Esta pesquisa consiste em um estudo da atenção na cena teatral. Para embasar teoricamente a pesquisa foi feito um levantamento das teorias postuladas pela ciência da atenção em toda a sua interdisciplinaridade, em especial dos estudos de Hugo Munsterberg (2004), nos quais pela primeira vez a atenção aparece como conceito operatório para a análise do trabalho do ator em sua relação com o espectador. Partindo deste panorama inicial foi proposta uma revisão dos escritos de Stanislávski (2010), Brecht (1967), Kracauer (2009), Benjamin (1985), Lehmann (2007), Desgranges (2009) e Rancière (2010), demonstrando a importância da atenção em seus escritos e esclarecendo os pontos de vista de cada um destes teóricos sobre o tema. Baseado nesse conhecimento, o terceiro capítulo estuda a atenção na prática das atrizes Isabel Teixeira e Julia Lemmertz nos espetáculos Rainhas: duas atrizes em busca de um coração e Maria Stuart. Intercalando o que foi assistido e os discursos das atrizes sobre a atenção buscou-se mapear os procedimentos utilizados por elas para lidar com a atenção, seja a sua ou a do espectador e, o grau de consciência envolvido nesta operação. Por fim, de posse deste material, realizou-se uma experiência prática pautada pela atenção, do treinamento até a apresentação, tendo em vista aferir a eficácia da atenção como método de criação da cena, submetido a diferentes percepções dos espectadores. / This research consists in a study on the issue of attention at the theatrical scene. The theoretical basis for the research was a survey of the theories postulated by the science of attention, taking its interdiciplinarity into account, especially of Hugo Munsterbergs (2004) studies, in which, for the first time, the attention appears as an operative concept for the analysis of the actor\'s work in its relationship with the audience. From this initial scenario was proposed a review of the writings of Stanislavski (2010), Brecht (1967), Kracauer (2009), Benjamin (1985), Lehmann (2007), Desgranges (2009) and Rancière (2010), demonstrating the importance of the attention in their thought and clarifying their views on the subject. Based on that knowledge the third chapter studies the attention in the practice of the actresses Julia Lemmertz and Isabel Teixeira in the performances Rainhas: duas atrizes em busca de um coração and Maria Stuart. Considering the interweaving of the scenes and the speeches of the actresses, it was made a map of procedures that they had used to deal with the attention and to understand the level of consciousness necessary in this operation. Finally, with all this material in hands, a practical experience guided by attention issue, from the training to the presentation, was carried out. The purpose of this experience was to check the effectiveness of attention as a creative method for the theatre in different conditions of audience.

This study explores cultural productions in one television genre in Chinese mainstream media: dispute resolution shows. By applying the theoretical frameworks of Hall’s encoding and decoding and Habermas’ public spheres, this study mainly answers two research questions: 1) how does mainstream production convey politically-preferred cultural and social values to viewers; and 2) how do audience members exercise their citizenship in decoding televised social values and cultural norms? In a specific examination of Oriental Pearl Live Newsroom, mixed-methods are adopted, including unsupervised learning of the Latent Dirichlet Allocation (LDA), content analysis, thematic analysis, focus groups, and interviews. In the findings, the interviewees admitted that they propagated social and cultural values in accordance with the mainstream political ideology of the Chinese Communist Party (CCP) in order to maintain social stability and state order. However, my interviewees also suggested that they had an ambition and willingness to promote a civil society in China, which requires a counterbalanced power from the audience’s side. The results of the audience analysis generally indicated that they challenged the power of legitimate authorities, including the nation-state, the elite class, and the media. This study identified five online public spheres: 1) Government is the core; 2) Request for rule of law; 3) Media is a paradox; 4) The elite class is not the boss; 5) The grass is always greener (adoration of foreign countries). In general, this study supports conceptualizing audience members as citizens. It demonstrates how audience members deconstruct the dominant interpretations of social values and their attempts to elaborate less-favorable voices in Transitional Chinese society. This conceptualization suggests the importance of audience members in creating diverse public spheres and promoting a civil society.

Non-traditional casting has been a controversial practice in film, television and theatre that was implemented to offer people of color and women opportunities which had previously been available to white or male performers. The following is a case study documenting the process by which I have discovered that non-traditional casting as a practice contributes to the oppression of people of color as well as supports the status quo of the white patriarchy. This case study is analyzed from the historical, sociological, psychological and philosophical theories and ideologies relevant to the unsuccessful attempt of a female actor of African-American descent at portraying a white, Evangelical, male minister. It concludes with an invitation and an approach to making better people.

