Being and Becoming: Children as Audiences

2011 ◽  
Vol 27 (1) ◽  
pp. 60-70 ◽  
Author(s):  
Katya Johanson ◽  
Hilary Glow
Keyword(s):  
Case Studies ◽  
Performing Arts ◽  
Cultural Policy ◽  
Management Program ◽  
Educational Goals ◽  
Political Theatre ◽  
Senior Lecturer ◽  
Arts Policy ◽  
Children's Theatre ◽  
Rights Of The Child

In this article, Katya Johanson and Hilary Glow examine the ways in which performing arts companies and arts policy institutions perceive the needs of children as audiences. Historically, children have been promoted as arts audiences. Some of these represent an attempt to fashion the adults of the future – as audiences, citizens of a nation, or members of a specific community. Other rationales focus on the needs or rights of the child, such as educational goals or the provision of an antidote to the perceived corrupting effect of electronic entertainment. Drawing on interviews with performing arts practitioners, the authors explore some of these themes through case studies of three children's theatre companies, identifying the development of policy rationales for the support of practices directed at children which are primarily based on pedagogical principles. The case studies reveal a shift away from educational goals for children's theatre, and identify a new emphasis on the importance of valuing children's aesthetic choices, examining how these trends are enacted within the case-study organizations, and the implications of these trends for company programming. Hilary Glow is Senior Lecturer and Director of the Arts Management Program at Deakin University, Victoria. She has published articles on cultural policy and the audience experience in various journals, and in a monograph on Australian political theatre (2007). Katya Johanson lectures and researches in the School of Communication and Creative Arts at Deakin University. She has published on Australian cultural policy and on the relationship between art, politics and national identity. With Glow she is the author of a monograph on Australian indigenous performing arts (2009).

A Conversation on Directing Opera

2021 ◽  
Vol 37 (3) ◽  
pp. 246-255
Author(s):  
Katie Mitchell ◽  
Mario Frendo
Keyword(s):  
Performing Arts ◽  
Musical Score ◽  
Senior Lecturer ◽  
Contemporary World ◽  
Art Form ◽  
Don Giovanni ◽  
National Opera ◽  
Dramatic Text ◽  
Theatre Studies ◽  
And Performance

Katie Mitchell has been directing opera since 1996, when she debuted on the operatic stage with Mozart and Da Ponte’s Don Giovanni at the Welsh National Opera. Since then, she has directed more than twenty-nine operas in major opera houses around the world. Mitchell here speaks of her directorial approach when working with the genre, addressing various aspects of interest for those who want a better grasp of the dynamics of opera-making in the twenty-first century. Ranging from the director’s imprint, or signature on the work they put on the stage, to the relationships forged with people running opera institutions, Mitchell reflects on her experiences when staging opera productions. She sheds light on some fundamental differences between theatre-making and opera production, including the issue of text – the libretto, the dramatic text, and the musical score – and the very basic fact that in opera a director is working with singers, that is, with musicians whose attitude and behaviour on stage is necessarily different from that of actors in the theatre. Running throughout the conversation is Mitchell’s commitment to ensure that young and contemporary audiences do not see opera as a museum artefact but as a living performative experience that resonates with the aesthetics and political imperatives of our contemporary world. She speaks of the uncompromising political imperatives that remain central to her work ethic, even if this means deserting a project before it starts, and reflects on her long-term working relations with opera institutions that are open to new and alternative approaches to opera-making strategies. Mitchell underlines her respect for the specific rules of an art form that, because of its collaborative nature, must allow more space for theatre-makers to venture within its complex performative paths if it wants to secure a place in the future. Mario Frendo is Senior Lecturer of Theatre and Performance and Head of the Department of Theatre Studies at the School of Performing Arts, University of Malta, where he is the director of CaP, a research group focusing on the links between culture and performance.

