Sesame Street as a Musical Comedy-Variety Show

Millions in taxpayer and foundation euros and dollars have been spent building and testing educational video games, games for health, and serious games. What have been the fruits of this frenzy of activity? What educational video game has had the reach and impact of Sesame Street or Blues Clues television shows? By comparison, the Children’s Television Workshop (CTW) managed to get Sesame Street off the ground within a couple of years, writing the basic scientific literature on educational media design in the process. Not only is Sesame Street well known and proven, it laid the basis for every effective educational show to follow. This article explores the differences between the CTW scientific approach to educational media production and the mostly nonscientific approach consuming so many resources in the educational games, games for health, and serious games movements. Fundamental scientific questions that remain unanswered are outlined.

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A Study on Factors Affecting Viewing Satisfaction of Variety Show with Foreigner Casts: Focusing on the Case of

Korea Jouranl of Communication Studies ◽

10.23875/kca.26.3.3 ◽

2018 ◽

Vol 26 (3) ◽

pp. 57-77

Author(s):

Sungjoon Lee

Keyword(s):

Factors Affecting ◽

Variety Show ◽

First Time

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Effects of Time and Perceptual Orientation on Actors' and Observers' Attributions

Perceptual and Motor Skills ◽

10.2466/pms.1984.58.1.23 ◽

1984 ◽

Vol 58 (1) ◽

pp. 23-30

Author(s):

Donald S. Martin ◽

Ming-Shiunn Huang

Keyword(s):

Video Recording ◽

Control Group ◽

Control Groups ◽

Video Recordings ◽

Before And After ◽

Perceptual Orientation ◽

Initial Difference ◽

Variety Show ◽

And Control ◽

Unrelated Variety

The actor/observer effect was examined by Storms in a 1973 study which manipulated perceptual orientation using video recordings. Storms' study was complex and some of his results equivocal. The present study attempted to recreate the perceptual reorientation effect using a simplified experimental design and an initial difference between actors and observers which was the reverse of the original effect. Female undergraduates performed a motor co-ordination task as actors while watched by observers. Each person made attributions for the actor's behaviour before and after watching a video recording of the performance. For a control group the video recording was of an unrelated variety show excerpt. Actors' initial attributions were less situational than observers'. Both actors and observers became more situational after the video replay but this effect occurred in both experimental and control groups. It was suggested the passage of time between first and second recording of attributions could account for the findings and care should be taken when interpreting Storms' (1973) study and others which did not adequately control for temporal effects.

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МОДА ЯК ВИДОВИЩЕ: ЕТНОКУЛЬТУРНІ ТА МІФОЛОГІЧНІ ВИМІРИ

УКРАЇНСЬКА КУЛЬТУРА : МИНУЛЕ, СУЧАСНЕ, ШЛЯХИ РОЗВИТКУ (НАПРЯМ: КУЛЬТУРОЛОГІЯ) ◽

10.35619/ucpmk.vi30.208 ◽

2020 ◽

Author(s):

Admink Admink

Keyword(s):

Twentieth Century ◽

Young People ◽

Everyday Life ◽

Cultural Influences ◽

Ethnic Culture ◽

The Earth ◽

The Everyday ◽

Variety Show

Прослідковуються урбанізаційні та дезурбанізаційні процеси в моді ХХ ст. Звернено увагу на недостатню вивченість питань естетичних та культурологічних аспектів формування моди як видовища в контексті образного простору культури повсякдення. Визначено видовищні виміри модної діяльності як комунікативної сцени. Наголошено на необхідності актуалізації народних мотивів свята, творчості в гурті, певної стилізації у митців та дизайнерів моди мистецтва ностальгійного, втраченого світу з метою осягнення фольклорної, глибинної стихії моди як екомунікативного простору культури повсякдення. Ключові слова: міф, мода, етнокультура, етнос, свято, площа Ключові слова: міф, мода, етнокультура, етнос, свято, площа. According to E. Moren ethnic cultural influences take place in urbanized environment and turn it into "island ontology".Everyday life ethnic culture is differentiated, specified as a certain type of spectacle. However, all that powerful cosmologism, which used to exist as an open-air theater in settlements, near rivers, grasslands, roads, is disappearing. The everyday life culture loses imperatives, patterns, and cosmological designs, where, for example, the “plahta” contains rhombuses, squares, and rectangles - images of the earth, and the top of the costume symbolizes the sky. Yes, the symbolic marriage of earth and sky was a prerequisite for marrying young people. The article deals with traces of the urbanization and deurbanization processes in the twentieth century fashion.Key words: ethnic culture, culture of everyday life, ethnics, holidays, variety show, knockabout comedy, square.

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Dance of Death

10.1093/oso/9780199336791.003.0011 ◽

2018 ◽

Author(s):

Kevin Winkler

Keyword(s):

Subject Matter ◽

Heart Surgery ◽

Open Heart Surgery ◽

High Energy ◽

Open Heart ◽

Broadway Musical ◽

Musical Comedy ◽

Dance Of Death ◽

Nonlinear Fashion

This chapter looks at Bob Fosse’s most ambitious film, the autobiographical All That Jazz. All That Jazz follows Joe Gideon, a director and choreographer very much like Fosse who is at a personal and professional crossroads as he prepares to direct a Broadway musical much like Chicago while simultaneously editing a film that looks a lot like Lenny. Following graphic footage of open-heart surgery and a series of metaphoric musical comedy turns by the women in his life, All That Jazz concludes with Gideon presiding over a combined funeral and wake for himself: a glamorous, high-energy floor show to end all floor shows. Here Fosse took the movie musical further than anyone had dared—not only in subject matter, but also in structure and pacing. Fosse tells this “putting on a show” musical in nonlinear fashion, with surprising juxtapositions, fragments, and time leaps.

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Dancin’ Solo

10.1093/oso/9780199336791.003.0010 ◽

2018 ◽

Author(s):

Kevin Winkler

Keyword(s):

Musical Comedy ◽

Bob Fosse

This chapter focuses on Fosse’s show Dancin’, an evening of numbers performed to preexisting music from a variety of composers. Having dismissed all collaborators and untethered to a narrative, Fosse was free to create dances around his favorite music, which included classical, swing, rock, and pop. Dancin’ had moments of startling eroticism, and his ability to sculpt stage pictures with bodies, space, and light remained unmatched. But there were also cringeworthy attempts at comedy and moments of maudlin sentimentality. By now, Fosse’s choreographic style had shifted from traditional musical comedy with touches of antic vaudeville to a more lyrical, self-serious approach that he could not always support. A sameness crept into much of his work, with similar steps, patterns, and groupings carried over from one show or film to another. Choreographing for character seemed no longer important, and all his dancers appeared to be performing the role of Bob Fosse.

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