypotheses.

Luther in the «Cortes de la Muerte»: Representing Heresy in the Spanish Theatre of the Sixteenth Century

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Jimena Gamba Corradine

2017-11-01

Full Text Available Taking into account the presence of Luther and Lutherans in the Cortes de la Muerte, the Farsa militar by Diego Sánchez de Badajoz and some plays from the Códice de autos viejos, we analize the figure of the heresiarch and the heretic in the Spanish theatre of the mid-sixteenth century. This issue brings us to the question of the origin of the sacramental drama as an antiprotestant reaction. In the second half of this article we present a hypothesis about the extend of participation in the Cortes of the two writers  (Miguel de Carvajal and Hurtado de Toledo, based on the different spiritual traditions found in the text.

U Tingiutu. Ajax in Calabria. Political Fissures in the Theatre of Scena Verticale

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Angela Albanese

2015-11-01

Full Text Available The curse of Calabria is collusion. Collusion between the law of the state and the hidden law, between the power of public institutions and mafia power, between upright citizens and "la mala carne", the "evil flesh" of the criminal underworld. Director, actor and playwright Dario De Luca, guiding spirit with Saverio La Ruina of the Scena Verticale theatre company, shines a light on the criminal state within the state in his new play, U Tingiutu. Ajax in Calabria, in which he also performs along with four other actors. De Luca has transformed Sophocles's tragedy to illuminate the daily tragedy of gang warfare, street killings, and blood spilled in the name of honor, in the face of the cowardly inertia of those who pretend not to see. De Luca's Calabria is beseiged by 'ndrangheta power and drained by an ineffectual, often complicit political sector, its social fabric muddied and torn. The dynamics by which mafia violence insinuates itself into the shadowy corners of politics to seize control of the law are acutely revealed in the shadow zones of language, in the harsh, archaic dialect of the region, full of allusion, meaningful silence and glances.

Geleneksel Japon Kabuki Dans Tiyatrosunun Aykırı Bedenleri “Onnagatalar” / Traversal Bodies of Traditional Japanese Kabuki Dance Theatre “Onnagatas”

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Yasemin KILINÇARSLAN

2017-11-01

Full Text Available Kabuki dans tiyatrosu Japonya’nın, tarihi dört asra kadar uzanan en önemli gösteri sanatlarından birisidir. Bu lirik tiyatro tarzı son derece stilistiktir ve etkileyici görsellere ve ses performanslarına dayanır. Kabuki dans tiyatrosunda dokunma duyusu ve bakış, yüksek-alçak müzik sesi ve haraketli sahnelerle uyarılır. Bu avangard tiyatro stilinde makyaj, rol yapma gücüyle bağlantılı olarak performans eşliğinde kullanılır. Bu durum, karakterlerin temsilinde ve vurgulanmasında en önemli araçlardan birisidir. Onnagata terimi, kadın karakterlerin erkek oyuncular tarafından canlandırılmasıdır. Onnagata rolündeki erkek oyuncu kadın taklidi yapmaz, gerçek bir kadınmış gibi kadın karakteri temsil eder. Bu noktada, bir kadın karakterin canlandırılması, kadının feminen güzelliğinden ve estetiğinden daha da önemli hale gelir. Bu çalışma, onnagatalığın Kabuki sahnesinde canlandırılması, temsili, onnagata bedeninin kuruluşu ve farklı bir beden sunumu olarak önemi üzerinde durmaktadır. Çalışmada, tiyatral iletişim modeli aracılığıyla onnagata temsillerinin fiziksel ve içeriksel boyutu analiz edilmiştir. / Kabuki dance theatre is one of the most important performance arts of Japan culture for four hundred years. This lyric theatre style is extremly stylistic and based on enchanting visual and sound performance. Tactual sense and eyesight are stimulated through high and low music sound, effects and moving stage in Kabuki. Make-up is one of the most important presentation mediums for introducing and emphasising the characters. The power of performance depends on perfection of acting in this avangard theatre style. The term Onnagata is a situation and it means personation of woman characters by man performers. In Onnagata situation, actors don’t pretend like a woman, they represent the woman character like a real woman. In this point, personation of a woman character is more important

Numerical simulation of the impact of surgeon posture on airborne particle distribution in a turbulent mixing operating theatre

DEFF Research Database (Denmark)

Sadrizadeh, Sasan; Afshari, Alireza; Karimipanah, Taghi

2016-01-01

Highlights •Airborne particles released from surgical team members are major sources of surgical site infections. •Effect of surgeon’s posture on particle distribution within the surgical area is not well known and documented. •Mobile laminar units were investigated as an addition to conventional...... turbulent-mixing operating theatre. •With proper work practice, the laminar units reduced the airborne bacteria concentration down to an acceptable level. •Lower source strength in general resulted from a high protective clothing system reduce the bacteria concentration.......Highlights •Airborne particles released from surgical team members are major sources of surgical site infections. •Effect of surgeon’s posture on particle distribution within the surgical area is not well known and documented. •Mobile laminar units were investigated as an addition to conventional...

The Development of the Comic Spirit in 17th Century England from James Shirley to William Congreve. Curriculum Projects, April 7-June 16, 1992. The Huntington Theatre Company Master Works Study in Restoration Comedy.

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Huntington Theatre Co., Boston, MA.

Developed by the participants of the Huntington Theatre Company's Master Works Study in Restoration Comedy, this collection presents one-day lesson plans and curriculum projects for teaching Restoration comedy. The collection offers 15 one-day lesson plans and 15 curriculum projects (ranging over several weeks) suitable for secondary school…

The Learning Science through Theatre Initiative in the Context of Responsible Research and Innovation

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Zacharoula Smyrnaiou

2017-10-01

Full Text Available Fostering Responsible Research and Innovation (RRI is the next big step in the methodological teaching of Science. This is the solution towards an open classroom and innovation system of learning. The school science teaching needs to become more engaging. Science education should be an essential component of a learning continuum not only in classroom, but also for all, from pre- school to active engaged citizenship. "The Learning Science Through Theatre" Initiative creates a network of knowledge and collaboration between different communities by learning about science through other disciplines and learning about other disciplines through science. Forty Three (43 theatrical performances during the school years 2014-2016 were organized by secondary school students (2000 subjects which embed both scientific concepts and cultural/ social elements which are expressed by embodied, verbal interaction and analogies. The methodology constitutes a merging of qualitative, quantitative and grounded theory analysis. The data were classified into categories and they were cross- checked by registrations forms, filled by the teachers. Results show that the acquisition of knowledge is successful with the co- existence of multiple semiotic systems and the theatrical performances are compatible with the principles of RRI.

The Field Concept in Psychology, Gestalt Theory, Physics, and Epic Theatre – Brecht’s Adaptations of Kurt Lewin

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Langemeyer, Ines

2017-03-01

Full Text Available In the first half of the 20th century, the field concept was part of theoretical and methodological innovations in physics, gestalt theory as well as epic theatre as introduced by Bertolt Brecht. Another reference is the psychology of Kurt Lewin. In what ways Brecht took notice of Lewin’s research, especially his demand of a transition from Aristotelian to Galileian thought is reconstructed within the context of paradigm shifts fostered by logical empiricism, gestalt theory and physics. Lewin’s argumentation of an advanced understanding of the lawfulness of societal and psychological processes is placed in the center and traced back as an inspiration to Brecht’s writings. Vice versa, the article investigates in what ways Brecht’s theoretical writings and adaptations of Lewin’s approach can be reconsidered as a source for psychological theorizing.

[Anatomy as theatre. From the library of the Society of the Dutch Journal of Medicine. Govard Bidloo: Ontleding des Menschelijken Lichaams (Dissection of the Human Body); 1689; and William Cowper: The Anatomy of Humane Bodies; 1698].

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Molenaar, J C

2004-12-25

Opinions differ regarding the scientific quality of the atlas by Govard Bidloo, Ontleding des Menschelijken Lichaams (Dissection of the Human Body) (1689) and the plagiarism made thereof by William Cowper, The Anatomy of Humane Bodies (1698). Both books were also published in Latin; the Society of the Dutch Journal of Medicine has acquired a copy of all 4 atlases. The anatomical plates were made by the artist Gerard de Lairesse (Liège 1640-Amsterdam 1711) and their great artistic value is beyond all doubt. De Lairesse settled in Amsterdam in 1665, a few months after the reopening of the city theatre, and subsequently achieved fame as an innovative creator of theatre sets. He also became one of the favourite artists of prince William III and many other well-to-do citizens of Amsterdam. The great artistic value of his anatomical plates justifies more attention for his importance as a medical illustrator in medical history.

A arte na formação de professores de crianças de todas as idades: o teatro é um conto vivo Arts in the training of teachers for children of all ages: theatre is a live short-story

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Roberto Frabbetti

2011-08-01

Full Text Available Este artigo aborda a formação teatral de professores e professoras de crianças. A partir de experiências da companhia de teatro La Baracca para a Secretaria de Educação da Prefeitura de Bolonha, o texto apresenta as oportunidades que o teatro pode oferecer, para que adultos e crianças, mesmo aquelas muito pequenas, possam se encontrar. Trata ainda de aspectos da história do La Baracca, mostrando alguns dos desafios e procedimentos para pesquisar e formar docentes de educação infantil em creches e pré-escolas italianas. A atuação e as instigantes relações entre docentes e crianças tão pequenas têm se mostrado um espaço em fecunda discussão.This article covers the female and male teachers' training in theatre. Based on experiences of the La Baracca theatre company, to the Department of Education of the City Council from Bologne, it presents opportunities that can be offered by theatre for adults and children, even the very young ones, to meet. It also deals with the history of the La Baracca company, and shows some of the challenges and procedures to carry out researches and train day care center and kindergarten teachers. The work and the thought-provoking relationships between teachers and very young boys and girls promote very fertile discussions.

Active learning in the lecture theatre using 3D printed objects.

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Smith, David P

2016-01-01

The ability to conceptualize 3D shapes is central to understanding biological processes. The concept that the structure of a biological molecule leads to function is a core principle of the biochemical field. Visualisation of biological molecules often involves vocal explanations or the use of two dimensional slides and video presentations. A deeper understanding of these molecules can however be obtained by the handling of objects. 3D printed biological molecules can be used as active learning tools to stimulate engagement in large group lectures. These models can be used to build upon initial core knowledge which can be delivered in either a flipped form or a more didactic manner. Within the teaching session the students are able to learn by handling, rotating and viewing the objects to gain an appreciation, for example, of an enzyme's active site or the difference between the major and minor groove of DNA. Models and other artefacts can be handled in small groups within a lecture theatre and act as a focal point to generate conversation. Through the approach presented here core knowledge is first established and then supplemented with high level problem solving through a "Think-Pair-Share" cooperative learning strategy. The teaching delivery was adjusted based around experiential learning activities by moving the object from mental cognition and into the physical environment. This approach led to students being able to better visualise biological molecules and a positive engagement in the lecture. The use of objects in teaching allows the lecturer to create interactive sessions that both challenge and enable the student.

The Theme of “A New Lost Generation” in the Production of Prešov National Theatre

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Knopová Elena

2017-09-01

Full Text Available The authoress elucidates the concepts of generations and generational affiliation, while focusing on various names and characteristics referring to a group of young people born during the 1980s and early 1990s. She introduces Generation Y, also called Millennials, and gives a short characteristic of a generation referred to as the Lost Generation, the Set-aside Generation, the Scarred Generation. She captures the external manifestations of the generation together with inner mechanisms and motives resulting in these manifestations. Using the example of Prešov National Theatre (PND and its production, she introduces a new concept referred to as “A New Lost Generation”. The authoress endeavours to define it in Slovak context through the partial analyses of the plays included in Prešovská trilógia (Single radicals (2013, Kindervajco (2015, Good place to die (2015, [Prešov Trilogy (Single Radicals (2013, The Kinder Egg (2015, A Good Place to Die (2015].

