Browsing by Subject "Theater"
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Item Alice Childress(Voices from the Gaps, 2003) Fluke, Jen N.Item Anna Deavere Smith(Voices from the Gaps, 2005) Stolpa, AlisonItem City as Theatre: an architecture of passage, the center for innovative art Milwaukee, Wisconsin(2013-03) Blank, Scott AllenThis thesis explores the inherent relationship between program type and architecture, hypothesizing that type is made up of unique principles, patterns, and sequences that serve as influntial reference towards architectural form, expression, and solution. The program focuses on experimental art and performance, examining the ritual of theater and the fundamental relationship betwen performer and public. While traditional performing arts provide formal divisions in the ritual, experimental art serves as counterpoint in that it requires the public to enter the performer's realm for participation as part of the experimentation process. The project explores the convergence and interaction of the two realms, and focuses on the celebration of movement through the component sequence of passage, threshold, and exchange. Architectural resolution comes through emphasizing certain and bridge as ordering elements that assemble the physical building into a stage set, facilitating connections and overlaps of the participants as the catalyst for the event ritual.Item Engaging Elderly Theatre Patrons: Identifying Strategies that are Good for Patrons and Good for the Theatres(2014-06-06) Radis-McCluskey, HollyTheatres have a vital resource in elderly patrons, which if properly accessed, leads to assuring the engagement of future generations in the arts. This paper explores the different ways theatres should view elderly patrons and how theatres can engage them through technology and analysis of data. Effective collaboration and inventive methods create an environment enriching these evolving lives. The paper demonstrates the important benefits of art engagement for elderly patrons. My research found a desire among arts organizations to understand that engaging the elderly and leveraging the interaction between technology and arts effectively expands arts’ reach and captures these benefits.Item An Exploration of Methods and Challenges in Building Younger Theater Audiences(2018-05) Erickson, LucasAccording to theater professionals interviewed in the Twin Cities and a review of recent academic literature relative to audiences for American theater, audiences are aging, and attendance rates are declining. This phenomenological study explores what some theaters are doing to develop a sustainable younger audience for the future. It also looks at live theater and participatory theater workshops for young people and their value for enhancing life experiences of young people. This paper describes research with theater organizations in the Twin Cities and with youth in Metro Area schools and finds that there is a gap between what most area theaters are currently doing and what they could be doing to engage young people. This paper reviews academic literature, discusses research findings and observations, and makes recommendations based on these findings.Item The Human Rights Performative: The Belarus Free Theater on the Global Stage(2017-05) Kompelmakher, MargaritaThis dissertation investigates the staging of human rights in the theatrical work of the Belarus Free Theater (BFT), a social justice theater company from Minsk, Belarus that has become one of the most prominent human rights theater companies in the world since 2007. Drawing on bilingual fieldwork and archival research conducted over a five-year period in Belarus and the UK, this project reveals how liberal values--such as freedom of speech and individuality--are translated across post-Soviet Europe and the European Union. The chapters in this dissertation trace a historical shift in human rights cultural politics from identity-based aesthetics to ethical aesthetics grounded in the principles of survival, testimony and sensation. These principles have increasingly become the gold standard for cross-cultural exchanges since the Helsinki Accords in the 1970s. I demonstrate how these principles are not ‘objective’ aesthetic judgments but, in fact, part of a colonial and racially charged mode of liberal human rights governance. Ultimately, this dissertation highlights how artist-activists from Belarus make claims to alternative worldviews to mainstay liberal democracy. It argues that cultural institutions must engage with cultural translation in order to avoid falling prey to a form of human rights governance that implicitly positions certain groups as artistically inferior and backwards on a spectrum of political freedoms.Item Improvisational Theater Techniques for Public Professionals: Unscripting Policy Analysis and Making(Hubert H. Humphrey School of Public Affairs, 2016) Danger, TaneItem Interview with Sheldon Goldstein(University of Minnesota, 1994-07-21) Chambers, Clarke A.; Goldstein, ShellyClarke A. Chambers interviews Sheldon Goldstein, faculty member in the Speech and Communications department. Goldstein was also involved in radio