114 resultados para Drama, Theatre, Performance Art


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My research explores film’s nascent relationship to the late nineteenth century stage. It argues that the emergence of digital culture has seen a focus on the technological rather than performative history of film and new media. This means that what we accept as ‘the cinema’ often denies or elides the theatrical practices that were brought into the nascent media. My interest, in particular, is the narrative theatrical film before World War One. Particularly in Australia, which is credited with having ushered in the longer playing feature film format with the release of The Story of the Kelly Gang, these pre-teen years are fundamental to a proper understanding of our larger contribution to the global film industry.

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This article examines the impact of narratological pragmatics as applicable to both theatre and children picture book performances. The premise is interdisciplinary in that it negotiates points of intersection between performance semiotics and theoretical approaches to Children's Literature. Employing a comparative case study of Samuel Beckett's Happy Days and John Burningham's picture book Aldo, the research assesses the narratological outcomes of intersecting semiotic codes in relation to these specific texts.

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Spirtuality is at the heart of Deborah Walker's enigmatically engaging works. Drawing on the interpretive nature of a philosophical world view, Walker presents a figurative structure imbued with a calmness, stillness, and sophistication. Elegantly dressed characters are warmly depicted witha touch of theatre and drama, their serene gaze gentle, sometimes melancholy and reflective. 

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Gilgul Theatre was founded in May 1991 by director Barrie Kosky and manager flighting designer Robert Lehrer, who aimed to establish 'Australia's first professional Jewish theatre company'.

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The article reviews the book "Exhausting Dance: Performance and the Politics of Movement," by Andre Lepecki.

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The Mobile Architecture and Built Environment Laboratory (MABEL) was conceived upon the principle of investigating building environmental performance in situ. MABEL provides the first means of integrated, on-site measurement of the key aspects of internal built environments; energy, lighting, air quality, ventilation, acoustics and comfort using state-ofthe- art technology and instrumentation. The intention of this paper is to explain the how and what need to be measured in our buildings if we are to search of a genuine performance answer as well as the information to provide a solution. Several results of real building measurement are provided here, suggesting that a national program on 'as performing' is required if we are to proceed in a sustainable manner.

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Background: The introduction of the Australia Council's 'Arts in a Multicultural Australia Policy' (AIMAP) (2000) represented a shift in how the arts in multicultural communities were viewed. It has long been recognised that the arts play a significant role in promoting social cohesion, social policy goals, economic growth, and shaping a nation’s sense of identity. However, prior to the introduction of this policy, multicultural arts was typically seen as involving cultural retentive activities which had their roots in expressions of migrant cultural traditions. The introduction of the policy heralded the beginning of an era in which culturally and linguistically diverse (CaLD) Australians were seen as integral to the fabric of the Australian arts sector. Evaluation of the policy in 2005 however, revealed that culturally and linguistically diverse Australians were under-represented in most artistic categories. Western Australia is the most culturally diverse state in Australia. It is therefore of great interest to the State Government to have a comprehensive picture of the situation in that state. Hence, the Office of Multicultural Interests (OMI) commissioned Deakin University to undertake an investigation into the participation rates of CaLD artists in the arts sector in Western Australia.

Scope: The project examined the participation in the arts of CaLD artists in Western Australia. The arts sector comprises many more individuals and organisations than artists. For example, there are arts agency administrators, venue operators, policy officers, curators, and countless others who work together to make up the arts sector. This project focused on the artists, the individuals such as those who make music, visual art, dance and theatre performances. In the past it has been shown that CaLD populations are not well represented in the broader arts sector. This research aimed to discover the current position for CaLD artists in terms of participation in the broader arts sector and what factors influence their situation.

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This thesis explores the impact of culturally hybrid practices on the Singapore Malay community through fully comprehensive analyses of significant productions by two prominent Singapore Malay theatre groups. It demonstrates the value of applying contemporary cultural/semiotic theory and analysis to issues of cultural hybridity and identity to theatrical performance discourse.

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Describes the design and implementation of an operating system kernel specifically designed to support real-time applications. It emphasises portability and aims to support state-of-the-art concepts in real-time programming. Discusses architectural aspects of the ARTOS kernel, and introduces new concepts on the areas of interrupt processing, scheduling, mutual exclusion and inter-task communication. Also explains the programming environment of ARTOS kernal and its task model, defines the real-time task states and system data structures and discusses exception handling mechanisms which are used to detect missed deadlines and take corrective action.

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Recently, 'intercultural' theatre has taken aspects of performance genres from different cultures and has blended them into a new hybrid form. This thesis engages with this issue through performance practice, textual analysis and theoretical critique, and aims to explore the possibilities and boundaries of a practical non-neo-colonial 'intercultural' theatre.