The Use of Slovenian in Education, the Church, and Early Theatre Performances in the 17th Century and the First Half of the 18th Century

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Kozma Ahačič

2010-12-01

Full Text Available The Use of Slovenian in Education, the Church, and Early Theatre Performances in the 17th Century and the First Half of the 18th Century Summary The paper provides a sociolinguistic survey of the use of Slovenian in education, the church, and early theatre performances in the 17th century and the first half of the 18th century. The extant studies and primary sources serve to identify the occasions for, and forms of, its use. The practice of elementary education shows no significant changes between the 16th and 17th centuries; there are, however, some changes at the ideological level. There is no explicit request for elementary education in Slovenian, either in the period of the Catholic reformation or later, while the demand for the use of Slovenian in education is primarily limited to catechesis: in catechesis, however, the emphasis was not on reading texts but on listening and on spoken reproduction. Some sources do suggest the use of Slovenian in elementary education at certain “non-Slovenian” schools, but it was not systematic. The same applies to the Ljubljana Jesuit gymnasium, where the use of Slovenian is likely – especially at the early stages – but lacks immediate evidence. On the other hand, the presence of Slovenian can be proved for the theological seminary adjoining the Ljubljana Cathedral, as well as for the educational centre at Gornji Grad. Moreover, the great number of Jesuit gymnasia significantly improved the general language knowledge in their localities as compared to the previous periods. The use of Slovenian in church was concentrated in preaching. All Slovenian priests were encouraged by the bishops to preach, and there were ecclesiastical orders that particularly fostered this activity. Sources testify to the delivery of Slovenian sermons by the Capuchin Friars, Jesuits, and Franciscans, while the role of Slovenian in the sermons by the Dominicans, Augustinians and Cistercians has received less attention. Of

METAMORPHOSES OF I. CREANGA`S TALES FROM THE PERSPECTIVE OF THE PUPPET THEATRE

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TIPA VIOLETA

2017-12-01

Full Text Available Ion Creangă’s work has been and remains an inexhaustible source of inspiration for artists in the field of audiovisual arts. His entire creation from Childhood Memories to more meaningful stories form a specific world full of heroes involved in the great Theatrum mundi. In our Republic, Creangă’s works saw the limelight in 1957 for the first time with the story Harap Alb, staged by Constantin Ilinschi at the Licurici Theatre. Then, there were the stories Ivan Turbinca (staged in 1972 by I. Stihi, Dănilă Prepeleac (1983, Gh. Urschi, The Purse with Two Pence (1986, L. Cibotaru, The Old Man’s Daughter and the Old Women’s Daughter (2007, T. Zhukov. But the most successful show is considered Harap Alb (1978, stage version and scenography by Ion Puiu, directed by Titus Zhukov. The show Ivan Turbinca (1989 based on Ion Creangă’s story of the same name, was at thebasis of the formation of the new puppet theater Guguţă. In puppet shows, we discover a special world of Ion Creangă’s work. And if from a literary perspective Creanga’s work has been and continues to be studied from different points of view, then the theatrical dimension is a less analyzed field.

Surveillance of Environmental and Procedural Measures of Infection Control in the Operating Theatre Setting

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Laura Dallolio

2017-12-01

Full Text Available The microbiological contamination of operating theatres and the lack of adherence to best practices by surgical staff represent some of the factors affecting Surgical Site Infections (SSIs. The aim of the present study was to assess the microbiological quality of operating settings and the staff compliance to the SSI evidence-based control measures. Ten operating rooms were examined for microbiological contamination of air and surfaces, after cleaning procedures, in “at rest” conditions. Furthermore, 10 surgical operations were monitored to assess staff compliance to the recommended practices. None of the air samples exceeded microbiological reference standards and only six of the 200 surface samples (3.0% were slightly above recommended levels. Potentially pathogenic bacteria and moulds were never detected. Staff compliance to best practices varied depending on the type of behaviour investigated and the role of the operator. The major not compliant behaviours were: pre-operative skin antisepsis, crowding of the operating room and hand hygiene of the anaesthetist. The good environmental microbiological quality observed is indicative of the efficacy of the cleaning-sanitization procedures adopted. The major critical point was staff compliance to recommended practices. Awareness campaigns are therefore necessary, aimed at improving the organisation of work so as to facilitate compliance to operative protocols.

Creation and Staging of Android Theatre “Sayonara”towards Developing Highly Human-Like Robots

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Takenobu Chikaraishi

2017-11-01

Full Text Available Even after long-term exposures, androids with a strikingly human-like appearance evoke unnatural feelings. The behavior that would induce human-like feelings after long exposures is difficult to determine, and it often depends on the cultural background of the observers. Therefore, in this study, we generate an acting performance system for the android, in which an android and a human interact in a stage play in the real world. We adopt the theatrical theory called Contemporary Colloquial Theatre Theory to give the android natural behaviors so that audiences can comfortably observe it even after long-minute exposure. A stage play is created and shown in various locations, and the audiences are requested to report their impressions of the stage and their cultural and psychological backgrounds in a self-evaluating questionnaire. Overall analysis indicates that the audience had positive feelings, in terms of attractiveness, towards the android on the stage even after 20 min of exposure. The singularly high acceptance of the android by Japanese audiences seems to be correlated with a high animism tendency, rather than to empathy. We also discuss how the stage play approach is limited and could be extended to contribute to realization of human–robot interaction in the real world.

Personal Storytelling and Narrative as a Means for Climate Scientists to Engage and Inform Public Audiences - Illustrated by the Play '2071 - The World We'll Leave Our Grandchildren' Comissioned by the Royal Court Theatre, London and the Deutsches Schauspielhaus, Hamburg

Science.gov (United States)

Rapley, C. G.

2015-12-01

In order to engage greater public interest in science it is necessary to move beyond the traditional academic "information deficit" mode of communication, with its emphasis on the delivery and explantion of 'facts'. This is especially the case for topics such as climate science, which have the potential to provoke strong conscious or unconscious emotional and ideological audience reactions. The use of personalised narrative and storytelling offers a means to draw in non-experts in a way that overcomes barriers of disinterest or prejudice. The talk will address the role of climate scientists in communicating within the public square, and will use the play '2071 - The World We'll Leave Our Grandchildren" as an example of how theatre can provide an effective means of communicating complex and provocative knowledge and understanding. The play was commissioned by the Royal Court Theatre, London and the Deutshes Schauspielhaus, Hamburg. It received positive reviews and sold out at the London venue.

Monitoring the anaesthetist in the operating theatre - professional competence and patient safety.

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Larsson, J

2017-01-01

This article about competence and patient safety in anaesthesia was inspired by a statement in the 2015 AAGBI guidelines on monitoring during anaesthesia: 'the presence of an appropriately trained and experienced anaesthetist is important for patient safety during anaesthesia'. The review starts with a structured description of competence, presenting five dimensions of it; the first two dimensions are identical with the two classical attributes of competence, practical skills and theoretical knowledge. Concerning skills, the value of aiming for a high level of proficiency early in a traning programme is pointed out, and deliberate practice is given as an example of a pedagogical model where aiming for excellence is a core idea. For theoretical knowledge, the value of a deep approach to learning physiology and basic sciences is stressed. The third dimension (anaesthetists' non-technical skills), represents skills necessary for good team-work in the operating theatre. The two last dimensions of competence are the understanding of work and intuitive expert knowing. Understanding work means being aware of what the work is about, appreciating the different aspects of the anaesthetist's job. Intuitive expert knowing, lastly, concerns the tacit dimension of knowledge and skills, which enables professional experts to quickly find a working solution for most clinical problems. The final part of the review is about the 'when' and 'how' of competence assessment. The main message is the importance of assessing the competence of clinically active anaesthetists regularly during their whole career. © 2017 The Association of Anaesthetists of Great Britain and Ireland.

Where the Wild Things Go: Tourism and Ethnic Longing in the Theatre of Rodolfo Santana

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Vicky Unruh

2008-06-01

Full Text Available Tapping into the performative intricacies of tourist activity and showcasing the negotiations of performed ethnicity in the implicit contrasts between tourists and the people they travel to see, Latin American and U.S. Latino theatre artists use the tourist character or theme to investigate the cultural negotiations marking contemporary social life. This work parallels critical theory that investigates the tourist as an improvisatory player in trans-regional interactions and unpacks the tourist-“native” binary to revise conceptions of people and cultures that travel. As exemplified in two plays by Rodolfo Santana (Venezuela, artists deploy the tourist theme to critique culturalism, that is, to use the term coined by Arjun Appadurai, “identity politics at the level of the nation-state” (15. Santana’s plays Mirando al tendido (1992 and Influencia turística en la inclinación de la Torre de Pisa (1996 highlight the interaction of tourism with its designated other, the ethnic, to critique the concept of abolengo, or nation-based ancestry or blood-line, as the authenticating mechanism of a particular cultural practice or group. Santana’s work—along with that of his cohort—also proposes that staging tourism harbors insights into the everyday that might generate more salutary social arrangements.

Drama is for life! Recreational drama activities for the elderly in UK care homes

OpenAIRE

Sextou, Persephone; Smith, Cory

2017-01-01

Applied Theatre is an inclusive term used to host a variety of powerful, community-based participatory processes and educational practices. Historically, Applied Theatre practices include Theatre-in-Education (TiE), Theatre-in-Health Education (THE), Theatre for Development (TfD), prison theatre, community theatre, theatre for conflict resolution/reconciliation, reminiscence theatre with elderly people, theatre in museums, galleries and heritage centres, theatre at historic sites, and more re...

Economic and Financial Viability Plan for the Enterpreneurship of a Lyric Theatre Low-Cost Company: The Case of Zarzuela in Spain

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de Sancha Navarro Jesús Manuel

2016-11-01

Full Text Available Taking into account that one of the major handicaps when undertaken in the cultural sector is the problem of cost and demand volatility, this paper aims to implement a viability plan for the entrepreneurship of a lyric theatre low-cost company, dedicated to Zarzuela performance, a type of Spanish music like Opera. Firstly, the cultural sector data are analysed in terms of supply and demand and secondly a viability plan is carried out for three years. According to the results it is concluded that this type of venture is very risky if you do not have grant or other financial resources, due to the variability of demand and the increase in unit costs as the artistic performance has a fixed production technology that cannot absorb the technical progress of the rest of the economy.

Fame and Infamy of Duke of Braganza in the Spanish Golden Age Theatre

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Francisco Domínguez Matito

2015-11-01

Full Text Available «Portuguese matter» is a subject that inspired a large amount of plays of the Spanish Golden Age. This is especially the case in the period of the dual monarchy, in which the outstanding episodes in the history of Portugal and their main protagonists are dealt, in general, from a Castilian-centered perspective. This article specifically focuses on the events involving the dukes of Braganza. These events were of great importance not only for the history of Portugal but for the Austrian monarchy. They also served as the source of a number of comedies of the theatre in the Golden Age. Several of Lope de Vega’s plays are analyzed including El duque de Viseo, El más galán portugués, with the intention of contrasting them with the Granada playwright Cubillo de Aragón’s La tragedia del duque de Berganza. The analysis of the dramatizations evidences the different attitudes of both playwrights towards the house of Braganza. It also evidences the different assessment of Portuguese nobility in relation to the historical circumstances that they experienced during the reign of John II of Portugal. In the case of Lope de Vega, during the same time period as the dual monarchy, the plays are written in order to ennoble his image and, in the case of Cubillo, to validate his reputation as a traitor, following the uprise against the monarchy of Phillip IV, which lead to the secession of Portugal.

