Performing Arts - Science topic

Many times such classic playwrights as Shakespeare have served as a frame for a new play based on one of his plays. These new works may vary slightly or drastically from the original. We also have films that are new versions of classic theater.

Can we compile some examples here?

Why are these plays written?

Can we find examples of plays being told from a different character's point-of-view than in the source play?

What new conditions do they represent?

Even the original play may have been a new version of an older text, so do we have examples of that?

Looking for ideas about connecting Baby Boom and XY generations around succession planning in the (performing) arts, theories connected to (inter)generational exchange and shifts as well as organizational theory connected to transfer of knowledge, intangible knowledge, varied cultural values/backgrounds, etc.

Dear Performing Arts "Creatives,"

We are starting a lab for all of us to share some ideas. I just uploaded an example of a satirical play--our first Planet Zoom Players work--to show our work.

I hope you will consider joining our lab here at RG/ We at PZP grew out of The Hard-Science Science Fiction Zoom Group.

We have our meetings' guest speakers at the Club channel at YouTube.

Planet Zoom Players (outside Research Gate on YouTube platform) hosts a separate playlist at the Hard-Sci SF Zoom channel.

Find that Planet Zoom Players playlist here.

1) "Rock The Nuclear Clock," futurist satire of our embarrassing addiction to nuclear war and how to solve this non-violently with a quiz show.

2) "The Crystal Egg", adapted by Gloria McMillan from the short story by H. G. Wells.

3) "The Terror out of Space", adapted by the 1940s pulp story by Leigh Brackett. This is in-progress. NOT YET PUBLISHED at YouTube--only the trailer.

We welcome your participation at our Performing Arts lab.

Cheers,

Gloria

2024 3rd International Conference on Comprehensive Art and Cultural Communication (CACC 2024) will be held from June 28 to 30, 2024 in Kuala Lumpur, Malaysia.

This conference will focus on the emerging research field of "Integrated Art and Cultural Communication", providing an international platform for experts, professors, scholars, engineers, and others from domestic and foreign universities, scientific research institutes, enterprises, and institutions to share professional experience, expand professional networks, exchange new ideas face-to-face, and showcase research results.

The topics of interest for submission include, but are not limited to:

1. Comprehensive Art

· Synthesis and integration of artistic means

· Aesthetic characteristics and expression techniques of art

· Appreciation of works of art

· Musicology

· Performing art

......

2. Cultural Communication

· News and communication

· Communication behavior

· Symbol propagation

· Cross-cultural communication

· National culture

......

All papers will be reviewed by two or three expert reviewers from the conference committees. After a careful reviewing process, all accepted papers will be published in the ASSEHR-Advances in Social Science, Education and Humanities Research (ISSN: 2352-5398), and submitted to CPCI, CNKI, Google scholar for indexing.

Full Paper Submission Date: June 1, 2024

Registration Deadline: June 10, 2024

Final Paper Submission Date: June 20, 2024

Conference Dates: June 28-30, 2024

Invitation code: AISCONF

*Using the invitation code on submission system/registration can get priority review and feedback

Is AI a useful tool for creative subjects such as performing arts and music or architecture? are there any useful application in courses such as film and television production?

Warning somewhat of a pun: Being self-owned is often both literal and figurative because the autonomous often self deprecate.

My formula is often humorously both observational apathy and not serious inaction, executed as ,somewhat self therapy, with jokes(which are minimum words before punchlines, delivered and timed well enough for the audience to laugh). Sometimes audiences pick comedians based on how much they relate.

There is an immediate an urgent need for the type of higher education institution that focusses primarily on resolving problems that continue to plague societies. Such problems are

a. socioeconomic: various types of poverty, unemployment, crime and delinquency, family life, migration, inflation; various forms of inequalities

b. political: rights and responsibilities; white collar crime, governance, relationships between countries,

c. engineering; urban planning and designs, rural development, construction of resilient buildings and other infrastructure,

d. creative and performing arts: developing business models for individuals and groups to enjoy a healthy standard of living from their involvement in the arts;

There are many other problems that can be addressed by other disciplines. Pathways can also be created to facilitate and accommodate innovations in these and other disciplines particularly in developing countries.

We would like to discuss the innovative possibilities of Zoom-recorded plays that are then published to YouTube.

SEE our web site and Planet Zoom Players list of plays here:

For example:

Our group, the Planet Zoom Players, have two plays done, the second play, H. G. Wells's "The Crystal Egg," with about 500 views and gaining high praise for its production quality as an animatics video.