and television at the University.Item Measuring Change: Evaluating Impact for Sustainable Programs(2015-04) Wilson, NatalieThis academic paper addresses the necessity and complexity of program evaluation, utilizing the comprehensive evaluation of the Illusion Theater’s “Keepin It Real” Program as a case study. I demonstrate how the “Keepin It Real” Program is pertinent to the conversation about the necessity of evaluation tools, and the results they can produce. The increase in demand for results-driven reporting has served as a catalyst to field-wide thinking about alternative ways to measure and report impact as a method for sustaining and improving programmatic activity.Item Music and Performance Space Design(2015-12-14) Gjesdahl, KristenItem Nouvelles dramaturgies africaines francophones du chaos(2014-12) Ngilla, Sylvie NdomeA new type of African Francophone theater has emerged since the 1990s, which announced a breaking point within the African literary landscape. This generation of contemporary writers from the African diaspora engages with notions of fragmentation, displacement, and instability that suggest a reconfiguration of chaos in Francophone African literary production since the Independences. The history of African literatures since 1960, when a large majority of former African colonies became independent, is marked by the theme of chaos with significant differences. Indeed, between 1960 and 1970, writers of the « disenchantment » denounce social and political chaos in Africa following the emergence of new dictatorships in the post-independence period. African theatrical aesthetics by the end of the 1970s and through the 1980s, on the contrary, work on an exit out of the African chaos from the perspective of revalorization, providing modern contextualizations for African myths and traditions. Since the early 1990s a rupture is established within new African theater that creates a performative space of « chaos-monde », which manifests the hybrid reality of the African diaspora at local and global levels. By reading across theatrical works by this generation that include Caya Makélé (Congo), Koffi Kwahulé (Ivory Coast), Marcel Zang (Cameroon), José Pliya (Benin), Kossi Efoui (Togo), and Dieudonné Niangouna (Congo), I shed light on the new techniques and aesthetics of an energetic chaos. A close examination of these new settings of chaos allows for a better understanding of the diasporic nature and transnational perspective from contemporary African theater.Item The prosthetic life: theatrical performance, survivor testimony and the Terezín Ghetto, 1941-1963.(2009-10) Peschel, Lisa A.During all periods in postwar Czechoslovakia when the World War II Jewish ghetto at Terezín (in German, Theresienstadt) could be discussed in the public sphere, Czech-Jewish Holocaust survivors created and circulated narratives about the cultural life of the ghetto and their own experience of agency and pleasure while engaged in theatrical performances. Focusing on two periods, the immediate postwar years (1945-47) and an early point in the political thaw leading to the Prague Spring (1963), I examine testimony that survivors addressed to their fellow Czechs in the public sphere as a rhetorical performance in its own right. The constative and the performative aspects of testimony have shifted over time; in each period, survivors needed or wanted their testimony to achieve different effects, and they provided different information about theatrical performance in the ghetto. The survivors clearly adjusted their narratives in response to period-specific pressures as they tried to reinforce both their subjectivity and their subject position in postwar Czechoslovakia. Nevertheless, the testimony of both periods shares a consistent core of themes, suggesting that theatrical performance in the ghetto functioned as a social practice that increased the prisoners' resilience and ability to cope with the traumatic events occurring in the ghetto on a day-to-day basis. Their postwar testimony reveals a related function: they resisted objectification within the sometimes hostile environment of postwar Czechoslovakia by establishing and conveying the meaning they ascribed to their own experience, thus remaining speaking subjects.Item The Real Scoop (1964-10-01)(University of Minnesota, Duluth, 1964-10-01) University of Minnesota, Duluth. TheaterItem The Real Scoop (1964-10-29)(University of Minnesota, Duluth, 1964-10-29) University of Minnesota, Duluth. TheaterItem The Song That Goes Like This: The Art of Theatrical Sign Language Interpreting and Translating(2014-06-06) Mielke, KaitlynWhat sets theatre sign language interpreters apart from their colleagues in non-theatre settings is that they focus not only on the mechanics, but the theatrics of their craft. After examining the role of the theatre interpreter and current interpreting models, a new model is proposed that reflects the overlapping roles of actors and theatre interpreters. This leads to the understanding that theater accessibility for Deaf and Hard of Hearing patrons is a shared responsibility among the constituents that form the theatergoing experience as whole.