Machines de théâtre et théâtres-machines des années 1960-1970 by Sandrine Dubouilh

“…In 1961, at a conference held at Royaumont, the painter and set designer Rene Allio announced a principle which has become a rule, that of the theatre ‘as an instrument’. He was pleading for the effectiveness of the tools of the stage set during a time when the traditions of the ‘théâtre à l’italienne’ were being called into question. …”
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Le théâtre, entre appareil et dispositif by Sophie-Aurore Roussel

“…Cet article s’interroge sur les deux territoires que l’on peut discerner, à la suite d’Antoine Vitez et Denis Guénoun, dans l’histoire du théâtre occidental : un « théâtre performatif », du rituel, de la co-célébration avec le public, de l’expérimentation et de l’imagination collective, et un « théâtre du dévoilement » où le poème dramatique est « révélé », comme vérité transcendante, dans une mise en scène savamment organisée selon les modalités de l’apparaître propres à la perspective. …”
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Duncan’s Open Form and Cagean Intermedia: The Practice of “Theatre” After Black Mountain by Edward Alexander

“…Roughly contemporaneous with Jack Spicer’s “Poetry as Magic” workshop, Charles Olson’s west coast delivery of the Special View of History lectures and Duncan’s staging of Medea at Colchis were Cage’s classes on experimental composition at the New School for Social Research. …”
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Relaciones hipertextuales en la primera etapa de Rodolf Sirera (1969–1977) by Ramon X. Rosselló

“…Sirera is one of the most notable dramatists writing in Catalan, beginning his career with an involvement in what was then called ‘independent theatre’ as a member of groups like the Centre Experimental de Teatre and El Rogle. …”
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Assessment of Two School-Based Programs to Prevent Universal Eating Disorders: Media Literacy and Theatre-Based Methodology in Spanish Adolescent Boys and Girls by Marisol Mora, Eva Penelo, Teresa Gutiérrez, Paola Espinoza, Marcela L. González, Rosa M. Raich

“…Participants in both experimental groups showed significantly higher self-esteem scores than the control group over time. …”
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Les Europeras de John Cage : de l’opéra au cirque by Antonia Rigaud

“…The prominent position Cage gave to the theatre in contrast to the rarity of his theatrical work pieces is emblematic of his ambition to re-think the theatre as a locus of experimentation.…”
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L’acinéma de J.-F. Lyotard by Jean-Louis Déotte

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Doubleness on the New York Contemporary Experimental Stage: Bodies and Technology by Emeline Jouve

“…To what extent does the use of technology annihilate or magnify the physical presence of the actor, the traditional soul and raison d’être of the art of the theatre? To answer this question, this paper focuses on works by the pioneering Wooster Group (1975-), the eminent Big Art Group (1999-) and the new rising star of the New York experimental scene, Andrew Schneider (2015-). …”
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Shakespeare During Covid-19: Expanding Our Theatrical Horizons by Méline Dumot

“…It reflects on three assumptions in particular: that digital theatre is not “real” theatre, that audiences were not active participants during these online performances, and that digital theatre was a simple parenthesis which would close as soon as theatres would open again. …”
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Créer des formes, inventer des faires by Fabienne Wateau

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Les écoquartiers, territoires d’expérimentation des nouvelles utopies urbaines ? Le cas de l’habitat participatif by Abdourahmane Ndiaye, Aurélie Carimentrand, Marie-Reine Gallard

“…The sustainable city, slogan of the modern utopias, is a place full of potential, offering different freedoms, links and meaning, a theatre for learning and social expression. Can we imagine building it without its inhabitants? …”
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Directing Dramas is Returning Hometown: Reading Lin Zhaohua’s The Cherry Orchard from the Perspective of the Taoist Freedom, Xiaoyao by Chengyun Zhao

“…Born in 1936 and starting to produce little theatre praxes in 1982, Lin Zhaohua is the first Chinese theatre director who could be considered the predecessor of most other Chinese directors after the proclamation of the 1978 Reform and Opening-Up policy. …”
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Deconstructing the Politics of Linguistic Mutation in Tom Stoppard’s Dogg’s Hamlet, Cahoot’s Macbeth by Sarra Jouini

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Multimodal Opera Performance Form Based on Human-Computer Interaction Technology by Lin Wu

“…To give the opera audience a high-quality viewing experience, the immersive theatre performance has been simulated. Fifty individuals have been used in the experimental assessment and performance studies. …”
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Raconter le territoire sur la scène, dépasser les frontières par la scène by Najla Nakhlé-Cerruti

“…This experimental project works as a total theatrical experience from conception to live performance invoking at each stage elements specific to the creation process. …”
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La contrainte comme artifice sur la scène anglaise contemporaine : Tom Stoppard, Martin Crimp, et Caryl Churchill by Élisabeth Angel-Perez

“…Among the most innovating experimental dramaturgies of this new millenium, constrained (verbatim or post-wittgensteinian) theatre ranks first. …”
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Immersivity: An Interdisciplinary Approach to Spaces of Immersion by Florian Freitag, Céline Molter, Laura Katharina Mücke, Helena Rapp, Damien B. Schlarb, Elisabeth Sommerlad, Clemens Spahr, Dominic Zerhoch

“…Using case studies from theme parks, film, and immersive theatre to video games and immersive educational spaces, we argue that immersivity is a distinct term that denotes an inherent quality of objects in general and of mediated, delineated, real and virtual spaces in particular. …”
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Investigating the peer assisted teaching on students' perception of the clinical learning environment in operating room by Maryam Mahmoudi, Seyed Masoud Hosseini, Najmeh Valizadehzare, Hassan Gholami, Javad Jafari

“…At the end of the internship, both groups were asked to complete Iranian Measure of Operating Theatre Educational Climate (IMOTEC) questionnaire. …”
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Canine Actors and Melodramatic Effects: The Dog of Montargis Arrives on the English Stage by Claudia Alonso Recarte

“…Based on a medieval legend, Le chien was originally written for the Parisian stage by Guilbert de Pixerécourt in 1814, and it immediately attracted the attention of English theatre businessmen. English adaptations soon followed, as translations from a variety of sources were presented before a public mesmerized by the feats of Dragon, the memorable canine character. …”
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