BALLET FOR CHILDREN AT THE SERBIAN NATIONAL THEATRE IN NOVI SAD (1972-2017

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Svenka Savić

2018-02-01

Full Text Available Ballets for children have been recognized as a unique genre of the dance art. From the point of children ballet production of the Yugoslav ballet assembly very little was documented, and this particularly referred to the Serbian production. Children‘s ballets aim to provide an experience for young people, to educate on dance art and to attract, engage and sustain children as an audience for major ballet houses. They challenge a whole range of difficultes and problems that have to be solved by the choreographers and dancers. For example, the first major challenge in taking children to the ballet is that the story is told entirely through dance, and many children find this aspect of the ballet difficult to appreciate. The author examined the representations of the ballet body and analyzed how this and some other difficulties have been solved in children‘s ballet production of the Serbian National Theatre Ballet (SNP in Novi Sad during the long period of forty five years, from the first performances in 1972 up to now, namely to 2017. In addition, the author has made an inventory by listing repertoir, choreografies, and stories. She was tracking the number of performances for each production and the number of audience to conclude on the impact of the children‘s ballet. The implication of the paper is that the possibile solutions referred to in the paper could be seen as a suggestion for the future opportunities of the production, particularly in the case of the future premieres.

The Moral of the Tale: Stories, Trust, and Public Engagement with Clinical Ethics via Radio and Theatre.

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Bowman, Deborah

2017-03-01

Trust is frequently discussed with reference to the professional-patient relationship. However, trust is less explored in relation to the ways in which understanding of, and responses to, questions of ethics are discussed by both the "public" and "experts." Public engagement activity in healthcare ethics may invoke "trust" in analysing a moral question or problem but less frequently conceives of trust as integral to "public engagement" itself. This paper explores the relationship between trust and the ways in which questions of healthcare ethics are identified and negotiated by both "experts" and the public. Drawing on two examples from the author's "public engagement" work-a radio programme for the British Broadcasting Corporation and work with a playwright and theatre-the paper interrogates the ways in which "public engagement" is often characterized. The author argues that the common approach to public engagement in questions of ethics is unhelpfully constrained by a systemic disposition which continues to privilege the professional or expert voice at the expense of meaningful exchange and dialogue. By creating space for novel interactions between the "expert" and the "public," authentic engagement is achieved that enables not only the participants to flourish but also contributes to trust itself.

Parody as re-use and parody as laughing: three exemplary cases of forgery in the musical theatre

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Elisabetta Fava

2016-11-01

Full Text Available In the musical field 'parody' means first of all the borrowing of themes or whole compositions in the polyphonic practice (Missa parodia during the 15th-18th centuries: these re-use is absolutely serious and the new work can be understood without recognizing the parodied object. The paper focusses on the other meaning of the word: the parody as ironic citation or deformation of a preexistent style, thematic or harmonic idea, which come into being in the second half of the 18th century. This second use presupposes that the listener recognizes the parodic reference and knows the parodied object; it frequently occurres in the musical theatre, particularly in the comic opera: three interesting examples are in Verdi's Falstaff (parody of liturgy, Cornelius' Barbier von Bagdad(parody of belcanto and Britten's Midsummer Night's Dream (parody on the parody. Analysing these scores on the one hand, basing on Genette's fundamental essay Palimpsestes on the other hand, we try to show the mechanism of the musical parody and to classificate some different typologies.

Teatro de fantoches na formação continuada docente em educação ambiental Puppet theatre in teacher continued environmental education

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Osmarina Maria dos Santos Dantas

2012-09-01

Full Text Available Neste artigo, apresentamos os resultados de uma pesquisa-ação participativa realizada no espaço do Grupo de Pesquisa e Estudos em Educação Ambiental / Sala Verde Pororoca: espaço socioambiental Paulo Freire (GPEEA/Sala Verde, na UFPA. O objetivo foi investigar as contribuições do teatro de fantoches como proposta pedagógica na formação continuada de professores em educação ambiental. Os sujeitos da pesquisa foram seis professoras do ensino básico, as quais são aqui identificadas pelos seguintes pseudônimos: Lucia, Michelle, Izabel, Eloísa, Marta e Ana. Utilizamos quatro fontes para a coleta das informações: 1 um questionário sobre dados pessoais e com as perguntas a Que motivos levaram você a se inscrever na oficina? e b Qual é o entendimento de educação ambiental predominante?; 2 uma oficina; 3 um diário de bordo; e 4 entrevistas para complementar as informações fornecidas pelas professoras. Para analisar os dados, utilizamos a técnica da triangulação metodológica. Constatamos que o teatro de fantoches, como estratégia de ensino-aprendizagem de conhecimentos ambientais, foi importante em todas as etapas. A utilização do teatro de fantoches como metodologia foi entusiasticamente reconhecida pelas professoras como viável na prática docente em todas as disciplinas. E o mais importante: elas perceberam que, para a elaboração de qualquer atividade alternativa, há a necessidade de um planejamento, pois é preciso ter uma finalidade pedagógica, com conotação diferente do lúdico pelo lúdico.In this article we present the results of a participative action-research conducted at the space of the Group of Research and Studies in Environmental Education/Green Room Pororoca: socio-environmental space Paulo Freire (GPEEA/Sala Verde at the UPFA. The objective here was to investigate the contributions of puppet theatre as a pedagogical proposal in the continued environmental education of teachers. The subjects of the

De la escena ritual a la teatral en una obra de teatro indígena prehispánico: Rabinal Achí o Danza del Tun From Ritual to Theatre Stage in a Pre-Hispanic Indigenous Drama: Rabinal Achí or Danza del Tun

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Patricia Henríquez Puentes

2008-12-01

Full Text Available El Rabinal Achí o Danza del Tun es arte escénico fundacional del teatro latinoamericano y clave para el proceso de desarrollo del teatro occidental del siglo XX, en tanto cifra ese momento en el que rito y teatro se contenían mutuamente, es decir, en que el espectáculo se hacía a los ojos de Dios y de los hombres. La propuesta escénica entonces, difuminaba los límites entre el espacio destinado al espectador y al actor; la flor y el canto, es decir, la expresión artística, se ampliaba en el tiempo y el espacio invadiendo todas las esferas de lo social; la comunidad vivenciaba la experiencia de revinculación con la divinidad, restableciendo el cíclico equilibrio cósmico; el espectáculo operaba como catalizador de una experiencia espiritual y el actor, como su facilitador.The Rabinal Achí or Dance of the Tun is a founding theatrical play of Latin-American theatre and key for the development process of western theatre during the 20th century; it encodes the moment in which rite and theatre were mutually contained, i.e., in that the spectacle was done for the eyes of God and man. The stage design at the time, blurred the limits between the space destined for the spectator and for the actor; flower and song, i.e., the artistic expression, it was extended in time and space invading all the social spheres; the community underwent the experience of reconnecting with divinity, re-establishing the cyclical cosmic balance; the spectacle operated as a catalyst of a spiritual experience and the actor, as its facilitator.

TRADITIONAL CANISTER-BASED OPEN WASTE MANAGEMENT SYSTEM VERSUS CLOSED SYSTEM: HAZARDOUS EXPOSURE PREVENTION AND OPERATING THEATRE STAFF SATISFACTION.

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Horn, M; Patel, N; MacLellan, D M; Millard, N

2016-06-01

Exposure to blood and body fluids is a major concern to health care professionals working in operating rooms (ORs). Thus, it is essential that hospitals use fluid waste management systems that minimise risk to staff, while maximising efficiency. The current study compared the utility of a 'closed' system with a traditional canister-based 'open' system in the OR in a private hospital setting. A total of 30 arthroscopy, urology, and orthopaedic cases were observed. The closed system was used in five, four, and six cases, respectively and the open system was used in nine, two, and four cases, respectively. The average number of opportunities for staff to be exposed to hazardous fluids were fewer for the closed system when compared to the open during arthroscopy and urology procedures. The open system required nearly 3.5 times as much staff time for set-up, maintenance during procedures, and post-procedure disposal of waste. Theatre staff expressed greater satisfaction with the closed system than with the open. In conclusion, compared with the open system, the closed system offers a less hazardous and more efficient method of disposing of fluid waste generated in the OR.

Integrating Laser Scanner and Bim for Conservation and Reuse: "the Lyric Theatre of Milan"

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Utica, G.; Pinti, L.; Guzzoni, L.; Bonelli, S.; Brizzolari, A.

2017-12-01

The paper underlines the importance to apply a methodology that integrates the Building Information Modeling (BIM), Work Breakdown Structure (WBS) and the Laser Scanner tool in conservation and reuse projects. As it is known, the laser scanner technology provides a survey of the building object which is more accurate rather than that carried out using traditional methodologies. Today most existing buildings present their attributes in a dispersed way, stored and collected in paper documents, in sheets of equipment information, in file folders of maintenance records. In some cases, it is difficult to find updated technical documentation and the research of reliable data can be a cost and time-consuming process. Therefore, this new survey technology, embedded with BIM systems represents a valid tool to obtain a coherent picture of the building state. The following case consists in the conservation and reuse project of Milan Lyric Theatre, started in 2013 from the collaboration between the Milan Polytechnic and the Municipality. This project first attempts to integrate these new techniques which are already professional standards in many other countries such as the US, Norway, Finland, England and so on. Concerning the methodology, the choice has been to use BIM software for the structured analysis of the project, with the aim to define a single code of communication to develop a coherent documentation according to rules in a consistent manner and in tight schedules. This process provides the definition of an effective and efficient operating method that can be applied to other projects.

A new mechatronic assistance system for the neurosurgical operating theatre: implementation, assessment of accuracy and application concepts.

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Rachinger, Jens; Bumm, Klaus; Wurm, Jochen; Bohr, Christopher; Nissen, Urs; Dannenmann, Tim; Buchfelder, Michael; Iro, Heinrich; Nimsky, Christopher

2007-01-01

To introduce a new robotic system to the field of neurosurgery and report on a preliminary assessment of accuracy as well as on envisioned application concepts. Based on experience with another system (Evolution 1, URS Inc., Schwerin, Germany), technical advancements are discussed. The basic module is an industrial 6 degrees of freedom robotic arm with a modified control element. The system combines frameless stereotaxy, robotics, and endoscopy. The robotic reproducibility error and the overall error were evaluated. For accuracy testing CT markers were placed on a cadaveric head and pinpointed with the robot's tool tip, both fully automated and telemanipulatory. Applicability in a clinical setting, user friendliness, safety and flexibility were assessed. The new system is suitable for use in the neurosurgical operating theatre. Hard- and software are user-friendly and flexible. The mean reproducibility error was 0.052-0.062 mm, the mean overall error was 0.816 mm. The system is less cumbersome and much easier to use than the Evolution 1. With its user-friendly interface and reliable safety features, its high application accuracy and flexibility, the new system is a versatile robotic platform for various neurosurgical applications. Adaptations for different applications are currently being realized. Copyright (c) 2007 S. Karger AG, Basel.

Challenging authority during a life-threatening crisis: the effect of operating theatre hierarchy.

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Sydor, D T; Bould, M D; Naik, V N; Burjorjee, J; Arzola, C; Hayter, M; Friedman, Z

2013-03-01

Effective operating theatre (OT) communication is important for team function and patient safety. Status asymmetry between team members may contribute to communication breakdown and threaten patient safety. We investigated how hierarchy in the OT team influences an anaesthesia trainee's ability to challenge an unethical decision by a consultant anaesthetist in a simulated crisis scenario. We prospectively randomized 49 postgraduate year (PGY) 2-5 anaesthesia trainees at two academic hospitals to participate in a videotaped simulated crisis scenario with a simulated OT team practicing either a hierarchical team structure (Group H) or a non-hierarchical team structure (Group NH). The scenario allowed trainees several opportunities to challenge their consultant anaesthetist when administering blood to a Jehovah's Witness. Three independent, blinded raters scored the performances using a modified advocacy-inquiry score (AIS). The primary outcome was the comparison of the best-response AIS between Groups H vs NH. Secondary outcomes included the comparison of best AIS by PGY and the percentage in each group that checked and administered blood. The AIS did not differ between the groups (P=0.832) but significantly improved from PGY2 to PGY5 (P=0.026). The rates of checking blood (92% vs 76%, P=0.082) and administering blood (62% vs 57%, P=0.721) were high in both groups but not significantly different between the groups. This study did not show a significant effect of OT team hierarchical structure on trainee's ability to challenge authority; however, the results are concerning. The challenges were suboptimal in quality and there was an alarming high rate of blood checking and administration in both groups. This may reflect lack of training in appropriately and effectively challenging authority within the formal curriculum with implications for patient safety.