Instructional technologies can be effective tools to foster student engagement, but university faculty may be reluctant to integrate innovative and evidence-based modern learning technologies into instruction. It is important to identify the factors that influence faculty adoption of instructional technologies in the teaching and learning process. Based on Rogers' diffusion of innovation theory, this quantitative, nonexperimental, one-shot cross-sectional survey determined what attributes of innovation (relative advantage, compatibility, complexity, trialability, and observability) predict the probability of faculty adopting the audience response system (ARS) into instruction. The sample for the study consisted of 201 faculty who have current teaching appointments at a university in the southeastern United States. Binary logistic regression analysis was used to determine the attributes of innovation that predict the probability of faculty adopting the ARS into instruction. The data indicated that the attributes of compatibility and trialability significantly predicted faculty adoption of ARS into instruction. Based on the results of the study, a professional development project that includes 3 full days of training and experiential learning was designed to assist faculty in adopting ARS into instruction. Because the current study only included the faculty at a single local university, future studies are recommended to explore a more holistic view of the problem from different institutions and from other stakeholders who may contribute to the process of instructional technology adoption. The project not only contributes to solving the local problem in ARS adoption, but it is also instrumental in promoting positive social change by fostering evidence-based teaching strategies and innovations that maximize student learning.

Re-framing is the documentation and analysis of a process of theoretical and practical performance research. The terms of reference for this research were to experiment with the practical workshopping and development of three productions which each restructured and reconceived a 'canonical' written playscript in a format which combined audio-visual media with live performance. The perfromances were specifically developed for highschools in New South Wales and developed models and ideas for using portable technology so that they could easily travel from location to location. The research methodology also included the practical investigation of a process of collaborative production of a multimedia theatre piece with a group of highschool students (from Plumpton High School in Western Sydney). The documentation consists of an interactive multimedia component and a number of text 'modules' that correspond to sections of the interactive. The analysis formulates the process of construction, execution and reception of the performances in terms of a number of interesting and interacting spaces. The focus is on the practice and effects of creating combinations and interactions between these otherwise discreet spaces. The nature of these spaces helps to define and situate the performance but the space can, conversely, be redefined by the performance. In the specific context of multimedia theatre performances for highschools, the spaces that may come into interplay and be modified include: those of the audio-visual media, the meeting space of live performer and audience, the school environment and the wider institution of public education that it is a part of, the written text of a playscript as a space for constructing a fictional reality and the 'virtual space' where this fiction is reconstructed within the mind of the spectator in response to the symbolism of the performance. If such spaces are bounded by frames which are at least partly socially and discursively defined, the thesis proposes, then the performance can act as a catalyst to create new spaces, with languages and ways of structuring reality that differ to those of the old spaces. The implications of this hybridisation may reach beyond the immediate time, space and subject of the performance to reframe ideas, images, narratives and mythologies in domains that extend into many areas of social life and destabilize the systems upon which they are based. Reframing a space can reform the perception and structuring of realities within it / Master of Arts (Hons)(Performance)

Doctor of Philosophy / People gather. Everywhere. They gather to witness. To tell and to listen to stories. To show what was done, and how what is to be done might best be done. To perform the necessary procedures to make sure the gods are glorified and the world continues to be made as it should. To dance, to heal, to marry, to send away the dead, to entertain, to praise, to order the darkness, to affirm the self. People are gathering. As they always have—everywhere. Doctors, lawyers, bankers and politicians don evening wear to attend performances in which people sing in unearthly voices in languages they do not understand, to sit in rows, silent, and to measure the appropriate length of time they should join with each other in continuing to make light slapping noises by striking the palms of their hands together to show their appreciation at the end of the performance. One hundred thousand people gather on the last Saturday of September every year in a giant stadium in the city of Melbourne, Australia at the “hallowed turf” of the Melbourne Cricket Ground, to watch 36 men kick, punch and catch an oval shaped ball with each other, scoring points by kicking it between long sticks planted in the ground. The gathered multitude wears the same ritual colours as the men playing the game. They cry out, stand and sing anthems. This game is played and understood nowhere else in the world, but in the Melbourne cultural calendar it is the most important day of the year. It is what makes Melbourne Melbourne. Before the whitefella came, aborigines from the clans of the Yiatmathang, Waradjuri Dora Dora, Duduroa, Minjambutta, Pangerang, Kwatt Kwatta—the wombat, kangaroo, possum, Tasmanian tiger, echidna, koala and emu, would gather on the banks of the Murray River, near what is now the twin cities of Albury/Wodonga to organize marriages, perform initiations, to lay down weapons, to dance, to settle debts and disputes, to tell stories, to paint their bodies, and to request permission from the Yiatmathang to cross the river and make the climb to the top of Bogong High Plains in late spring, to feast on the Bogong moths arriving fully grown after their flight from Queensland, ready to be sung, danced and eaten. On the island of Sulawesi, a son of a family bears the responsibility of providing the largest possible number of buffalo to be sacrificed at the funeral of his father. A sacrifice which will condemn the son to a life of debt to pay for the animals which must be slaughtered in sufficient number to affirm the status of his family, provide enough meat to assure the correct distributions are made, and assure that his father has a sufficiently large herd in Puya, the afterworld. Temporary ritual buildings for song and dance must be constructed, effigies made, invitations issued. Months are spent in the preparations. And then the people will arrive, family, friends, colleagues and tourists, in great numbers, from surrounding villages, from Ujung Pandang, from Jakarta, from Australia, from Europe, from the USA, to sing, dance, talk, look and listen. And if the funeral is a success, the son will gain respect, status and honour for himself, and secure a wellprovided journey to the afterlife for his father. In a primary school playground, in an outer suburb of any Australian city, thirty parents sit in a couple of rows of metal and plastic chairs on a spring afternoon to watch their own and each other’s children sing together in hesitant or strident voices, in or out of time and tune versions of well-known popular songs praising simple virtues are applauded; the younger the children, the greater the effort, the longer and louder the applause. Some of these people are the same doctors, bankers and lawyers who had donned evening wear the night before at opera houses, now giving freely of the appreciative palm slapping sound held so precious in that other environment. And they will gather and disperse and regather, at times deemed appropriate, at the times when these gatherings have always occurred, these lawyers, doctors, sons, mothers, sports fans, when and where they can and should and must, to sing, to dance, to tell stories, to watch and listen, to be there with and among each other bearing witness to their faith, their belief, their belonging, their values. But what, in these superficially disparate, culturally diverse and dispersed groups of people, what draws them, what gathers an audience, what gathers in an audience, and what in an audience is salient for the audience members? What gathers, what gathers in an audience?