Our goal is to bring to attention classic science fiction stories, adapt these to scripts, and make YouTube videos of them. Many people who have read classic science fiction believe that its best works have either never been made into film or video media.Some classic SF texts have been mishandled in the adaptation process.

Please share your thoughts on this important issue in theatre. How do you think this new capability can help our recovery of worthwhile but little know and never adapated fiction?

If you wish to help our efforts via sharing--use my Facebook contact for future communications:

This question seeks to determine how art connects with society. Comments and forwarded studies, art exhibits, plays, music, literature, all have roles to play in this. Please add your thoughts.

Gloria McMillan

Dear scholars,

I have a feeling that the discussion of traditional performing arts within Cultural Evolution is almost non-existent. Maybe because the nature of traditional dance is too complex? It seems that performing arts research falls mainly either within cultural and anthropology but never within Cultural Evolution. Is it because it is impossible to discuss? What are your thoughts?

I would like to focus on what you consider tools and techniques.

I am searching for research (and resources) in Multi-disciplinary/Interdisciplinary/Interstitial arts where performing and visual arts intersect with creative writing and how the arts inform or increase access for writers. Pedagogy, approaches, and methods are desired, as well as practitioners, programs, and/or portfolios, narratives, and examples in varied forms.

Here is the CFP for the main conference of the project INDELIBLE (Eng) / INDELEBILE (It) – Representation in the arts of (in)visible violence against women and their resistance - https://acis.org.au/visual-and-performance-studies/

The conference will take place 23-25 October 2019 – Adelaide (South Australia) and a selection of papers will be published in a special issue of a highly ranked journal or dedicated volume. Visual arts, performing arts and literature are instrumental in exposing the complexity of the numerous forms that violence against women and girls can take in the contemporary world, as well as exploring new and old forms of resistance.  Our interdisciplinary conference aims to contribute to the ‘glocal’ conversation on the topic of gendered violence and at the same time raise awareness of the global extent of the problem, by analysing ways in which both such violence and resistance to it are represented in the arts. While a key strand of the conference will concern the arts in contemporary Italy, its scope will be broad, encouraging comparison with other societies across space and time. In line with this aim, we welcome papers engaging with any of the following (and associated) topics, in relation to poetry, literature, theatre, opera, music, cinema or other visual arts: Family violence Places and sites of violence War, conflict and violence Migration, diaspora and violence Resistance vs politics Language and images of violence and resistance Myth in representations of violence Historical developments and representations viewed through a contemporary lens Activism and international campaigns (including #MeToo / #wetoogether / #TimesUp / Se non ora quando / Non una di meno / La violenza non è amore / Panchine rosse) Key-note speaker: Dacia Maraini (writer, dramaturg, screenwriter) Please send a 250-300 word abstract (in Italian or English) and a short bio to Luciana d’Arcangeli, luciana.darcangeli@flinders.edu.au, in an email titled “ACIS 2019 INDELIBLE-INDELEBILE”, by 30 March 2019. 

This conference is supported by the Australasian Centre for Italian Studies (ACIS) and is part of the ACIS Visual and Performing Arts Research Group project INDELIBLE (Eng) / INDELEBILE (It) THE REPRESENTATION OF (IN)VISIBLE VIOLENCE AGAINST WOMEN AND THEIR RESISTANCE

I am doing research on the above topic. What are determinants of customer satisfaction in case of classic theatre or performing arts in general?

Is anyone knowledgeable and experienced in using the Delphi Method willing to collaborate on applying it to setting guidelines regarding musicians health literacy? I'd be most grateful to hear from you! Please see below (we will start with a series of workshops for now):

Wednesday, 19 September OR Monday, 24 September 2018 | 11.30 AM; Royal Northern College of Music (RNCM), Manchester, UK

Tuesday, 25 September OR Saturday, 29 September 2018 | 11.30 AM

Institute of Musical Research, Senate House, London, UK

The physical and psychological demands of the training and practice that musicians must achieve to perform to a high standard can produce deleterious effects on their health and wellbeing. However, music conservatoires still endorse practices that are informed by tradition more than evidence, while health literacy and critical thinking are still not embedded in music students’ core training. Finally, there are no guidelines or regulations regarding what conservatoires should provide in terms of health education.

We want to address that AND we need your help!

