The impact of new technologies on theatre and costumeGeorge Diamandis
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This document discusses the impact of new technologies on theatre and costume design over time. It begins by looking at technological innovations in ancient Greek theatre like the deus ex machina machine. It then outlines major technological developments that revolutionized theatre, like the introduction of electricity which allowed for new lighting effects. The digital revolution is bringing virtual, augmented and mixed reality technologies to theatre. These technologies require directors and designers to reimagine how performances are staged. While theatre has always adapted technologies to serve artistic visions, the relationship is now reciprocal as new technologies also shape creative works. The future of how technology will impact audiences and performances remains unknown.
This document introduces the HEDA project, which aims to develop a methodology for teaching social and civic education in secondary schools through art forms like theater, film, and painting. It discusses definitions of key concepts like citizenship, human rights, and different art forms. The document outlines how the HEDA project will use experiential learning techniques derived from theater to help students develop skills like critical thinking around social issues in a way that sticks better than traditional civic education courses. It provides examples of how the HEDA method would be applied in classroom lessons focusing on topics like refugees and immigration.
This model aims to apply the principles of circular economy specifically in the artisanal sector, to enhance local assets giving them an added value that positions them as a tourist attraction in the communities with the direct action and commitment of young people.
The document summarizes the conflict over the Grand Ethiopian Renaissance Dam between Ethiopia, Egypt, and Sudan. Ethiopia wants to use the dam for hydroelectric power and development, but Egypt fears it will significantly reduce the downstream flow of the Nile River, which it relies on for over 90% of its water. Negotiations have failed to reach an agreement on how fast Ethiopia can fill the dam reservoir and how much water must be released. The countries and African Union are aiming to finalize a deal within two to three weeks to regulate dam operations and protect all countries' water and energy interests. The document provides background on each country's perspectives and interests in the conflict over the Blue Nile waters.
This document provides guidance on developing high-quality journalism standards. It emphasizes the importance of accuracy in reporting facts and details rather than opinions. Journalists should utilize multiple credible sources to provide balanced coverage and allow readers to form their own opinions. When writing pieces, reporters should avoid opinionated language and clearly separate facts from opinions using clear attribution for any quotes or statements. All stories should be written in a simple, easy to understand manner for a broad audience. Strong hypotheses are key to driving investigations and research, and should be questioned and tested against facts rather than seeking to only prove predetermined conclusions.
The Gr棚mio Recreativo Escola de Samba Portela is the oldest samba school in Rio de Janeiro, founded in 1923. It has won the top-tier Rio parade competition 22 times total, more than any other school. Some of Brazil's most famous samba composers have worked for the Portela school over the years. The school's symbol is an eagle displayed on its opening float in Rio's Carnival parades.
The document discusses the Apalpador, the mythical figure of the Galician Santa Claus. The Apalpador is a millennial character with an important presence in the mountainous eastern areas of Galicia during Christmas. He brings affection, fullness, humanity and love as he prepares to distribute gifts among children.
Maracatu is a cultural tradition from Pernambuco, Brazil that originated during the slave period between the 17th-18th centuries. It features a royal procession with a King and Queen accompanied by musicians, dancers, and figures like banner carriers and ladies of the court. The procession performs percussive music down streets during carnival season. While initially connected to Candombl辿 religion, Maracatu spread beyond Recife in the 1990s and is now performed around Brazil and other countries with elements of its traditional music and dance.
O documento descreve a dan巽a Xaxado: uma dan巽a popular brasileira origin叩ria do Nordeste, praticada originalmente pelos cangaceiros e que se tornou popular na d辿cada de 1920. O Xaxado consiste em uma fila indiana com versos cantados e movimentos laterais e de sapateado, simbolizando gestos de guerra. Posteriormente, as mulheres tamb辿m passaram a participar da dan巽a.
The document summarizes the Portuguese tradition of Folia de Reis, in which musicians, singers and dancers go from house to house announcing Jesus' birth and praising the homeowners. Unlike traditional kings, they seek donations rather than give gifts. Originating in Portugal and brought to Brazil, it features singing, dancing groups organized by a leader, requests to enter homes, solo and refrain music, and tributes in verse. Key figures include the Three Kings, the Master who organizes the group, singers, clowns, flag-bearers, and partymen who host the beginning and end.
Water puppetry is a traditional Vietnamese art form that developed with wet rice cultivation. Performances feature puppet figures interacting on water and tell stories through music and dance. Ch竪o is a popular Northern Vietnamese folk opera that originated in the 10th century and features singing, dancing, and acting. Xam singing is a folk music tradition of blind musicians in Northern Vietnam that uses string instruments to accompany poetic stories and legends. Chat vu van is a form of ritual folk singing that accompanies spirit mediumship ceremonies honoring Vietnamese goddesses. It uses instruments like moon-shaped lutes and drums and follows a structure of inviting spirits, telling their legends, praying, and seeing them off.