Distance and Reflexivity: Creating the Stage World of Pantoland

2005 ◽  
Vol 21 (4) ◽  
pp. 331-339
Author(s):  
Millie Taylor
Keyword(s):  
Performing Arts ◽  
Financial Support ◽  
Extended Version ◽  
Senior Lecturer ◽  
Arts And Humanities ◽  
Forthcoming Book ◽  
The World ◽  
Commercial Theatre ◽  
And Performance ◽  
The University

In pantomime the Dame and comics, and to a lesser extent the immortals, are positioned between the world of the audience and the world of the story, interacting with both, forming a link between the two, and constantly altering the distance thus created between audience and performance. This position allows these characters to exist both within and without the story, to comment on the story, and reflexively to draw attention to the theatricality of the pantomime event. In this article, Millie Taylor concludes that reflexivity and framing allow the pantomime to represent itself as unique, original, anarchic, and fun, and that these devices are significant in the identification of British pantomime as distinct from other types of performance. Millie Taylor worked for many years as a freelance musical director in repertory and commercial theatre and in pantomime. She is now Senior Lecturer in Performing Arts and Music Theatre at the University of Winchester. An earlier version of this article was presented at the Conference on Arts and Humanities in Hawaii (2005), and an extended version will appear in her forthcoming book on British pantomime. Her research has received financial support from the British Academy.

The Humanities Program

2016 ◽  
pp. 363-399
Author(s):  
Kathleen Jasonides ◽  
Janet Karvouniaris ◽  
Amalia Zavacopoulou
Keyword(s):  
Case Studies ◽  
Performing Arts ◽  
New Technology ◽  
Interdisciplinary Team ◽  
Student Feedback ◽  
Innovative Approach ◽  
Face To Face ◽  
Visual And Performing Arts ◽  
Essential Questions ◽  
History Of

Innovative since its inception, the ACS Honors Humanities program has a long history of more than 40 years as an interdisciplinary team-taught course that examines essential questions through literature, visual and performing arts, philosophy and history. This innovative approach has continued to motivate successive teaching teams to modify and enhance a program that challenges students academically, utilizing the best possible resources and taking advantage of new technology. The program consists of two year-long, completely integrated i2Flex ACS Athens Honors diploma courses and three i2Flex 20-week enrichment courses accessible to students anywhere. This chapter presents two case studies which explain the transformation of the Honors Humanities course from Face to Face to i2Flex. The authors describe and present examples of how they redesigned the courses. They present data on student feedback and findings regarding the benefits and challenges of adopting the i2Flex methodology for this program. This chapter is intended as a reference for teachers, teachers in training and professionals who train teachers.

New Zealand Case Studies to Test the Meaning and Use of Article 5 of the 1989 United Nations Convention on the Rights of the Child

2020 ◽  
Vol 28 (3) ◽  
pp. 588-612
Author(s):  
Mark Henaghan
Keyword(s):  
New Zealand ◽  
United Nations ◽  
Case Studies ◽  
Family Members ◽  
Central Theme ◽  
Rights Of The Child ◽  
Unique Identity ◽  
United Nations Convention ◽  
International Instruments ◽  
Article 5

Abstract Article 5 of the UN Convention on the Rights of the Child recognises the importance of parents and wider family members in ensuring that children are given appropriate directions on their rights in the UN Convention on the Rights of the Child. This paper analyses the wording of Article 5 and four New Zealand case studies to test the possible interpretations of Article 5. The paper builds on the work of Landsdown and Kamchedzera (Landsdown, 2005; Kamchedzera, 2012) who have done previous comprehensive analyses of the ambit and significance of the wording in Article 5. Article 5, like all international instruments, is not designed to provide prescriptive answers to challenging problems where there is a clash of which rights should prevail for children in particular situations. The central theme of this paper is that where there is a clash of a child’s rights, the tiebreaker should be which right in the particular situation will best enhance the unique identity of a particular child. The paper draws on the work of Ronen (Ronen, 2004) which argues that the purpose of a child’s rights framework is so the child can construct their individualised identity which is authentic and real for that particular child. The New Zealand case studies have been chosen to exemplify particular aspects of Article 5 and see how they are played out in particular court settings and whether the outcome enhances or inhibits the child’s opportunity to develop their unique identity.

Case studies of two performing arts halls

2000 ◽  
Vol 108 (5) ◽  
pp. 2648-2648
Author(s):  
David A. Conant ◽  
Thomas J. McGraw
Keyword(s):  
Case Studies ◽  
Performing Arts

Non-Linear Corrosion Growth: A More Appropriate and Accurate Model for Predicting Corrosion Growth Rate

2016 ◽  
Author(s):  
M. Al-Amin ◽  
S. Kariyawasam ◽  
S. Zhang ◽  
W. Zhou
Keyword(s):  
Growth Rate ◽  
Case Studies ◽  
Growth Model ◽  
Measurement Errors ◽  
Linear Growth ◽  
Management Program ◽  
Linear Growth Rate ◽  
Metal Loss ◽  
Contributing Factors ◽  
Non Linear