We invite psychologists (both researchers and practitioners, from any specialism and not restricted to those who work with musicians) to join us in this discussion! We have prepared comprehensive lists of topics and we shall discuss their relevance and priority in small groups. Additionally, we will brainstorm ideas about what other topics might be needed as part of the conservatoires’ curricula.

Places are free, but limited. While we prioritise psychologists (due to the nature of our task and topic focus), we also welcome:

- Health professionals working with musicians

- Health educators

- Philosophers (yes, yes! We’d also like to discuss cognitive biases and logical fallacies!)

- Cognitive scientists

- Specialists in music education

- PhD students in any of the topics above

Please note the same workshop will be held four times. Please choose only one and register your interest here: https://mmu.onlinesurveys.ac.uk/musicians-health-education-workshop-sept-2018

For any queries, please contact the organisers: Raluca Matei, AHRC-funded PhD student in music psychology: raluca.matei@student.rncm.ac.uk | +44 757 061 2760 OR

Keith Phillips, PhD student in music psychology: keith.phillips@student.rncm.ac.uk

My research is about knowledge flows and activities in performing arts festivals, which I assume manifest a microcosm of performing arts sector. I wish to have a better understanding of how the sector functions.

Researching American composer's early career and life - looking for early family history. Know his grandparents settled in Saunders County, Nebraska, June, 1869. Looking for name of ship on which they sailed (immigrated) to America.

I'm gathering works about stuttering treatments with also the figure arts (especially theatre). I'm a speech pathologist student and i need this for my tesis. 

Thanks for the help 

Latina theatre, themes and challenges

I want to know minimum sample size of the previous research for dance teachers' job stress using questionnaire, or if someone uses dance teacher as their participants in psychological area, how many participants they used for quantitative research? please offer me some suggestions or the journals' link, please! Thank you for your help.

I am seeking for other performance assessment models rather than numeric, in professional actor training in Universities or Conservatories.

 Thanks for your help. 

Western music notation used widely in transcribing and notating non-western music. Well, it looks a media beside the oral transmission of music which can help grasping structure of a certain type of music, but it is not. Western music notation forces its limitations in transcriptions and through the history the notated version remains as the document or “original version” against changes take place in oral versions over time. It is in spite of modifications the written version already got through transcribing musical sound to written notation.

I'm looking at assessing how an audience perceive a performance on the concept of ageing (delivered by older people as the performers) as well as any attitude changes that have occurred. Would anyone suggest a feedback form (more quantitative) or an open discussion at the end of the performance? Or any other methods that have been used.

I'm currently writing a research MA on the history of those rare double bassists who (like me) play the instrument 'back-to-front'. There's a brief summary of my areas of research here: greggottlieb.net/educator/research/

I would like to enlist your help, as members of a wide-ranging musicology community, with answering two questions:

1) When was the first left-handed double bass built ‘from the ground up’, rather than converted from a right-handed instrument?

(Even if we can’t answer this question outright, it would be great to know what is the earliest fully left-handed instrument you know of).

2) Do you know of any more double bass players who play the instrument ‘back-to-front’?

(So far, my list includes Earl May, Tony Archer, Sherwood Mangiapane, Bud Loyacano and Mark Geddes).

Your help and input is greatly appreciated - and please feel free to get in touch with any other enquiries or anecdotes relevant to the research!

Natyashastra by Bharat Muni is a compendium of Indian Theatre and performance. 

I am working on my doctoral monograph this semester and part of it is a survey investigating the opinions of college-level professors of violin and viola, and teachers of young violin or viola students about instrument setup (i.e. chin rests and shoulder rests) so that it can be made comfortable according to the individual student's body, minimizing the likelihood of performance related injury. <br />

I was wondering if anybody would be interested in completing this survey. If yes, it is available at the following links:<br /><br />

https://www.surveymonkey.com/s/MTT5Q6Y (if you are a college professor of violin or viola)<br />

or<br />

https://www.surveymonkey.com/s/MTZJV3B (if you teach at the pre-college level, or adult amateurs)<br /><br />

The deadline for the purposes of my monograph is February 26th, and completing it should take about 5-10 minutes.

methods approach studying co-regulation of student autonomy through teacher-student relationship

I am looking for first-person and ethnographic reports on the work of actors as they encounter texts, work together, and present to audiences. References to analogous work in music would be welcome as well.

Whereas violence as subject matter in performing arts, and even in the entertainment media, has been amply documented, I have not found a study in art history that researches the theme of violence in the visual art. There are discussions of violence in the art of individual artists, such as Caravaggio or Goya, but not a comprehensive study that follows the theme throughout history. In aesthetic discussions violence is often grouped with ugliness or the grotesque.  