Destabilising Notions of the Unfamiliar in Australian Documentary Theatre: version 1.0’s CMI (A Certain Maritime Incident

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Ulrike Garde

2013-02-01

Full Text Available This article offers a fresh analysis of Sydney-based version 1.0’s theatre production CMI (A Certain Maritime Incident, 2004, which engaged with asylum seekers arriving by boat in the context of the so-called ‘children overboard affair’ and the maritime disaster, in which over 300 people from the SIEV X, a brittle Indonesian fishing boat, perished. The performance invited audiences to see the unfamiliar in themselves rather than in those frequently rejected as ‘the other’. In doing so, it questioned common notions of the unfamiliar that is perceived by audiences as different, foreign or insufficiently known, and interrupted a long tradition of opposing the familiar culture(s of Australians and the unfamiliar culture(s of the ‘boat people’. The article explores how version 1.0 used effectively a destabilisation of meaning, a playful inversion of socio-political responsibilities and challenged common notions of the roles of fact and fiction in order to offer an alternative perspective on public events, thus making an important contribution to Australia’s communicative memory of issues that continue to be pertinent beyond Australian borders.

The Economic Impact of Ten Cultural Institutions on the Economy of the Minneapolis-St. Paul SMSA.

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Cwi, David

The impact on the economy of 10 cultural institutions in the Minneapolis-St. Paul area was determined by measuring their 1978 direct and indirect fianancial effects. The institutions are the Children's Theatre Company, Chimera Theatre, Cricket Theatre, Guthrie Theatre, Minneapolis Institute of Arts, Minnesota Dance Theatre, Minnesota Orchestra,…

Metoda jevištního tvaru vyžadující kvalitativní přístup pro měření pokroku jinojazyčných mluvčích : Theatre Based Method Requiring a  Qualitative Approach for Measuring the Progress of Learners

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Marie Boccou Kestřánková

2017-12-01

Full Text Available In this article we introduce a teaching methodology “theatre pedagogy” (“MJT”, which is used in teaching Czech for foreigners. The primary goal of MJT is not only to positively influence the acquisition of language, but also to focus on sociolinguistic, discourse, sociocultural and social and strategic competences. Theatre practices also help students overcome their fear of talking (i.e. reduce the fear of making a mistake while speaking, it also strengthens communication, interaction and social skills of students. The second part of this text presents our empirical research used to validate MJT. The foundations of this analysis are video recording of role plays which students prepare throughout the classwork. The evaluation of particular role plays is more qualitative than quantitative: it is based on assessment criteria and assessment grids, the main keys for evaluation are fulfillment of role play instructions, success rate of information transfer with a partner, meeting of various communication competences. Each criterion is commented in a table and then scored.

Marketingový mix velkých divadelních scén

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Hájková, Martina

2010-01-01

This bachelor thesis is focused on marketing of big theatre scenes, national theatres. The main goal of this thesis is evaluation of marketing mix of selected national theatres from countries with similar historical background and their subsequent comparison. The theoretical part will introduce marketing mix and specifics of theatre marketing. The practical part is focused on concrete marketing mix of Czech National Theatre, Slovak National Theatre and Austrian Burgtheater and their comparison.

HILOS DE TEATRO: LA PUESTA EN ESCENA DEL PALACIO DE LOS SOVIETS DE LE CORBUSIER, 1931 / Strands of theatre: Le Corbusier’s staging of the Palace of the Soviets, 1931

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Josefina González Cubero

2012-11-01

Full Text Available RESUMEN El proyecto para el concurso del Palacio de los Soviets en Moscú (1931 de Le Corbusier plantea otra posible y más fragmentaria clave de interpretación que, aunque en principio sea más marginal, merece ser mencionada: la relación con el teatro, con la renovación de la escena europea y con la experimentación soviética, porque Le Corbusier es consciente de que la arquitectura no consiste sólo en la cualidad del edificio, es también una puesta en escena, una dramaturgia. Escenógrafos como Appia, con la luz, o directores de escena como Max Reinhardt, con el espectáculo de masas, y Vsevelod Meyerhold, con el teatro japonés del Kabuki, van penetrando en el sentir de un Le Corbusier que deja la impronta teatral en la puesta en escena de la megaestructura moscovita. SUMMARY Le Corbusier’s design submitted to the public competition for the Palace of the Soviets in Moscow (1931 may have an additional interpretation which, although less researched and in principal more marginal, is noteworthy. And that is the relationship between theatre and the resetting of the stage in Europe and Soviet experimentation. Le Corbusier was aware that architecture goes beyond the building itself and is also a sort of staging or dramaturgy. Set designers such as Appia, through the use of light, or stage directors like Max Reinhardt, through the use of performance for the masses, and Vsevelod Meyerhold, through Japonese Kabuki theatre, gradually permeated the sensibility of Le Corbusier who left staging as a mark in his design for the Moscow megastructure.

Kedudukan Ruang Bioskop Sebagai Media Apresiasi Film

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Dara Bunga Rembulan

2016-01-01

Full Text Available Movie is one of mediums for delivering messages communicatively and easily acceptablefor the society. The creativity of filmmaker has caused a rapid increase in the amount ofmovies, and further it indirectly lead to the increase in necessity of space for appreciationactivities. It can be concluded that movie theatre is one of the appreciation media thatis highly favored by the movie-favored-society. There are two types of movie theatres,mainstream and non-mainstream movie theatre. A mainstream movie theatre is the 21network movie theatre, while the non-mainstream movie theatre consists of filmfestivals, discussions, and workshops. A movie theatre is an alternative medium formovie appreciation. By the movie theatre which is able to attract audiences, it can befigured out how far the movie theatre is able to become appreciation medium for thesociety. As we know that there are lots of other appreciation mediums such as VCD,DVD and internet that are growing in the society, so the functional approach can helpto find the answers in the growth of a movie theatre as movie appreciation medium.

A community-based health education programme for bio-environmental control of malaria through folk theatre (Kalajatha in rural India

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Tiwari Satyanarayan

2006-12-01

Full Text Available Abstract Background Health education is an important component in disease control programme. Kalajatha is a popular, traditional art form of folk theatre depicting various life processes of a local socio-cultural setting. It is an effective medium of mass communication in the Indian sub-continent especially in rural areas. Using this medium, an operational feasibility health education programme was carried out for malaria control. Methods In December 2001, the Kalajatha events were performed in the evening hours for two weeks in a malaria-affected district in Karnataka State, south India. Thirty local artists including ten governmental and non-governmental organizations actively participated. Impact of this programme was assessed after two months on exposed vs. non-exposed respondents. Results The exposed respondents had significant increase in knowledge and change in attitude about malaria and its control strategies, especially on bio-environmental measures (p Conclusion This study was carried out under the primary health care system involving the local community and various potential partners. Kalajatha conveyed the important messages on malaria control and prevention to the rural community. Similar methods of communication in the health education programme should be intensified with suitable modifications to reach all sectors, if malaria needs to be controlled.

Nurse-surgeon object transfer: video analysis of communication and situation awareness in the operating theatre.

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Korkiakangas, Terhi; Weldon, Sharon-Marie; Bezemer, Jeff; Kneebone, Roger

2014-09-01

One of the most central collaborative tasks during surgical operations is the passing of objects, including instruments. Little is known about how nurses and surgeons achieve this. The aim of the present study was to explore what factors affect this routine-like task, resulting in fast or slow transfer of objects. A qualitative video study, informed by an observational ethnographic approach, was conducted in a major teaching hospital in the UK. A total of 20 general surgical operations were observed. In total, approximately 68 h of video data have been reviewed. A subsample of 225 min has been analysed in detail using interactional video-analysis developed within the social sciences. Two factors affecting object transfer were observed: (1) relative instrument trolley position and (2) alignment. The scrub nurse's instrument trolley position (close to vs. further back from the surgeon) and alignment (gaze direction) impacts on the communication with the surgeon, and consequently, on the speed of object transfer. When the scrub nurse was standing close to the surgeon, and "converged" to follow the surgeon's movements, the transfer occurred more seamlessly and faster (1.0 s). The smoothness of object transfer can be improved by adjusting the scrub nurse's instrument trolley position, enabling a better monitoring of surgeon's bodily conduct and affording early orientation (awareness) to an upcoming request (changing situation). Object transfer is facilitated by the surgeon's embodied practices, which can elicit the nurse's attention to the request and, as a response, maximise a faster object transfer. A simple intervention to highlight the significance of these factors could improve communication in the operating theatre. Copyright © 2014 Elsevier Ltd. All rights reserved.

Teatro chileno y anarquismo (desde comienzos de siglo XX hasta el período dictatorial Chilean Theatre and Anarchism (from the beginning of 20th century to the dictatorship

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Sara Rojo

2008-12-01

Full Text Available Este estudio analiza la relación entre el pensamiento anarquista y el teatro en Chile desde comienzos de siglo hasta el período de la dictadura militar. Comienza con un recorte teórico del concepto de anarquismo dentro del marco histórico chileno, para posteriormente analizar, de manera cronológica, producciones teatrales específicas del período anteriormente citado.This study analyzes the relationship between anarchist thinking and theatre in Chile from the beginning of the century up to the time of the military dictatorship. It begins with a theoretical highlight of the concept of anarchism in Chilean history and later chronologically analyzes theater plays that are specific to the abovementioned period.

Active learning in the lecture theatre using 3D printed objects [version 2; referees: 2 approved

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David P. Smith

2016-06-01

Full Text Available The ability to conceptualize 3D shapes is central to understanding biological processes. The concept that the structure of a biological molecule leads to function is a core principle of the biochemical field. Visualisation of biological molecules often involves vocal explanations or the use of two dimensional slides and video presentations. A deeper understanding of these molecules can however be obtained by the handling of objects. 3D printed biological molecules can be used as active learning tools to stimulate engagement in large group lectures. These models can be used to build upon initial core knowledge which can be delivered in either a flipped form or a more didactic manner. Within the teaching session the students are able to learn by handling, rotating and viewing the objects to gain an appreciation, for example, of an enzyme’s active site or the difference between the major and minor groove of DNA. Models and other artefacts can be handled in small groups within a lecture theatre and act as a focal point to generate conversation. Through the approach presented here core knowledge is first established and then supplemented with high level problem solving through a "Think-Pair-Share" cooperative learning strategy. The teaching delivery was adjusted based around experiential learning activities by moving the object from mental cognition and into the physical environment. This approach led to students being able to better visualise biological molecules and a positive engagement in the lecture. The use of objects in teaching allows the lecturer to create interactive sessions that both challenge and enable the student.

Engines of alternative objectivity: Re-articulating the nature and value of participatory mental health organisations with the Hearing Voices Movement and Stepping Out Theatre Company.

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Blencowe, Claire; Brigstocke, Julian; Noorani, Tehseen

2018-05-01

Through two case studies, the Hearing Voices Movement and Stepping Out Theatre Company, we demonstrate how successful participatory organisations can be seen as 'engines of alternative objectivity' rather than as the subjective other to objective, biomedical science. With the term 'alternative objectivity', we point to collectivisations of experience that are different to biomedical science but are nonetheless forms of objectivity. Taking inspiration from feminist theory, science studies and sociology of culture, we argue that participatory mental health organisations generate their own forms of objectivity through novel modes of collectivising experience. The Hearing Voices Movement cultivates an 'activist science' that generates an alternative objective knowledge through a commitment to experimentation, controlling, testing, recording and sharing experience. Stepping Out distinguishes itself from drama therapy by cultivating an alternative objective culture through its embrace of high production values, material culture, aesthetic standards. A crucial aspect of participatory practice is overcoming alienation, enabling people to get outside of themselves, encounter material worlds and join forces with others.