External metal-loss corrosion is one of the major contributing factors for pipeline failures in North America. Corrosion growth rate plays a crucial role in managing corrosion hazard for gas and liquid pipelines. Quantifying the growth of corrosion over time is critically important for the risk and reliability analysis of pipelines, planning for corrosion mitigation and repair, and determination of time intervals for corrosion inspections. Conservatism in predicting the growth rate has significant engineering implication as non-conservatism can lead to critical anomalies being missed by mitigation actions and may cause pipeline failure; whereas, over conservatism can lead to unnecessary inspections and anomaly mitigations that may result in significant unnecessary cost to pipeline operators. As more and more pipelines are now being inspected by in-line inspection (ILI) tools on a regular basis, the ILI data from multiple inspections provide valuable information about the growth of corrosion anomalies on the pipeline. Although the application of linear growth rate calculated by comparing depths from two successive ILI is a common practice in the pipeline industry, research has shown that the growth of corrosion anomaly is non-linear and anomaly-specific. The authors of this paper have previously developed anomaly-specific non-linear corrosion growth model based on multiple ILI data. The objectives of this paper are to demonstrate the appropriateness of anomaly-specific non-linear corrosion growth model, and to illustrate the advantages of using non-linear corrosion growth model in the integrity management program. Two case studies were performed to illustrate the application of non-linear growth model by incorporating the measurement errors associated with the ILI tools, which include both the bias (constant and non-constant) and random scattering error. The findings of these case studies are presented in this paper.

The Oxford Handbook of Sound and Image in Western Art

2013 ◽  
Keyword(s):  
Case Studies ◽  
Contemporary Art ◽  
Performing Arts ◽  
Music Performance ◽  
Sound Art ◽  
Short Film ◽  
Contemporary Dance ◽  
Avant Garde ◽  
Western Art ◽  
Experimental Theatre

This book examines different kinds of analogies, mutual influences, integrations, and collaborations of the audio and the visual in different art forms. The contributions, written by key theoreticians and practitioners, represent state-of-the-art case studies in contemporary art, integrating music, sound, and image with key figure of modern thinking constitute a foundation for the discussion. It thus emphasizes avant-garde and experimental tendencies, while analyzing them in historical, theoretical, and critical frameworks. The book is organized around three core subjects, each of which constitutes one section of the book. The first concentrates on the interaction between seeing and hearing. Examples of classic and digital animation, video art, choreography, and music performance, which are motivated by the issue of eye versus ear perception are examined in this section. The second section explores experimental forms emanating from the expansion of the concepts of music and space to include environmental sounds, vibrating frequencies, language, human habitats, the human body, and more. The reader will find here an analysis of different manifestations of this aesthetic shift in sound art, fine art, contemporary dance, multimedia theatre, and cinema. The last section shows how the new light shed by modernism on the performative aspect of music has led it—together with sound, voice, and text—to become active in new ways in postmodern and contemporary art creation. In addition to examples of real-time performing arts such as music theatre, experimental theatre, and dance, it includes case studies that demonstrate performativity in visual poetry, short film, and cinema.

The Arts Council Touring Franchise and English Political Theatre after 1986

2000 ◽  
Vol 16 (4) ◽  
pp. 379-387 ◽  
Author(s):  
Ian Brown ◽  
Robert Brannen ◽  
Douglas Brown
Keyword(s):  
Positive Influence ◽  
Political Theatre ◽  
Senior Lecturer ◽  
Cultural Management ◽  
The Arts ◽  
University College ◽  
Assistant Director ◽  
Experimental Theatre

The pressures of Thatcherism on theatre funding in the 'eighties were severe, but the early harshness was tempered by several factors. One was the positive influence of the Cork Report, particularly on touring and experimental theatre. Another, the authors believe, was a careful strategy of reallocation of funding to support creativity in English theatre, notably through the touring franchise scheme. Here, they analyze in detail the ways in which the English Arts Council operated the scheme in an attempt to revitalize aspects of English theatre from 1986 onwards, trace the change in the values of ‘political’ theatre over that period, and critically examine some received ideas in the light of the available evidence. Ian Brown is Dean of Arts and Professor of Theatre at Queen Margaret University College, Edinburgh, Rob Brannen is a Senior Lecturer in Drama at De Montfort University, Bedford. Douglas Brown is Assistant Director, Scottish Centre for Cultural Management and Policy, at Queen Margaret University College, Edinburgh.

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