What does collaboration in Dutch inclusive theatres look like, and what key themes can be identified? Data were collected through interviews and co-creative sessions with seven independent theatre makers and members of three participating theatre groups (n=48). Thematic analysis resulted in the proposal of a model that identifies six interconnected core issues central to inclusive theatre practices: the Atomium Model in which dynamic tensions of attracting and repelling forces exist. The study concludes that those involved in inclusive theatre are willing to continuously face artistic and collaborative challenges to fulfil their political ambitions and to dismantle prejudices and barriers. Plain language abstract: We studied the collaboration between theatre makers, actors with and without intellectual disabilities, and coaches in inclusive theatres in the Netherlands. We spoke with seven independent theatre makers and participants from three inclusive theatre groups and organised co-creation sessions. Through this research, we identified six interconnected themes that are essential to collaboration within inclusive theatre practices. These themes are characterised by inherent tensions, such as the balance between pushing personal boundaries for growth and respecting them for safety. We concluded that participants in inclusive theatre continually face artistic and collaborative challenges to achieve their ambition of dismantling prejudices and barriers.
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The 6th issue of the Fresh Perspectives series takes you on a playful but serious journey along the issues at stake when designing a mixed reality experience in the context of theatre and performance. The publication features a selection of projects describing in detail the artistic design processes, as well as the challenges and opportunities brought about by the use of mixed reality technologies.Joris Weijdom, researcher and lecturer at the Professorship, wrote the key article and curated this publication.
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For the ‘Rotterdam Project’, a large amount of historical data on patrons of Rotterdam’s main theatres during the ‘long’ 19th century (1773–1914)was collected, digitally registered and statistically analysed. The data was gathered from the theatre archives of the city of Rotterdam and included data on such specifics as ticket sales, repertoire and featured performers. The database holds prosopography information on over 16,000 patrons and almost 15,000registered ticket sales to these patrons. This dataset (https:// doi.org/doi:10.21943/auas.7381127) can be used to make comparisons to the datasets of similarly sized cities in other countries during the same period and for broader re- search on 19th-century cultural history. So far, the data has been mainly applied to empirically test the master narrative of theatre historiography on the social composi- tion of theatre audiences. The analyses based on the data show that this narrative must, for the most part, be rejected.
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Thermal comfort in operating theatres is a less addressed research component of the in-door environment in operating theatres. The air quality naturally gets most attention when considering the risk of surgical site infections. However, the importance of thermal comfort must not be underestimated. In this research, the current thermal comfort situation of staff members is investigated. Results show that the thermal comfort for the members of a surgical team is perceived as not optimal. Application of the PMV and DR models needs further attention when applied for operating theatres. For the investigated ventilation systems, the differences in thermal comfort outcomes are small.
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BackgroundThe importance of learning to create an expressive performance is a consistently discussed topic in music education. However, how musicians develop “expressiveness” is still understudied. Recent investigations have shown that musicians’ motor behavior is a significant source of perceptual information during performances (Davidson, 2007), as it helps audiences differentiate musicians’ expressive intentions and it often serves as aperformance quality indicator (Waddell & Williamon, 2017). Nevertheless, most current teaching approaches in Higher Music Education focus mainly on acoustic characteristics of performance, and they lack clear goals and systematic teaching patterns (Karlsson & Juslin, 2008; Meissner, 2021).For centuries, some of the most influential theater methods have used physical exploration (motion) to stimulate imagination and create affective states (emotions) in actors. These approaches are rooted in embodied cognition theories, which claim that physical experience shapes conceptual thought, and this is contingent upon the body’s interactions with its environments (Kemp, 2012). Drawing inspiration from theater practices, the method “Frommotion to emotion” for enhancing expressiveness was developed by this author, using improvisational theater as a basis.AimsThis workshop is designed to acquaint participants with the method. We will share insights and reflections from previous participants to demonstrate its effects and will foster discussion around teaching approaches. Short outline of the activities to be undertaken by the presenters/audienceAfter an oral introduction to improvisational theater, participants will engage in practical exercises to experience it firsthand, exploring how to acquire a “physical vocabulary” applicable to music performance. Participants will be encouraged to share their experiences during debrief moments. This workshop is accessible to individuals with no previous theater experience. The total duration would be 90 minutes.Implications for practiceThis contribution emphasizes the importance of integrating visual characteristics of performance in teaching approaches, increasing musicians’ body awareness, and strengthening body-mind connection. These efforts can positively impact individuals’ development, enabling them to create convincing performances while boosting self-confidence.Specific value of the workshop for the conferenceThis method merges embodied cognition theories with theater techniques to innovate educational approaches to expressiveness, making it relevant for musicians wanting to enhance this skill, music educators aiming to teach it, and experts from the field of psychology interested in how it develops.