[Validation of knowledge acquired from experience: opportunity or threat for nurses working in operating theatres?].

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Chauvat-Bouëdec, Cécile

2005-06-01

The law n 2002-73, dated 17 January 2002, of social modernisation, as it is called, reformed continuing professional training in France. It established a new system of professional certification, the validation of the knowledge acquired from experience (VAE in French). Since 2003, the Health Ministry has been studying a project to set up the VAE for health professions, among which, in particular, the profession of the state registered nurse working in operating theatres (IBODES in French). A state diploma sanctions the training enabling to practise this profession. In the future, the VAE will open a new access way to this diploma. Does this evolution constitute a threat for the profession, and a risk or an opportunity for individual people? The aim of this thesis is to characterise the impacts of the VAE on the IBODE profession and its current system of training. Two sociological and educational approaches are comforted by a field survey. A historical background of the IBODE profession develops the evolution of the caring practices, and presents the evolution of the training systems. A sociological approach enables to analyse the vocational focus of the IBODE on looking at functionalist theories. Therefore, the study enables to think that the VAE will have no consequences on the vocational focus of the IBODE. The VAE is then the object of an educational approach within the context of continuing professional training. The topics on which it could apply and the resistances it causes are studied. Some examples are taken within other Ministries. This study shows that the VAE involves an adaptation of training centres. The VAE constitutes a genuine opportunity for the IBODE profession. However, to manage its setting up in a delicate human context, the field professionals should be involved as early as possible in the reflection initiated by the Ministry.

The Effect of the Moscow Theatre Siege on Expectations of Well-Being in the Future.

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Vorsina, Margarita; Manning, Matthew; Fleming, Christopher M; Smith, Christine

2017-09-01

We employ the Russia Longitudinal Monitoring Survey-Higher School of Economics (RLMS-HSE), a survey of 6,000 individuals, and a difference-in-differences estimation strategy to examine the effect of the 2002 Moscow theatre siege on the level of self-reported expectations of life in the future of the Russian population. The longitudinal nature of the data allows us to explore both the short- and long-term effects of terrorism on this population as well as contribute to the limited number of quasi-experimental studies in this area. By focusing on expectations of life in the future, we broaden our understanding of the social consequences of terrorism. Controlling for a range of sociodemographic variables including self-assessed relative income, our findings suggest that the well-being effects of terrorism are complex and the net effect of a terrorism incident on well-being may not necessarily be negative. This can be explained, at least in part, by the theory of posttraumatic growth-a theory that refers to the positive psychological change experienced as a result of adversity, with terrorism incidents inadvertently promoting more meaningful interpersonal relationships, new views of the self and new views of the world. That is not to suggest that terrorism is a positive phenomenon-rather, that individuals have a lifelong plasticity rendering them capable of recovery from adversity. The primary objectives of terrorists, therefore, are unlikely to be fully achieved. It is hoped that our research allows for the development of more refined policies that aim to encourage posttraumatic growth while simultaneously attempting to minimize posttraumatic stress disorder. This may involve engaging with the psychological community to devise policies and programs that target those in the population who are most vulnerable and for these groups devise strategies to enhance their psychological resilience following a terrorist (or other traumatic) event.

Program artystyczny Teatru Rapsodycznego

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Jacek Popiel

2007-06-01

Full Text Available The history of the Rhapsody Theatre is one of the most dramatic chapters in the history of the 20th century Polish theatre. The group established in Cracow in 1941, managed by Mieczysław Kotlarczyk, was operating during the Nazi occupation as a clandestine theatre. In the first years after the end of World War II it played a significant role, realising the dreams of its founders from the time of Nazi occupation concerning the repertory programme of the theatre, in which the main place would be that of Polish Romantic and neo-Romantic writers. In 1953 the Rhapsody Theatre was closed for propagation of the „mistaken, antirealistic and mystic, ideologically hostile" artistic programme. It was reopened in 1957 on the wave of the post-October political thaw, but was finally liquidated by the authorities of the Polish People's Republic in 1967. In the article the author discussed the fundamental assumptions of the artistic programme of the Rhapsody Theatre (sources of inspiration, similarities to the idea of the national theatre, theatre of the word as a theatre of imagination, the art of acting, rules of recitation.

Glocal routes in British Asian drama: Between adaptation and tradaptation

OpenAIRE

Buonanno, Giovanna; Sams, Victoria; Schlote, Christiane

2011-01-01

In the context of British Asian theatre and the search for a diasporic theatre aesthetics the practice of adaptation has emerged as a recurring feature. Over the last decades, British Asian theatre has sought to create a language of the theatre that can reflect the cultural heritage of Asians in Britain; this search has taken different directions testified also by the plurality of voices that today make up British Asian theatre and has responded to the need to challenge the conceptual binary ...

Understanding and Supporting Visual Communication within Costume Design Practice

Science.gov (United States)

Bradley, Rachael Leigh

2009-01-01

Theatres provide artistic value to many people and generate revenue for communities, yet little research has been conducted to understand or support theatrical designers. Over 1,800 non-profit theatres and 3,522 theatre companies and dinner theatres operate in the United States. In 2008, 11 million people attended 1,587 Broadway shows for a total…

Re-Staging the 1934 Abbey Theatre Production of Yeats’s The King of the Great Clock Tower: An Evaluation and Critique

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Richard Allen Cave

2013-03-01

Full Text Available This essay investigates and critiques an attempt from the surviving evidence to re-stage the first performance of Yeats’s The King of the Great Clock Tower at the Abbey Theatre in 1934. This dance-drama was the last of four collaborations between the playwright and the dancer-choreographer, Ninette de Valois, during the period when she established for him a School of Ballet at the Abbey in Dublin. A wealth of evidence survives from which a performance text (as distinct from the printed text may be inferred. The limitations to be found in various kinds of extant data concerning performance (music scores, set designs, photographs, revisions to play scripts, reviews, correspondence, reminiscence are discussed in the light of the writer’s experience of bringing such a re-staging into production. The dangers of overly hypothesising or historicising are examined and devices for negotiating gaps in the evidence while being wholly transparent in one’s efforts are discussed. Finally the essay explores the many and diverse levels of collaboration on which a successful staging of one of Yeats’s dancedramas depends. In the course of that discussion the meaning of the word, collaboration, is interrogated and to some degree re-defined.

Davedan Show Di Amphi Theatre Nusa Dua Bali

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Ni Made Ruastiti

2018-05-01

Full Text Available Artikel ini disusun dari hasil penelitian yang bertujuan untuk dapat memahami pertunjukan Davedan Show di Amphi Theatre Nusa Dua Bali. Penelitian ini dilakukan karena adanya ketimpangan antara asumsi dan kenyataan di lapangan. Pada umumnya wisatawan yang datang ke Bali hanya senang dan antusias menonton seni pertunjukan pariwisata berbasis seni budaya lokal saja. Tetapi kenyataan ini berbeda. Walaupun Davedan Show tidak dibangun dari seni budaya lokal saja, tetapi kenyataannya wisatawan sangat senang menonton pertunjukan tersebut. Pertanyaannya: bagaimanakah bentuk pertunjukan Davedan Show tersebut?; mengapa wisatawan senang menonton pertunjukan itu?; apa implikasinya bagi pelaku, masyarakat, dan industri pariwisata di Nusa Dua, Bali?. Penelitian ini menggunakan metode penelitian kualitatif, khususnya implementatif partisipatoris yang mengutamakan kerjasama antara periset dengan para informan terkait. Sumber data penelitian ini adalah pertunjukan Davedan itu sendiri, pihak manajemen, para penari, penonton, hasil-hasil penelitian yang telah ada sebelumnya. Seluruh data yang telah dikumpulkan dengan teknik observasi, wawancara, FGD, dan studi kepustakaan itu dianalisis secara kritis dengan menggunakan teori estetika postmodern, teori praktik, dan teori relasi kuasa pengetahuan. Hasil penelitian menunjukan bahwa: (1 Davedan Show disajikan dalam bentuk oratorium. Hal itu dapat dilihat dari cara penyajian, koreografi, dan iringan pertunjukannya. Davedan Show yang menampilkan tema Treasure of The Archipelago, membuka gerbang petualangan baru itu diiringi musik rekaman etnik Nusantara secara medley, berkelanjutan dengan struktur pertunjukan: seni budaya Bali, Sumatra, Sunda, Solo, Kalimantan, dan seni budaya Papua; (2 Davedan Show banyak diminati wisatawan manca negara karena penciptaan pertunjukan itu dilatari oleh ideologi pasar, ideologi estetika, dan ideologi budaya Nusantara; (3 Hingga kini Davedan Show berkembang secara berkelanjutan di Nusa Dua

Diathesis sotto tensione. La sala per concerti del Centro culturale di Atene di Jan Despo / Diathesis under Tension. Concert Theatre of the Athens Cultural Center by Jan Despo

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Tilemachos Adrianopoulos

2016-04-01

Full Text Available Nel 1959, l'architetto greco Jan Despo (1903-1992 fu insignito del primo premio nella competizione per il Centro culturale di Atene, rimasto irrealizzato eccezion fatta per il Conservatorio di Atene. La sala circolare per concerti, danza e conferenze era l'edificio nodale di una ambiziosa composizione urbana: la sbalorditiva forma geometrica della sala, la funzione tipicamente composita e l'ingegnosa conformazione strutturale furono integralmente concepite all'interno di una "diathesis spaziale". / In 1959, Greek architect Jan Despo (1903-1992 was awarded First Prize in the competition for the Athens Cultural Centre -that remained unrealized, however, with the exception of the Athens Conservatory. The circular concert, dance and conference theatre was the nodal building of an ambitious urban composition: the theatre’s stunning geometric form, distinctively composite function and ingenious structural conformation were all integrally conceived—within an essentially tense spatial diathesis.

PLAY DIRECTING AND DIRECTORS: AN EVOLUTIONARY ...

African Journals Online (AJOL)

While the theatre director can be seen as the `god of the theatre', he/she can also be seen as a priest and a carrier who must coordinate human and material resources a master and a messenger. Drawing from the above, this paper traces the evolution of play directing and the theatre director in different theatres of the world ...

The relationship of emotional intelligence and personality traits (abridged from the survey of students of the Theatre College

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Vladimir S. Sobkin

2015-06-01

Full Text Available The paper continues a series of research devoted to the study of personal and professional development of actor students conducted since 2010. The paper presents the results of studying the peculiarities of emotional intelligence and its relationship with personal characteristics of the actor students, carried out on the basis of the Moscow Tabakov Theatre College. The results obtained using the method of diagnosing emotional intelligence MSCEIT and questionnaire by R. Cattell 16 PF are presented. In the research 66 people were interviewed. The characteristics of emotional intelligence of actor students, as well as the results of factor analysis of indicators MSCEIT test and the Cattell’s test are discussed. The hypothesis assumes the existence of meaningful relationships between indicators of emotional intelligence and personal characteristics, fixing volitional and emotional personality traits of the actor student. The analysis of the MSCEIT test results showed that two scales that comprise the domain of experienced emotional intelligence, highly intercorrelated, indicating a connection between the ability to identify emotions and the ability to use emotions to make decisions. It is shown that experienced emotional intelligence of actor students are not associated with personal characteristics. It is revealed that the scale components of the strategic domain of emotional intelligence is positively correlated with personal traits of Cattell’s test: we discovered the link between the scale of Cattell’s General intelligence test (B and “understanding and analyzing emotions” indicator of the MSCEIT test; Cattell’s test I (sensitivity is positively correlated with the “managing emotions” index of emotional intelligence.

