| Papers [1-14] of 100 :: [Page 1 of 8] | | Go to page : 1 2 3 4 5 6 7 8 —> | Search results on "AMC THEATERS WHEELCHAIR ACCESSIBILITY": |
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AMC Theaters' Wheelchair Accessibility, 2006.
A discussion regarding people in wheelchairs.
993 words (approx. 4.0 pages), 6 sources, MLA, £ 24.95
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Abstract
This paper takes a look at how people in wheelchairs are pitied and treated with less respect than they deserve. The paper discusses how people with disabilities fight to gain rights and independence, as they do not want charity, nor do they want to be perceived as super heroes. The paper then goes on to discuss wheelchair accessibility in movie theaters and other popular public places.
Table of Contents:
I: Images
People in Wheelchairs
II. Legal Concerns
Wheelchair Accessibility in Movie Theaters
III. Power Points to Ponder
What if . . .
From the Paper
"People in wheelchairs, along with numerous other people with disabilities, are individuals with rights, Openden reports Joseph P. Shapiro to stress in his 1994 book, No Pity: People with Disabilities Forging a New Civil Rights Movement. Often, in the past, individuals in wheelchairs were pitied and treated with less respect than they deserved. Today, Openden notes: "Poor treatment of people with disabilities is also prevalent in public, perpetuated by images of pity, such as the poster child Tiny Tim or the "supercrip" who transcends his or her disability rather than accepting it."
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Japanese Noh Theater and the Traditional Western Theater, 2000.
A comparison of the evolution and development of two distinctive forms of theater.
1,965 words (approx. 7.9 pages), 6 sources, £ 43.95
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Abstract
The Noh Theater of Japan is an extremely ritualized tradition, and traces of the Noh Theater are found in Western theater. This paper explores many of the distinctive elements of the Noh Theater, such as the use of masks, the themes presented within plays, and the evolution from the old Noh Theater to a more modern presentation of Noh techniques. While the focus of this paper is on the Noh Theater, comparisons are drawn between the Noh Theater and traditional Western theater. There is also a discussion of the more dialogue-driven kyogen style of Japanese theater in respect to the more ritualized Noh Theater.
From the Paper
"The impact on the Noh Theater on the Western theater can be seen to have occurred in a very diverse way. It appears that the Western theaters managed to assimilate various components from the Noh Theater, such as the use of the hitamen in performances to convey a blank countenance. However, the greatest aspect of the Noh Theater on the West is found within the development of more exacting performance techniques, where rather than a single production being subject to incongruities and shoddy acting, the standards of acting were promoted to a higher level overall."
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Drotos Theaters, 2007.
An accounting review of Drotos Theaters.
1,940 words (approx. 7.8 pages), 4 sources, MLA, £ 42.95
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Abstract
This paper evaluate the manuals and computerized activities of Drotos Theaters, assesses the internal control limitations and risks, recommends procedures for detecting employee fraud and recommends controls to prevent and detect financial misstatements. It also addresses concerns regarding the fact that the previous auditing firm resigned and explains how the ticket taker might steal cash and appropriate controls that could be implemented to prevent this from happening. It concludes briefly with the actions the management at Drotos Theaters can take to avoid financial and internal control disasters from occurring.
Outline:
Introduction
Manual and Computerized Controls
Detecting Employee Fraud
Internal Controls
Recommended Procedures
Conclusion
From the Paper
"At any corporation, both manual and computerized controls are necessary to ensure the proper flow of business and that adequate steps are taken that allow the business to continue to operate successfully. At Drotos Theatres, the manual controls in place involve the serial numbered tickets, the box that the other half of the ticket is placed in, and the ticket taker. The computerized controls involve the Controller depositing cash and recording transactions by posting journal entries into the computerized financial accounting system. The manual controls are not adequate in this case, because there is no system of checks and balances. To gain admittance to the theatre, cashiers receive payments from theatre customers and provide customers with a serially numbered, perforated ticket. "
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Renaissance Theaters, 2002.
A look at the role of some major contributors to Renaissance theatre.
2,400 words (approx. 9.6 pages), 9 sources, £ 61.95
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Abstract
This is a 10-page paper that analyzes the role of Palladio, Serlio, Sabbattini and Furttenbach and their contribution to Italian theaters in the Renaissance period and in today's theaters.
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Italian Renaissance Theatre, 2002.
A discussion of the Commedia Del Arte Theatre and contributions of Italian Renaissance theatre to Western theater.