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In Amsterdam, just like in 87 % of all municipalities in the Netherlands, integrated neighbourhood teams have been installed as an answer to the reform of the welfare state. During the last decade, the social domain has gone through its strongest change since 1945. Transitions by new national acts and policies have gone hand in hand with decentralisation, which has transferred most responsibilities in the social domain to municipalities, accompanied by less financial means. On the local level, these changes have been translated by municipalities into policies, responsibilities, interventions, and a repertoire that requires strong changes in the professional behaviour of all stakeholders. One of the newly implemented practices consists of interdisciplinary neighbourhood teams focussed on empowerment of people or families who are dealing with multiple challenges in their lives. Professionals from elder care, youth care, community development, and welfare organisations need to collaborate while they attempt to reconcile various professional perspectives on a specific problematic situation. At the same time, there is a shift for many professionals from solving problems for clients towards empowering the clients to solve problems themselves, based on their own strengths or their network. Most of the structural transitions and implementations might be finished; however, the transformation in professional behaviour following these changes, is just starting to develop. Despite a series of training courses in various methods, the Amsterdam neighbourhood team professionals strongly felt a need to deepen their experiences with situations in which the contact with a client or family had somehow stagnated.
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Jan Van der Noot (c.1540-c.1601) is a central figure in Dutch literature, widely regarded as the first true Renaissance poet in the Netherlands. He was the earliest Dutch poet to imitate Ronsard, Baïf, and Petrarch, and the first to use the sonnetform. Van der Noot also has vital links with sixteenth-century England and English literature. While living in London (1567-72), he produced the source-text for Spenser and Roest's Theatre of Voluptuous Worldlings. Yet despite this contribution, he is frequently overlooked by English-speaking critics. Even when he does receive consideration, he is seldom viewed as a poet in his own right. As an attempt to redress this, we offer here fresh translations from Van der Noot's work, lightly annotated throughout, concentrating on the sonnets that are the lynchpin of his reputation.
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The Nature Spectacle: On Images, Money, and Conservation Capitalism by Jim Igoe is, as its Preface states, an ambitious book that seeks to make connections between diverse times and places. The preface also, in many ways, tells more about the background and intention of the book than its chapters do, tying together the author’s origins and motivation. Igoe recalls his childhood in St. Louis, Missouri, much of which he spent “in front of a television and at a neighborhood movie theatre” (p. XII), once watching a musical, which was “essentially an extended Chevrolet commercial set among the geysers of Yellowstone” (P. 109). It is the mix of such absurd and comical observations of commercialism merging with Nature, and much heavier criticism of the capitalist cult of economic growth, development, and also conservation that characterizes The Nature of Spectacle. Much of Igoe’s outdoor experiences were shaped by green spaces, created in St. Louis as part of commodity exhibits at the 1904 World’s Fair. The author admits to feeling both critical and nostalgic of those places that have merged (sub)urban aesthetics with that of industrially developed commercial “spaces” (p. XII) – important concepts that form a leitmotif throughout the book. https://doi.org/10.1080/03066150.2018.1488355 https://www.linkedin.com/in/helenkopnina/
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placing the work of wapke feenstra within the movement of performance theater and live art
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