Dramatis persona in poetical and practical approach of dramatic text in 17th century French theory of theatre

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Michał Bajer

2009-01-01

Full Text Available The idea of the dramatis persona posited by the first French theatre theorists of the Richelieu circle, Jean Chapelain and Jules de la Mesnardiere, emerges as a quite literał implementation of the Aristotelian concepts unfolded in the sixth and fifteenth chapter of his Poetics. In a later period, the third of the aforementioned group of authors, François Hédelin d’Aubignac, dismisses the Aristotelian categories, erecting his theory upon the elements adopted from the Roman theory of rhetoric. The analysis of the Persona in classical drama theory allows to reconstruct the relation between these two 17th century dramatic approaches. The former is the traditional perspective relying on the postulations of the Aristotelian theory. The latter, which is a practical grasp, is new to the 17th century’s dramatic mindset, and was formulated by abbé d’Aubignac. Whereas the axis of poetics is the structural analysis of a work of art, it is the functioning of that work of art in the theatrical process of communication between the stage and the audience that remains the core interest of the practical approach. In this process, the rhetorical effect of presence of the dramatis persona should by created in the imagination of the spectator-auditor. The subject of analysis is common to both perspectives and the discrepancies concem merely aspects of its description. Therefore poetics and practice are neither competitive nor mutually exclusive, but can both legitimately coexist in the description of the very same work of art.

Représentations du théâtre russe dans la presse francophone des Lumières

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Carole Chapin

2016-11-01

Full Text Available In the eighteenth century, journals carried information and promoted literary productions. They also acted as conduits for the reception of foreign cultures: thus, they show the ambiguities of Franco-Russian cultural relations. They acted as a medium that facilitated debates and polemics. This phenomenon is particularly interesting when the journalists discussed theatre, because this art form can act as a political and social instrument. Interest in the Russian theatre in French-speaking periodicals in the eighteenth century was not only a sign of greater interest in ‘Russian subjects’, but also formed part of a general reflection about contemporary drama. This trend was characterized by more openness towards foreign cultures. During this period of theoretical questioning, national theatre cultures tended to strengthen their specificities, while also using borrowings and translations from others theatres. The interest of French theatre aficionados for Russian theatre is well-known, as is the enthusiasm of the purveyors of Russian theatre for French theatre. However, the choice of words used to describe Russian theatre in the Francophone press—whether they be of praise or of criticism—can hide other goals, such as showing the greatness of Catherine II’s government or insisting on the role of the French model in Russia’s cultural development. In this paper, a corpus of selected articles is used to show several practices and issues o pertaining to the topic of the Russian theatre in the Francophone press. We question several possible political and aesthetic consequences of the image of Russia, which were spread by French-speaking periodicals in Europe. Furthermore, we try to analyze the role played by the specific discourse used by the periodicals in order to demonstrate its importance for researchers working on eighteenth-century European theatre and cultural relations.

Romėnų teatras ir Senekos tragedijos: Pamišęs Herkulis, Edipas. The Roman theatre and Seneca’s tragedies Hercules Furens, Oedipus

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Jovita Dikmonienė

2009-01-01

Full Text Available The article analyses the feelings of characters in Seneca’s tragedies prior and after recognising their guilt. Expression of the feelings of the characters in Seneca’s two tragedies Hercules Furens and Oedipus is compared, features characteristic of tragedies of recognition and the main feelings of their characters are revealed: disintegration and social fear, guilt and shame. The latest studies on Seneca’s dramas are reviewed, as well as historical knowledge about the Roman theatre in Seneca’s time, the impact of the pantomime on tragedies is presented.In the opinion of the present-day scholars (George W. M. Harrison, A. J. Boyle, Denis and Elisabeth Henry, Bernhard Zimmermann, Alessandra Zanobi Seneca’s tragedies were devoted to being played in the theatre rather than to be recited. Pantomime that was popular in Rome in the first century exerted great influ­ence on the structure of Seneca’s dramas. Descriptive scenes, stopping the time of the play, remarks made aside, long introductory monologues are seen today as the specificity of fabula saltata rather than a lack of Seneca’s theatre experience. The chorus or an actor in these tragedies relates of what the character is doing on the stage so that the spectators should understand what the only pantomime dancer performing all the roles without words is doing on the stage.The distinguishing feature of Seneca’s tragedies is representation of the characters’ feelings. The poet, when creating scenes of chaos, the horror of the world to come, the pending world catastrophe of the Earth in his tragedies, seeks to frighten the spectators. Seneca, with the help of adynata, a figure of speech, portrays the characters’ anger and their fear of disintegration. The idea, which was popular in the first century, that man’ sin would cause a world catastrophe is used in Seneca’s tragedies to strengthen the culmination mo­ments and social fear of the characters.Having recognised their

NATURE AND SCULPTURE IN THE CREATION OF AFRICAN ...

African Journals Online (AJOL)

scholars of Greek theatre regarding how complex sceneries of the 5th century were ... undersea creatures, and the interplay of man's adventure with the spirits through ..... Theatre in Nigeria 1946-72. Drama and Theatre in Nigeria. Ed. Yemi.

Výzkum diváka Strašnického divadla

OpenAIRE

Humlová, Jana

2012-01-01

This bachelor thesis focuses on marketing applied by theatres. Firstly there is a definition of marketing in general and then the thesis focuses on differences in marketing applied by cultural organizations, especially by theatres. Then it shows diverse types of theatres. Afterwards the thesis becomes less theoretical and gets more concrete and it explains the term marketing mix on example of Strašnice theatre. The practical part is represented by a marketing research. The purpose of the rese...

Do Surgeons React?: A Retrospective Analysis of Surgeons' Response to Harassment of a Colleague During Simulated Operating Theatre Scenarios.

Science.gov (United States)

Gostlow, Hannah; Vega, Camila Vega; Marlow, Nicholas; Babidge, Wendy; Maddern, Guy

2017-07-24

To assess and report on surgeons' ability to identify and manage incidences of harassment. The Royal Australasian College of Surgeons is committed to driving out discrimination, bullying, harassment, and sexual harassment from surgical training and practice, through changing the culture of the workplace. To eradicate these behaviors, it is first critical to understand how the current workforce responds to these actions. A retrospective analysis of video data of an operating theatre simulation was conducted to identify how surgeons, from a range of experience levels, react to instances of harassment. Thematic analysis was used to categorize types of harassment and participant response characteristics. The frequency of these responses was assessed and reported. The type of participant response depended on the nature of harassment being perpetuated and the seniority of the participant. In the 50 instances of scripted harassment, active responses were enacted 52% of the time, acknowledgment responses 16%, and no response enacted in 30%. One senior surgeon also perpetuated the harassment (2%). Trainees were more likely to respond actively compared with consultants. It is apparent that trainees are more aware of instances of harassment, and were more likely to intervene during the simulated scenario. However, a large proportion of harassment was unchallenged. The hierarchical nature of surgical education and the surgical workforce in general needs to enable a culture in which the responsibility to intervene is allowed and respected. Simulation-based education programs could be developed to train in the recognition and intervention of discrimination, bullying, harassment and sexual harassment.

Theatre as a Place to Deal With a Family Memory (on the Example of Two Contemporary Czech Performances

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Sylwia Czachór

2015-09-01

Full Text Available The communist era is one of the most explored topics in Czech art and it is showed from different perspectives. Not a very common way is to present the past by studies on a family memory. However, two of the contemporary performances, share this perspective and show how social and political conditions created the identity of the family. I would like to analyze and compare them, because they use completely different means to talk about the history and the memory and, moreover, they are examples of memory and postmemory. The first, more traditional one which premiered in 2007, is based on a classical Czech drama (written by Milan Uhde about the dilapidated house in which lives authoritarian father, Jewish mother, son dissident, second son collaborator and catatonic daughter. The performance shows them talking about harms they have caused each other in the past, but about which they cannot forget. Through grotesque and black humor theatre presents their attempt to find a solution and restore the family bonds torn by the ambiguities accumulated in the memory. Unlike the first, the second performance (premiered in 2012 is created by the artist (Veronika Švábová who was born at the end of communist era and it is based on her personal history. Through an alternative project she is trying to create a picture of her family using different means of preserving the memory: old photographs, letters, music listened with her grandmother, her own body, recipes handed down from generation to generation… She is using new technologies to shorten the distance to her ancestors, to try to understand the family choices and to build her own identity.

Translating, Deconstructing and Harmonising

DEFF Research Database (Denmark)

Meisiek, Stefan; Matula, Linda; Badham, Richard

The paper seeks to further the understanding of the potential of organisational theatre as an intervention in organisational development and change programs. It employs the concept of polyphony to support an analysis of the character and impact of organisational theatre processes. The findings...... of this paper rest on a longitudinal single-case study, which followed an organisational theatre process from its early development until follow-up stages at an innovative health care project over eighteen months. The analysis suggests that, while organisational theatre is able to provide multivocal and diverse...... debates and interpretations, the outcomes and effects of organisational theatre for individual participants largely depend on their perceived power status within the organisation....

Surgical specimen handover from the operating theatre to laboratory-Can we improve patient safety by learning from aviation and other high-risk organisations?

Science.gov (United States)

Brennan, Peter A; Brands, Marieke T; Caldwell, Lucy; Fonseca, Felipe Paiva; Turley, Nic; Foley, Susie; Rahimi, Siavash

2018-02-01

Essential communication between healthcare staff is considered one of the key requirements for both safety and quality care when patients are handed over from one clinical area to other. This is particularly important in environments such as the operating theatre and intensive care where mistakes can be devastating. Health care has learned from other high-risk organisations (HRO) such as aviation where the use of checklists and human factors awareness has virtually eliminated human error and mistakes. To our knowledge, little has been published around ways to improve pathology specimen handover following surgery, with pathology request forms often conveying the bare minimum of information to assist the laboratory staff. Furthermore, the request form might not warn staff about potential hazards. In this article, we provide a brief summary of the factors involved in human error and introduce a novel checklist that can be readily completed at the same time as the routine pathology request form. This additional measure enhances safety, can help to reduce processing and mislabelling errors and provides essential information in a structured way assisting both laboratory staff and pathologists when handling head and neck surgical specimens. © 2017 John Wiley & Sons A/S. Published by John Wiley & Sons Ltd.

Theaterbeleving in het belevenistheater : De architectuur van het theatergebouw als context voor de theaterervaring

NARCIS (Netherlands)

Wilders, M.L.

2012-01-01

This dissertation investigates the theatre experience in experience theatres. “Experience” plays an increasingly important role in the theatre world, as well as in architecture, but also beyond in other domains of daily life, a development corresponding to the emergence of an experience economy and

De Hollandsche Schouwburg : lieu de mémoire [Amsterdam

NARCIS (Netherlands)

van Montfrans, M.; Mesnard, P.; Jurgenson, L.

2016-01-01

The Hollandsche Schouwburg, a memorial Site Until 1940, The Hollandsche Schouwburg, located just outside the Jewish quarter of Amsterdam, was a popular theatre, putting on many well-known Dutch plays. In 1941 the Nazi occupiers changed the theatre's name into Joodsche Schouwburg (Jewish Theatre).

Fearna Manor Nursing Home, Tarmon Road, Castlerea, Roscommon.

LENUS (Irish Health Repository)

French-O’Carroll, F

2017-01-01

Hip fractures are a major cause of morbidity and mortality1. Surgery performed on the day of or after admission is associated with improved outcome2,3. An audit cycle was performed examining time to surgery for hip fracture patients. Our initial audit identified lack of theatre space as one factor delaying surgery. A dedicated daytime emergency theatre was subsequently opened and a re-audit was performed to assess its impact on time to surgery. Following the opening of the theatre, the proportion of patients with a delay to hip fracture surgery greater than 36 hours was reduced from 49% to 26% with lack of theatre space accounting for 23% (3 of 13) of delayed cases versus 28.6% (9 of 32) previously. 44% of hip fracture surgeries were performed in the emergency theatre during daytime hours, whilst in-hospital mortality rose from 4.6% to 6%. We conclude that access to an emergency theatre during daytime hours reduced inappropriate delays to hip fracture surgery.