1,453 words (approx. 5.8 pages), 8 sources, MLA, £ 33.95
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Abstract
This paper is in two parts. The first part discusses the Commedia Del Arte or drama that employs comedy and has a happy ending, which began during the Italian Renaissance. It examines its origins and its popularity as well as its methods of acting. It evaluates its effect on modern comedy such as the concept of slapstick, timing in the repartee and romantic comedy. The second part outlines the other contributions of Italian Renaissance theatre to Western theater such as the introduction of the profession of acting and theatre and set design.
From the Paper
"Commedia Del Arte made many contributions to modern comedy. First, timing was important in the repartee and has been in comedy ever since. Second, slapstick comedy, such as that practiced by Chaplin, Keaton, and Lloyd is a direct descendent of Commedia Del Arte. Third, modern romantic comedy had it origins in the plots and characters of Commedia Del Arte. Finally, both situation comedy and animated cartoons employ elements of Commedia Del Arte (Suzuki; Commedia Dell?Arte)."
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The Elizabethan and Jacobean Theater.
This paper is an extensive discusses of the history of Elizabethan theater, which existed during the reign of Queen Elizabeth I, and the Jacobean theater, which followed Elizabethan theater in the reign of James I.
6,960 words (approx. 27.8 pages), 18 sources, MLA, £ 108.95
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Abstract
This paper explains that the most expressive period in the history of the English theatre was the period of Queen Elizabeth I, the second half of the 16th century in which William Shakespeare was the most significant dramatist of the period. The author points out that Philip Henslowe, a well-known theater manager of the time, left a diary, which recorded the organization of theater companies, the props, the plays, the dramatists, and even the building of the theater itself. The paper relates that, in the Jacobean theater, which is considered to be a continuation of the Elizabethan period, the plays of Shakespeare and his contemporaries were written more to cater to the tastes of the affluent society; the closest modern corollary to these plays is popular cinema, with its films of adventure, violence, horror, or sentimental romance.
From the Paper
"Thus by the period that Shakespeare was writing his plays, there were more playhouses in London than in any other European city. The plays were enacted in the courtyard of inns, or sometimes in the houses of noblemen, before this period. But a noble had to be watchful as to which play should be permitted to perform in his house. Anything that was contentious or political was prone to get him in problem with the crown. Not much is known about the Elizabethan indoor theatres as they were smaller in size and were roofed. Companies did their shows in winter when it was too cold to be outside, signifying that the performance was almost certainly alike. Actors had attained an adequate level of monetary and social strength, by the time of Shakespeare."
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The Theater of Dionysus, 2004.
This paper discusses the ancient Greek theater and the area in which the drama was presented called the Theater of Dionysus.
1,110 words (approx. 4.4 pages), 6 sources, APA, £ 26.95
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Abstract
This paper explains that the evolution of theater in Greece may be linked directly to the festivals of Dionysus, the Grecian god of wine and misrule. The author points out that Greek theaters, including the theater of Dionysus, were not free-standing works of architecture, but rather they were built into hills in amphitheater forms. The theaters of Lycurgus replaced the original wood of the Dionysus theater with stone, reaffirming the importance of theater in the city of Athens' civic and religious life, which continued well into Hellenistic times, culminating in the Romans' added changes to the structure and including the addition of the Bema.
Table of Contents
History of Theater in Ancient Greece
Architecture of Greek Theaters
Parodos
Bema of Phaidros
The Central Section
Marble Throne of the Priest of Dionysus Eleutherios and Other Priests' Seats
Skene
The Stoa on the South Side of Skene
From the Paper
"The parodos of the Theater of Dionysus was a gangway leading into the orchestra over which chorus and actors made their entrances. There are two parodoi, one on each side of the orchestra. Parodos was also the name of the song chanted by the chorus as they entered the orchestra at the beginning of the play. This is another indication of the fusion of the role of ritual, the role of the chorus, and the role of architecture in early Greek theater."
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Kabuki and American Theater, 2005.
An examination of how kabuki, a traditional form of Japanese theater, and American theater have had an impact on each other.
1,145 words (approx. 4.6 pages), 5 sources, MLA, £ 27.95
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Abstract
This paper examines how three main groups of kabuki plays, the dance-drama, historical drama, and domestic drama make up the majority of kabuki theater and how they are adapted either from puppet theater, from kyogen dramas, or plays written specifically for kabuki. It looks at how Tokyo's Shochiku Company is one theatrical group that has made an impact on American theater by presenting kabuki in the heart of the U.S., in Texas.
From the Paper
"Kabuki has its origin in Japan's Edo period. The form can be traced back to performances by female shrine dancer Okuni in a dry riverbed in 1603. The dances performed by Okuni and her fellow female dancers combined religious dances and folk dance. Okuni's performances became highly popular, and many troupes soon imitated the style. Performances became increasingly risqu? and boisterous, and women were banned from performing in 1629. In 1652, a brawl between two samurai competing for the attentions of a young male actor spurred authorities to ban young men under the age of 14 from appearing in kabuki (Spencer)."