I'm doing a research protocol about the Respiratory Muscle Training for my final degree work and I need to know the personal satisfaction of the musician to determinate the subjective efficacy of the intervention, like a QoL questionnaire, but for musicians.

I do not know if they are fantasies, variations, for violin and piano (or orchestra).

I am interested in thoughts and publications about any kind of similarities or relation between rhythm, structure, hierarchies in nature and in narration in audio-visual art work. Is there any similarity, does narration adapt processes we do know out of nature, we have experienced by living in specific environment influencing our way of story telling? Thanks a lot for sharing your knowledge and ideas with me.

Foucault defined heterotopia as "places that do exist and that are formed in the very founding of society which are something like counter-sites, a kind of effectively enacted utopia in which the real sites, all the other real sites that can be found within the culture, are simultaneously represented, contested, and inverted" (1986, 3). I am working about the theatrical space as an heterotopia in which narratives of identity (and contestation of identity) can be performed and I would like to now the connections with the notion of 'margins' as I understand that an heterotopia is also a 'place for Otherness' (Hetherington 1997)

For instance, any research about how to use the different tuning systems and/or the equal temperament when there is a guitar in the ensemble.

I am interested in your opinion on integrating CAD/CAM technology into studio based design teaching and learning practice in the arts.

Sometime ago, I heard it said that Grotowski, when asked why he adapted Marlowe's Dr. Faustus as he did, said something to the effect that he did so because he wanted to say something different to a 20th century audience than Marlowe wanted to say to a 16th century one. Does anyone know a source for & the exact wording of this quotation?

Something we cherish for being there and are not quite the same afterward. Many performances originate in an aesthetic or style, and thus ask to be judged in that way, but occasionally within a performance or as a new work something else occurs and we as audience are transported in ways we did not expect. What is taking place at such moments?

I signed up to do a short course as a teaching artist. I understand the principles of "flipping the classroom" and getting more class participation. But has anyone tried to incorporate these principles into a guest lecture or when a supply teacher? I am struggling to see how a one-off session can be 'flipped', when you don't know how much the class already knows.

Probably because of Baroque opera's heavy reliance on classical mythology there are several examples of allegorical characters personifying ideas -- from the muses to emotions (like love, discord, folly, etc.). Here, though, I'm looking for people who symbolize cities, countries, regions, continents, etc.

To improve nurse and field health professional relational skills we have run a specific educational intervention that used performing art and theatre (experiential laboratories).

Has anyone been involved in such experiences before? We are testing different evaluation methodologies but we are still far from understanding what is happening during and after the intervention.

A focus group, specifically observing greed and individual diary of the experience was conducted and analyzed. In one case, we have also used a controlled observation in a quasy-experimental setting since randomization was not possible.

Any suggestions, indications or reference suggestions are well-accepted.

Thanks a lot for the help

I was recently told that performance is not scholarship because I'm merely playing what someone else wrote. I strongly disagree as the performer brings scholarship to the process of music performance. I am not only interested in your thoughts on that, but more, how does your institution accept/or not creativity as scholarship? Also, it would seem to me that "getting the call" for a performance, either because of your reputation or because you submitted a recording, would serve as peer review, but my institution says no. Thoughts?

I'm interested in looking specifically at Mindfulness and Performance Art, since they often seem to share a common vocabulary, with the use of concepts like "presence", "stillness", "awareness" and so on. I'll be introducing Mindfulness practice to a small group of Hons (post grad) students this year and I'm interested if anybody else is teaching it in performing arts curricula or has explored this with practitioners or in their own work. Thanks.

Drama /movie/ documentary production.

Research Project Zurich October 2013 - Looking for partners and advice

CAST/ Audiovisual Media at the Zurich University of the Arts currently develops a research project in the field of transmedia storytelling. We would like to analyze the levels and forms of audience participation around the Swiss transmedia and ARG project "Die Polder" (October 2013, Zurich) we observe and monitor the project and look how transmedia stories can activate and engage the audience. We are looking for partners to cooperate. You have experience in transmedia research and/or have knowledge in new transmedia audience measurement methods. We would be also thankful for references and examples of transmedia evaluation and research.

Our theatre group is returning to the rehearsal room soon. We would like to put together some reading material and chart out the dramaturgical research. I am in search of books that explain theory, practice, politics, history and contemporary usage.