Community Hospital of the Assumption, Thurles, Tipperary.

LENUS (Irish Health Repository)

French-O’Carroll, F

2017-01-01

Hip fractures are a major cause of morbidity and mortality1. Surgery performed on the day of or after admission is associated with improved outcome2,3. An audit cycle was performed examining time to surgery for hip fracture patients. Our initial audit identified lack of theatre space as one factor delaying surgery. A dedicated daytime emergency theatre was subsequently opened and a re-audit was performed to assess its impact on time to surgery. Following the opening of the theatre, the proportion of patients with a delay to hip fracture surgery greater than 36 hours was reduced from 49% to 26% with lack of theatre space accounting for 23% (3 of 13) of delayed cases versus 28.6% (9 of 32) previously. 44% of hip fracture surgeries were performed in the emergency theatre during daytime hours, whilst in-hospital mortality rose from 4.6% to 6%. We conclude that access to an emergency theatre during daytime hours reduced inappropriate delays to hip fracture surgery.

A designated centre for people with disabilities operated by Daughters of Charity Disability Support Services Ltd., Dublin 7

LENUS (Irish Health Repository)

French-O’Carroll, F

2017-01-01

Hip fractures are a major cause of morbidity and mortality1. Surgery performed on the day of or after admission is associated with improved outcome2,3. An audit cycle was performed examining time to surgery for hip fracture patients. Our initial audit identified lack of theatre space as one factor delaying surgery. A dedicated daytime emergency theatre was subsequently opened and a re-audit was performed to assess its impact on time to surgery. Following the opening of the theatre, the proportion of patients with a delay to hip fracture surgery greater than 36 hours was reduced from 49% to 26% with lack of theatre space accounting for 23% (3 of 13) of delayed cases versus 28.6% (9 of 32) previously. 44% of hip fracture surgeries were performed in the emergency theatre during daytime hours, whilst in-hospital mortality rose from 4.6% to 6%. We conclude that access to an emergency theatre during daytime hours reduced inappropriate delays to hip fracture surgery.

Theatre

CERN Multimedia

Théâtre les 50

2010-01-01

MARIONNETTES Compagnie Stella Rossa   Dimanche 12 décembre à 15h et 17h Costanza Solari vient enchanter les grands et les petits à partir de 3 ans avec 4 histoires   Séance de 15 heures : « Une histoire de feu, une histoire de chaleur, une histoire de dragon » Il faut vite faire quelque chose pour réchauffer une grand-mère qui a froid. Après avoir tout essayé, la seule solution pour Mia sera de trouver un dragon qui veuille bien lui céder un peu de son feu… « La princesse et la balle d’or » Il arriva que la balle d’or, au lieu de revenir dans sa main, tomba sur le sol et roula tout droit dans l’eau. La princesse la suivit des yeux, mais la balle disparut : la fontaine était si profonde qu’on n’en voyait pas le fond… Séance de 17 heures : « N...

Ny svensk teaterhistoria

DEFF Research Database (Denmark)

Kuhlmann, Annelis

2009-01-01

Review about the New Swedish Theatre History, edited by Sven Åke Heed and Tomas Forser. The book is in three volumes. Focus is on performativity and theatrical appearances within spoken theatre, opera, ballet, musicals, free dance (a Swedish notion of modern dance).......Review about the New Swedish Theatre History, edited by Sven Åke Heed and Tomas Forser. The book is in three volumes. Focus is on performativity and theatrical appearances within spoken theatre, opera, ballet, musicals, free dance (a Swedish notion of modern dance)....

Two intercultural performances: Double Nora and Resurrection Day

Directory of Open Access Journals (Sweden)

Mitsuya Mori

2015-02-01

Full Text Available I have so far directed two plays of Ibsen as the intercultural performance, that is, the collaboration of the modern theatre with noh, a traditional Japanese theatre, which was established as an artistic theatre form in the 14th century. The first production was Double Nora, based on A Doll’s House, which premiered at a noh theatre in Tokyo in 2005, and the second was Resurrection Day, based on When We Dead Awaken, performed at the Ibsen Festival in Tokyo in 2010. In both productions, professional noh and modern theatre actors appeared together in their own acting styles. At the Ibsen Conference in Tromsø in June 2012, brief scenes of the two productions were shown. But here in the present article the performances are partly described, and the interactive relationship between different acting styles of noh and modern theatre is examined. A new and difficult experiment of Resurrection Day was to try a conversation between the main noh actor and the modern actress. The experiment was possible because the performance took place not on a noh stage in a unique form but on an ordinary stage in a modern theatre. Thus, some problems involved in the intercultural performance of Ibsen are investigated.

Issues in the use of costume and its relationship to skin diseases in ...

African Journals Online (AJOL)

This article focuses on the fundamental issues in the use of costumes and its relationship to skin diseases in the Nigerian theatre. It examines skin diseases that can be contracted through the use of contaminated costumes which can bring infections to the human skin. In the Nigerian theatre, like other theatre traditions ...

Le celebrazioni del mondo contadino e le pratiche del teatro in ambiente naturale: un confronto

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Anna Bianchi

2013-03-01

Full Text Available This paper develops a chapter of my dissertation, L’arte del percepire: esperienze contemporanee di Teatro nella Natura in Italia (The art of perception: contemporary Italian experiences of Theatre in theNature. I propose a particular point of view over these theatre practices: I claim that they can beapproached and analytically compared to some features of rural teatrality and rituality, such asidentified by Paolo Toschi in his classical book, Le origini del teatro italiano, a ground study for understanding the connections between theatre and folklore. Actually we can identify long-lastingdevices (procession, singing, storytelling, dance, ritual which were typical of rural teatrality andrituality, and which occur, as well, in contemporary theatre practices in the nature, despite the radicaldifferences that separate popular tradition from contemporary theatre research

The Economic Impact of Ten Cultural Institutions on the Economy of the Salt Lake SMSA.

Science.gov (United States)

Cwi, David

The impact of 10 cultural institutions on the Salt Lake City economy was determined by measuring their 1978 direct and indirect financial effects. The institutions are Ballet West, Pioneer Memorial Theatre, Repertory Dance Theatre, Salt Lake City Art Center, Theatre 138, Tiffany's Attic, Utah Museum of Fine Arts, Utah Symphony, Utah Opera Company,…

Assessment of Two School-Based Programs to Prevent Universal Eating Disorders: Media Literacy and Theatre-Based Methodology in Spanish Adolescent Boys and Girls

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Marisol Mora

2015-01-01

Full Text Available Aims. To evaluate the long-term effects of two school-based prevention programs administered to a universal mixed-sex sample of school-going adolescents on disturbed eating attitudes, aesthetic ideal internalization, and other eating disorder risk factors, when compared to a control group. Methods. Participants were 200 adolescents aged 12–15 selected by means of incidental sampling from second-year compulsory secondary education at schools. An interactive multimedia media literacy program (ML + NUT, Media Literacy and Nutrition and a program focused on the same topics using dramatic arts (Theatre Alive were applied and compared with a control group. Pretest, posttest (1 month later, and 5- and 13-month follow-up measurements were taken. Analyses were conducted with two-way mixed 3×3 ANCOVA (group × phase adjusted by baseline levels, body mass index, and sex. Results. Participants in both experimental groups showed significantly higher self-esteem scores than the control group over time. The ML + NUT group also presented lower aesthetic ideal internalization scores than the control group. Discussion. Both programs can benefit students’ self-esteem. Moreover, ML + NUT program was useful in reducing thin-ideal internalization. However, differences in body dissatisfaction and disordered eating attitudes were not found. The programs may be protective on the core psychological variables, which are essential to adaptive adolescent development.

Finding a Concrete Utopia in the Dystopia of a "Sub-City"

Science.gov (United States)

Busby, Selina

2017-01-01

This article examines a 10-year long series of annual short-term interventions with young people living in Dharavi (India) that has led to a number of public theatre events. The partnership offers a unique training experience to students from the UK in theatre facilitation, and a regular opportunity to participate in theatre for young people in…

Che fatica far festa all’Odin Teatret!

DEFF Research Database (Denmark)

Chemi, Tatiana

2004-01-01

A report of the many activities, planned to celebrate a unique birthday: the one of a theatre group existing for 40 years. A piece of history of contemporary theatre is going to show its past, its present and its future. With a synoptic table for the activities in Denmark.......A report of the many activities, planned to celebrate a unique birthday: the one of a theatre group existing for 40 years. A piece of history of contemporary theatre is going to show its past, its present and its future. With a synoptic table for the activities in Denmark....

Perkembangan Teater di Bali melalui Sosok Dramawan Abu Bakar

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I Nyoman Darma Putra

2013-05-01

Full Text Available Abstract A Western-style of theatre has developed in Bali since the turnof the twentieth century, but it has rarely attracted scholarly attention. Studies on the performing arts in Bali have mainly focused on Balinese (traditional dance and drama. This should come as no surprise given that Balinese dance and drama have developed as a broad and inseparable part of Balinese custom and religious practice. Against this phenomena, this article traces the development of Western-style theatre in Bali through the artistic activities of the prominent playwright, performer and director, Abu Bakar. From the 1960s until the present, Abu Bakar has been an active promoter of Westernsty letheatre in Bali as well as in the main cities of Java andeven in Singapore. He has also has helped students and theatre groups around Bali to study and perform theatre. Initially, Abu Bakar established his own theatre group, Poliklinik, which hascontinued to stage performances as well as collaborating with young people or student theatre study clubs. His extensiverecord of artistic activity has been recorded in newspaper reports and reviews and these form the main source of documentation in this article. By examining qualitative data collected from newspaper archives and interviews, including with Abu Bakar, this article proposes a contemporary historyof theatre or modern drama in Bali.

Aurel Ion Maican (III. Declinul unei cariere strălucite

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Vera Molea

2010-12-01

Full Text Available This paper is the last part of a monographic study on stage director Aurel Ion Maican, who contributed decisively to the making of Romanian modern theatre in the interwar period. After having traced back the beginnings of Maican’s career and his outstanding activity at the National Theatre of Jassy, the author brings to light little known facts regarding the artist’s work from late 1934 till his death in 1952. For the Romanian theatre it was a period of decay. Because of the insecure political climate in the late 1930s and the vicissitudes of the Second World War, theatre practitioners turned quite often to light, escapist entertainment. Under these circumstances, Maican moved from one city to another, staging mainly boulevard comedies, operettas and variety shows. In 1943, during the Romanian occupation of Transnistria, he was appointed director of Odessa National Theatre, where he worked for a season. When Romania changed sides and joined the Allies, Maican was imprisoned under false accusations, but he was eventually released without trial. After the war, the newly established Communist regime brought dramatic changes: theatres were nationalised in 1948, and an increasing number of propaganda plays were included in the repertoire. Maican worked mainly as a theatre director and as a professor at the Institute of Theatre, trying to fit in this new world. In the last part of his career, few were the productions in which the stage director succeeded to materialize his reformist vision. The troubled history of those years, as well as personal circumstances prevented Maican, once a brilliant innovative artist, from achieving his full potential.

Operating theatre ventilation systems and microbial air contamination in total joint replacement surgery: results of the GISIO-ISChIA study.