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Political Theater, 2004.
Shows how El Teatro Campesino Theater and The Bread and Puppet Theater exemplify examples of political theatre.
959 words (approx. 3.8 pages), 3 sources, MLA, £ 23.95
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Abstract
Political theater, at its best, emphasizes an important societal issue of the day and delivers a message to viewers of all backgrounds and interests without being a political party line or single-dimensional in nature. This paper examines two theaters in this category, El Teatro Campesino from California and The Bread and Puppet Theater in New York. It describes the formation and history of these two theatrical companies and examines their messages through the shows which they produce.
From the Paper
"El Teatro is popular theater geared toward expression of social, political and cultural messages. It is a theater rooted in the American streets, early California history, Mayan/Aztec mythology and Mexican folklore and spiritualism (Heyward). It cannot be ignored. Valdez, like Schumann believes in a total theater?one where an elevation of sensation is achieved through a range of different emotions and art forms to make the audience more politically aware."
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Philadelphia Dance Theater, 2006.
This paper examines the theaters and dance companies in Philadelphia.
1,015 words (approx. 4.1 pages), 5 sources, MLA, £ 24.95
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Abstract
The paper discusses how the state of Philadelphia has more than thirty dynamic and successful dance companies and theaters. The paper describes these theaters that include modern ballet, jazz, tap dancing, modern dance forms, flamenco, African-American, Indian and other types of folk and ethnic dance forms. The paper also provides some background about the Dance Theatre of Pennsylvania and the Philadelphia Theater Company. The writer concludes that the Philadelphia Theater Company has throughout the years provided a veritable showcase for displaying the vicarious talents of many young dancers of the area and in some certain cases, siblings and their parents too.
From the Paper
"It is an interesting fact that the state of Philadelphia has more than thirty excellent and dynamic Dance Companies, and theaters as well, and some of the nations' oldest dance theaters are in existence in the state today. These theaters are based in Philadelphia, and they tour globally. For example, the Pennsylvania Ballet is today celebrating its fortieth year of existence, and the Group Motion Dance Company and the Philadelphia Dance Company are today preparing for their thirty fifth anniversaries. Although all these theaters and dance companies have been growing through a number of changes over the years, its artistic view point is as strong as it ever was. However, it must be noted that the newer and later hip hop dance companies are thriving in Philadelphia as well, and one reason for this is the nurturing type of nature of the Philadelphia Dance Community as such. (Group Motion Press Room, Kick up your Heels)
The Philadelphia Dance Theater includes modern ballet, jazz, tap dancing, modern dance forms, flamenco, African American, Indian, and other types of folk and ethnic dance forms. Philadanco, or the Philadelphia Dance Company, is already at the performing end of another ballet named the 'Horse's Mouth', and this is also reputed to be a first arte performance by Philadelphia's young artistes. This year's performance of the 'Nutcracker' by the Philadelphia Dance Theater, just like its previous ones, would allow families during the Holiday Season a few hours together to enjoy, uninterruptedly, the magical world created for them by the choreographers and the directors and the performers of the play. (Group Motion Press Room, Kick up your Heels) The Dance Theater of Pennsylvania today is more than twenty seven years old, and it still continues its traditional practice of staging beautiful and timeless ballet productions. The 2005 to 2006 season is under way today, and this is the season in which the Nutcracker is generally staged."
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Postmodernism in Theater, 2004.
A review of different forms of theater in the Western world and how theater has evolved as an art over the past few centuries.
1,724 words (approx. 6.9 pages), 2 sources, MLA, £ 38.95
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Abstract
The purpose of this paper is to see how the society has changed in retrospect to the period from modernism to postmodernism, creating awareness to different perspectives on analysis in today's world. It attempts to show how the best way this can be understood is through the developments in the world of theater and how the theater functions as an artifact and a metaphor of the times.
Outline
Different Forms of Theater
Postmodern Theater
Actors and Audiences
Robert Wilson
Peter Brook
From the Paper
"The modern theater is characterized by a narrative plot where the actors play out roles of everyday people who tell a story based on life's tragedies and conflicts, with the unfolding tragedy or comedy developing at a beginning and ending with the last act of the play. The aim of these plays is to stretch the audience's comprehension of existing reality, to being forward the truth that is basically obscured. Even though the results of the actors' behaviors are mostly tragic. The audience becomes emotionally aroused with the characters of the play. This is seen in reactions to Willy Loman in the play Death of a Salesman and in Blanche DuBois play, A Streetcar Named Desire."
