AQA GCSE Performing Arts.

Texto que, además de ayudar al alumno a adquirir los conocimientos de las asignaturas para obtener el General Certificate of Secondary Education (GCSE) de esta especificación , permite una participación activa en los procesos de las artes escénicas. El curso presenta las disciplinas esenciales para la comprensión de las artes escénicas. Se trabaja a través de una serie de resúmenes prácticos y de elaborar los proyectos para el portafolio. Desarrolla el conocimiento y la comprensión de la industria de esta especialidad a nivel local y nacional, los atributos personales, incluyendo la confianza en sí mismo, la resistencia, la perseverancia, la autodisciplina y el compromiso. Proporciona una base sólida para el progreso en las artes escénicas, como son estudios de teatro y temas genéricos, incluyendo la danza y la música. Facilita una base para el trabajo de diseño en conjunto, vestuario y utilería y elementos técnicos como en iluminación y sonido. Presenta una amplia gama de habilidades personales y de organización para el lugar de trabajo.

Prospects for development: CARICOM'S performing arts sector

Includes bibliography

Contemplative Education CenterStage: Training the Mindful Performer

In the late 20th century and early 21st century, contemplative education/studies courses, concentrations, and initiatives have emerged in the academy. Although there has been significant discussion of postsecondary courses and programs that have integrated contemplative views and practices in the literature, there have been few studies of contemplative curricula and pedagogy in higher education. Additionally, there have been even fewer inquiries of the influence of contemplative education on performing arts training within conservatories and college and university departments. The aim of this qualitative study was two-fold: (1) to describe, interpret, and appraise the impact of contemplative education on the curricula of an interdisciplinary conservatory level performing arts program, MFA Contemporary Performance, at Naropa University; and (2) to disclose, compare, and analyze MFA student perceptions of the influence of contemplative education on their professional and personal development. The following questions guided this study: (1) How do faculty and students characterize contemplative education within the MFA in Theater: Contemporary Performance Program? (2) How does contemplative education impact the intended and operational curricula of courses within the MFA Contemporary Performance Program? (3) How do graduate students perceive the effects of contemplative education, offered by the MFA Contemporary Performance Program, on the development of their communication abilities, presence-in-performance, sociolinguistic perspectives, and aesthetic perspectives? Based on the research methodology of educational criticism and connoisseurship, this investigation provides a vivid description and interpretation of the intended and operational curricula of three core courses within the MFA program. These curricula were examined through five dimensions: intentional, curricular, pedagogical, structural, and evaluative. In order to shape our understanding of the contemplative and performative nature of the curricula, the significant and subtle qualities of the courses were further captured by preparation, context-building, reflective, showing, and closing conventions. Since the courses were grounded in postmodern view, they were evaluated according to Doll's criteria of richness, recursion, relations, and rigor for the evaluation of postmodern curricula. MFA first- and second-year students primarily characterized contemplative education as body/mind training for performance and personal development, sitting meditation, and cultivation of mindfulness and awareness. Student perceptions of the impact of contemplative education on the development of their communication abilities, presence-in-performance, sociolinguistic perspectives, and aesthetic perspectives, throughout the course of their two-year training, are presented in a dimensional analysis. The research reveals eight different themes that intersect the three core curricula and interviews with MFA students and faculty. These thematics include inclusivity, nowness, silence, improvisation, goodness, heart, training, and space. The beginning letter of each theme combines to form the acronym, insights. The framework of insights connects and illuminates the most potent aspects of MFA Contemporary Performance values and training.

Audience studies of the performing arts and museums : a critical review /

Mode of access: Internet.

1981 Illinois White House Conference on Aging report : May 27- 28, 1981, Krannert Center for the Performing Arts, University of Illinois Champaign-Urbana /

A State Conference created as a prelude to the White House Conference on Aging 1981.

Power Center for the Performing Arts groundbreaking

Kevin Roche, John Dinkeloo and Associates, architect. Sadie Power with the shovel

Power Center for the Performing Arts Groundbreaking

Kevin Roche, John Dinkeloo and Associates, architect. Includes UM President Robben Fleming, Sadie and Eugene Power, Philip Power (2nd from left)

The Power Center for the Performing Arts

The Power Center for the Performing Arts is an active, living theatre arts center. Its architectural beauty, adaptability and flexbility make it a vital performing center for the Theatre Programs of The University of Michigan. The vision and generosity of the distinguished Regent Emeritus Eugene B. Power and his family and the theatre "First Nighters" have made this possible.

THE ECONOMIC, AESTHETIC, AND NONPROFIT ORGANIZATION OF PROFESSIONAL VOCAL ENSEMBLES: TOWARD A THEORY OF THE PERFORMING ARTS

Thesis (D.M.A.)--University of Washington, 2016-06

Understanding service experience in non-profit performing arts: Implications for operations and service management

Recent research in the non-profit performing arts has shown that marketing efforts designed to increase revenue from ticket sales are not achieving the results required to sustain the performing arts. This paper applies operations management analytical techniques to the non-profit performing arts to increase understanding of operational issues and inform service management strategy. The paper takes a two-study idiographic approach. Implementing a modified version of service transaction analysis (STA), Study One describes a performing arts service from provider and customer perspectives, identifies service gaps and develops an elaborated service description incorporating both perspectives. In Study Two, building on the elaborated service description and extant research, in-depth interviews are conducted to gather thick descriptions of predictors of satisfaction, value and service quality as they relate to repurchase intention (RI). Technical, functional and critical factors required to improve organizational performance are identified. Implications for operational strategy, service design and service management theory for this context are discussed. (c) 2005 Published by Elsevier B.V.