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Agodi, A; Auxilia, F; Barchitta, M; Cristina, M L; D'Alessandro, D; Mura, I; Nobile, M; Pasquarella, C

2015-07-01

Recent studies have shown a higher rate of surgical site infections in hip prosthesis implantation using unidirectional airflow ventilation compared with turbulent ventilation. However, these studies did not measure the air microbial quality of operating theatres (OTs), and assumed it to be compliant with the recommended standards for this ventilation technique. To evaluate airborne microbial contamination in OTs during hip and knee replacement surgery, and compare the findings with values recommended for joint replacement surgery. Air samplings were performed in 28 OTs supplied with unidirectional, turbulent and mixed airflow ventilation. Samples were collected using passive sampling to determine the index of microbial air contamination (IMA). Active sampling was also performed in some of the OTs. The average number of people in the OT and the number of door openings during the sampling period were recorded. In total, 1228 elective prosthesis procedures (60.1% hip and 39.9% knee) were included in this study. Of passive samplings performed during surgical activity in unidirectional airflow ventilation OTs (U-OTs) and mixed airflow OTs (M-OTs), 58.9% and 87.6% had IMA values >2, respectively. Of samplings performed during surgical activity in turbulent airflow OTs (T-OTs) and in turbulent airflow OTs with the surgical team wearing Steri-Shield Turbo Helmets (TH-OTs), 8.6% and 60% had IMA values ≤ 2, respectively. Positive correlation was found between IMA values and the number of people in the OT and the number of door openings (P systems always provide acceptable airborne bacterial counts. Copyright © 2015 The Healthcare Infection Society. Published by Elsevier Ltd. All rights reserved.

“A horror so deep only ritual can contain it”: The art of dying in the theatre of Sarah Kane

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Sara Soncini

2010-10-01

Full Text Available Death is an overarching presence in Sarah Kane's dramatic universe, peopled by characters charging towards death, and usually encountering it in scenes of Grand Guignol excess and grotesque violence. Death is ambivalently presented as the only escape from the nightmare of living and, at the same time, as that which makes living a nightmare; as the moment of "complete sanity and humanity" in which "everything suddenly connects", and as the ultimate, irrevocable and unredeemable act of self-annihilation. Following Kane's turn towards a more poetic form of drama, in her last two plays this discourse of death is handed over to the words nameless characters or unidentified voices who are likewise engaged in a long, painful quest for selfhood pivoting on the awareness of mortality and the simultaneous dread of and longing for death it engenders. This essay focuses on the ritual quality of the death scenes and/or narratives that crowd Kane's drama. Throughout her work, dying is never an easy, straightforward business, but rather a long, complicated, and at times frustrating mise en scène which also entails rehearsing a repertory of traditional rituals and, once their shortcomings become apparent, devising and testing new ones. The amount of theatricality involved in the art of dying is foregrounded through a web of intertextual references to other literary and/or dramatic sources; this dialogue ties in with a self-reflexive probing of the theatre's ability to provide a ritual that will be capable of "contain[ing] the horror" by supplying a formal framework to express, embody and experience death collectively.

Teatralne wojny z kontrolą medialną

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Piotr Dobrowolski

2007-11-01

Full Text Available The title of this essay plays on words with a title of Noam Chomsky's book Media ControI and with a term War on Terror, both connected by exploring features of 'mediality' (media-reality. The author's interest lays where theatre and media clash, giving friction of potentials that is productive by differencing 'reality' and the media. He attempts to retrace the aesthetic interpretation of the mass media relationship used in theatre, starting from the similar narratives that they both employ (basing on Polish critical reception of in-yer-face theatre. Afterward he moves to a place, where the faith in an image showed onstage is undermining, to the position that counterbalances the trust placed in an onscreen, mass media reality (exploring a practice of The Wooster Group. In the conclusion appears that theatre enlarges a distance to its construct, in an opposition to the media. It is authorized to expose its own conventionality: the stage never tries to make an uncritical illusion of reality, theatre wants to set its audience free to interpret what they see; these facts evoke a natural war between theatre and the mass media.

Creative activity and inclusion

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Shemanov A.Yu.

2013-09-01

Full Text Available The aim of the article was to analyze the inclusion potential of art creative activity, namely of theatre performance, in people with disabilities. The article provides examples of disagreements in understanding the significance of these art activities for exercising the rights of people with disabilities to contribute to culture and art and some problems arising here. The conclusion is made that theatre art performed by people with disabilities is gradually changing its function: from being a means of self-affirmation to the determination of its specific place in overall theatre process. These changes confirm the inclusion potential of theatre art activity.

Terra-cotta figurines from the Roman theatre of Malaga (Spain: An archaeometric study

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Compaña, J. M.

2014-06-01

Full Text Available A series of 22 figured Phoeno-Punic and Roman terra-cottas, of high relevant archaeological and patrimonial values, have been studied. The samples were recovered in the Roman Theatre of Malaga (Spain. A thorough analysis including stereomicroscopy, elemental analysis by WDXRF, mineralogical analysis by XRPD coupled with the Rietveld method, and SEM, has been carried out. Highly diluted fused glass beads probed to be enough for the X-ray fluorescence analyses, minimizing the damage to the samples. For selected samples, in addition to the classical use of the Rietveld method, the G-factor external-standard approach has been employed to get full quantitative crystalline and amorphous phase analysis. The analytical results allow proposing a local regional provenance for the main part of the samples, being a relevant data for several artifacts, not contextualized due to stratigraphic alterations in the site. In addition, some relevant samples, for instance a theatrical mask fragment (TRC005, are likely foreign. The overall amorphous is not negligible in phase quantification, accounting for up to 50 wt %. Technologically, all terra-cotta samples are similar, made of calcareous clays, fired at ~700-950 ºC.Se han estudiado 22 terracotas figuradas feno-púnicas y romanas, de alto valor arqueológico y patrimonial. Las muestras proceden de las excavaciones del Teatro romano de Málaga (España. El análisis realizado incluye estereomicroscopía, análisis elemental mediante WDXRF, análisis mineralógico cuantitativo mediante el método de Rietveld de los datos de XRPD y SEM. Para minimizar el daño realizado a las muestras, se prepararon perlas muy diluidas, que han demostrado ser suficientes para los análisis de fluorescencia de rayos-X. Para muestras selectas, además del análisis usual mediante el método de Rietveld, se ha utilizado el método del estándar externo mediante el factor-G para obtener análisis cuantitativos de fases cristalinas y

A break-even analysis of major ear surgery.

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Wasson, J D; Phillips, J S

2015-10-01

To determine variables which affect cost and profit for major ear surgery and perform a break-even analysis. Retrospective financial analysis. UK teaching hospital. Patients who underwent major ear surgery under general anaesthesia performed by the senior author in main theatre over a 2-year period between dates of 07 September 2010 and 07 September 2012. Income, cost and profit for each major ear patient spell. Variables that affect major ear surgery profitability. Seventy-six patients met inclusion criteria. Wide variation in earnings, with a median net loss of £-1345.50 was observed. Income was relatively uniform across all patient spells; however, theatre time of major ear surgery at a cost of £953.24 per hour varied between patients and was the main determinant of cost and profit for the patient spell. Bivariate linear regression of earnings on theatre time identified 94% of variation in earnings was due to variation in theatre time (r = -0.969; P break-even time for major ear surgery of 110.6 min. Theatre time was dependent on complexity of procedure and number of OPCS4 procedures performed, with a significant increase in theatre time when three or more procedures were performed during major ear surgery (P = 0.015). For major ear surgery to either break-even or return a profit, total theatre time should not exceed 110 min and 36 s. © 2015 John Wiley & Sons Ltd.

Reaalsuse re/presenteerimise strateegiad etenduskunstides / Strategies to Re-(Present Reality in the Performing Arts

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Anneli Saro

2014-12-01

Full Text Available Contemporary theatre, and performing arts in general, no longer seems to be interested in the representation of illusion and reality. There seems to be an increasing emphasis on free play or/and an immediate presentation of reality. And, thus, the mainstream is moving towards the aesthetics of performance art and happenings, where recurrence is shunned and improvisation is emphasized on one hand, while the boundary between performance and reality is obscured on the other. This means that representative theatre, where performers and objects signify someone/something other, is retreating to give way to presentative theatre, where the performers and objects primarily signify themselves.  In the light of the aforementioned, this paper attempts to answer the following questions: how has the presentation of reality in theatre changed over the last forty years, how does presentative theatre differ from representative theatre and does presentative theatre arrive at a deeper/more objective understanding of reality or merely create yet another illusion? In order to answer these questions, the complicated relationship between art and reality as well as issues intrinsic to realist theatre are analysed. The author attempts to prove that it is difficult to find anything fundamentally new in 21st century theatre practice. A lot of the currently fashionable strategies are further developments of older waves, such as realism, or experiments placed in a new temporal and cultural context.  Considering the physical relationship between performing arts and reality, the third section of the paper analyses three strategies of (re-presenting reality: 1. Presenting the elements of reality on stage: performances of documentary material in as authentic a manner as possible, i.e. the self-presentations of so-called regular people or actors, etc. 2. Giving reality an artistic framework: audience tours through the city led by guide(s/performer(s or audio guides. 3

Repere ale sacrului în istoria teatrului. Nāṭyaśāstra

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Isabella Drăghici

2015-12-01

Full Text Available Nāṭyaśāstra is one of the most challenging writing in the history of theatre. Not only because its age and complexity, but because the uniqueness of its vision in which the sacred underlies the art of theatre and interferes with it. This research is based on textual criticism to emphasise the role of the sacred and its avatars (deities, ceremonies of consecration, symbols with religious and performing functions... in the economy of theatre art as it is seen by the ancient Indian treatise on drama. In a history of the sacred circumscribed to the theatre space, Nāṭyaśāstra represents maybe the most relevant creation.

Assessing the surgical skills of trainees in the operating theatre: a prospective observational study of the methodology.

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Beard, J D; Marriott, J; Purdie, H; Crossley, J

2011-01-01

To compare user satisfaction and acceptability, reliability and validity of three different methods of assessing the surgical skills of trainees by direct observation in the operating theatre across a range of different surgical specialties and index procedures. A 2-year prospective, observational study in the operating theatres of three teaching hospitals in Sheffield. The assessment methods were procedure-based assessment (PBA), Objective Structured Assessment of Technical Skills (OSATS) and Non-technical Skills for Surgeons (NOTSS). The specialties were obstetrics and gynaecology (O&G) and upper gastrointestinal, colorectal, cardiac, vascular and orthopaedic surgery. Two to four typical index procedures were selected from each specialty. Surgical trainees were directly observed performing typical index procedures and assessed using a combination of two of the three methods (OSATS or PBA and NOTSS for O&G, PBA and NOTSS for the other specialties) by the consultant clinical supervisor for the case and the anaesthetist and/or scrub nurse, as well as one or more independent assessors from the research team. Information on user satisfaction and acceptability of each assessment method from both assessor and trainee perspectives was obtained from structured questionnaires. The reliability of each method was measured using generalisability theory. Aspects of validity included the internal structure of each tool and correlation between tools, construct validity, predictive validity, interprocedural differences, the effect of assessor designation and the effect of assessment on performance. Of the 558 patients who were consented, a total of 437 (78%) cases were included in the study: 51 consultant clinical supervisors, 56 anaesthetists, 39 nurses, 2 surgical care practitioners and 4 independent assessors provided 1635 assessments on 85 trainees undertaking the 437 cases. A total of 749 PBAs, 695 NOTSS and 191 OSATSs were performed. Non-O&G clinical supervisors and

Диалог с абсурдом. Заметки о драматургии Михаила Волохова

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Mięsowska, Lidia

2014-01-01

The article presents an attempt to describe the oeuvre of the Russian and French playwright and theatre theoretician Mikhail Volokhov in the context of his relation to the Russian theatre of the absurd of the 1920s as well as to the 1950s western model of theatre of the absurd, represented by Samuel Beckett and Eugène Ionesco. The author also discusses Volokhov’s dramatic works in reference to the philosophy of existentialism.