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The Manitoba Theatre Centre, 2004.
A study of Canada's first regional theatre and its goal to achieve the establishment of a uniquely Canadian art and culture scene through experimental theatre.
2,392 words (approx. 9.6 pages), 12 sources, APA, £ 50.95
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Abstract
This paper considers the state of theatre in Canada and Winnipeg prior to the creation of the Manitoba Theatre Centre in 1958, looking at the goals of the Massey Commission in promoting the development of a Canadian culture. It also looks at the intentions of Theatre 77 and the Winnipeg Little Theatre in their merger to become the Manitoba Theatre Centre. The main body of the analysis is concerned with the mandate of the Manitoba Theatre Centre. Finally, consideration is also given to an additional fourth goal introduced later in the Centre's history that was concerned with encouraging the production of Canadian plays.
Outline
Introduction
Setting the Scene: The State of Theatre in Canada and Winnipeg and the Establishment of the Manitoba Theatre Centre
Goal A
Goal B
Goal C
Goal D
The Legacy and Prospects for the Centre as it Entered the 1980s
From the Paper
"Canadian theatre, in the 1950s, consisted mostly of amateur societies, with professional theatre only really finding a niche in Toronto. The Massey Commission Report of 1951 was concerned with the state of Canadian culture and its tendency to import art from other cultural centres, such as New York and London. The Massey Commission's Report outlined steps to create a government body that would grant funds to art programmes to promote a national culture. Such a concern had been similarly expressed by other major figures in Canadian theatre, some of whom had suggested that if the state of the theatre were to improve, it would require a national theatre that would tour the country with several permanent provincial theatre buildings to house professional productions (Massey 55). "
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The Globe Theatre, 2005.
A look at the history of the physical and sociological development of the modern theater, focusing on the Globe theater and the involvement of William Shakespeare.
1,850 words (approx. 7.4 pages), 7 sources, MLA, £ 41.95
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Abstract
The origins of theater in the ancient world were centered around religion and the gods and the Globe theater continued that tradition in Elizabethan England with the help of contributions from Shakespeare. The paper examines how the design of the open-air theaters in Athens may have inspired the architecture of theaters, such as the Globe, that were built in England many years later. It also discusses how William Shakespeare was one of the partners from among the actors and how his own money, as well as artistic work, went into the theater.
From the Paper
"In the 1570s, a man named James Burbage obtained for himself a theatrical license, which allowed him to actually lease a piece of land to be used exclusively by a theater. It was a long-term lease which gave him a great deal of control over the land and the freedom to construct or deconstruct buildings on it as he pleased. This was a landmark event all around, for this was the first theatrical license granted in England; The Globe Theatre was a part of many landmark events in English theater. The location was on the north shore of the Thames River, and it sat just outside of London. The location was actually a strategic move for Burbage, for within the city limits of London he would have faced far more scrutiny and protest for building a theater, which was not considered to be an upright establishment, and ranked in many people's minds right along brothels so far as morality is concerned."
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Political Theater, 2004.
A paper that analyzes and hypothesizes that political theaters, such as El Teatro Campesino and the San Francisco Mime Troupe, serve as the voice for the Chicanos in U.S. contemporary society.
5,270 words (approx. 21.1 pages), 12 sources, MLA, £ 90.95
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Abstract
This paper examines how political theaters, such as El Teatro Campesino and the San Francisco Mime Troupe, play an important role in highlighting social and political problems and creating a need for change that both unites and inspires society to fight for justice. It looks at how practices upheld by political theaters like these, if projected in the proper manner, instigate and promote socio-political movements. It also discusses how the political theater forum has altered and adapted with the times and according to the socio-political climate of the culture it portrays.
Outline
Thesis Statement
Introduction
Evolution of Modern Political Theater in America
The Chicano Element
San Francisco Mime Troupe
El Teatro Campesino
Brecht?s Philosophy and Chicano Theater
From the Paper
"El Teatro Campesino was formed in 1965; several years after the SFMT had been in existence. It was the conception of Cesar Chavez leader of the United Farmworkers Organizing Committee (UFWOC) and Luis Valdez who had recently left the SFMT. (Author not available 2001) The Farmworkers Theater or El Teatro Campesino was formed in reaction to the famous Delano Grape Pickers' Strike. (Author not available 2001) Valdez was guided by a political and artistic vision and with his roots in the farmworking class of Delano, and his experience with the SFMT in translating controversial social issues into political theater, and formal training in drama he decided to help raise funds for the Chicano farmworking community through political theatre."
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