讀者看新聞，看到了什麼？一直是學者關心的問題。許多研究發現，讀者對新聞事件的先前態度，可能是一項影響他們看新聞的重要因素。讀者會受到先前態度的影響，使他們處理新聞的方式並不相同。也就是說，先前態度不同的讀者，所回憶的新聞、對新聞事件的歸因及對該則新聞立場評估，可能會有所不同。 　　本研究以一則國民黨與民進黨黨工，互毆的新聞為研究主題，探討先前態度不同的讀者看新聞時，看到的東西是否有所不同。本研究採實驗法進行研究，請國民黨與民進黨黨工，回憶他們看到的新聞，對事件歸因，並評估該則新聞的報導立場，探討先前態度可能造成的影響。 　　研究發現，先前態度會影響讀者對新聞的回憶與歸因，但似乎不會影響對新聞立場的評估。接下來，進一步說明研究結果： 　　一、先前態度會影響新聞事件的回憶。讀者會主動添加一些新聞中未曾提及，但與先前態度一致的資訊，對新聞進行詮釋，使他們所回憶的新聞與原來的新聞有所不同，但與先前態度一致。 　　我們同時發現，先前態度不會影響讀者對既有資訊的記憶。也就是說，讀者會記得新聞中與自己先前態度一致、或不一致的資訊，並不會記得較多與態度一致的資訊。 　　二、先前態度會影響讀者對新聞事件的歸因，會將衝突原因歸咎於對方。國民黨黨工認為民進黨要負責，民進黨黨工卻會要求國民黨負責。 　　三、先前態度不會影響讀者對新聞立場的評估。無論是國民黨或是民進黨黨工都會認為，該則新聞沒有偏袒國民黨，或偏袒民進黨的情形，報導立場中立。

<p><strong>Title:</strong> Kreativ reklam. En bra idé? (Creative advertising. A good idea?)</p><p><strong>Author:</strong> Evelina Karlsson</p><p><strong>Tutor:</strong> Larsåke Larsson</p><p><strong>Course:</strong> Bachelor Thesis: Media and Communication</p><p><strong>Purpose:</strong> The purpose of this study is to, through qualitative studies inquire creative prized advertise in Sweden to see which influence creativity have on both creative director and the audience. The questions are:</p><p>* Which influence does creativity have on advertising?</p><p>* What are differences between prized advertisements and those that have not won any prizes?</p><p>* What opinion does the public have on creative advertising?</p><p><strong>Theory and previous research:</strong> The theoretical foundation of this essay is based on American studies of creative advertising. Theories regarding the public opinion on advertise is also included in the theoretical framework.</p><p><strong>Material and method:</strong> The method of the study is qualitative interview. Four personal interviews with creative directors and two focus-group interview have been done with students of mixed age and gender. The material consists of five creative adverts, prized during the twenty-first century in "Guldägget" ("the golden eggs"), a Swedish advertising competition.</p><p><strong>Result: </strong>Despite of the fact that the previous studies are critical; this study shows a constructive attitude to creative advertising by making it easier and funnier to absorb. The conditions are that creativity has to be rightful proportioned and not too poetical, otherwise it can prevent the recipient from getting the message.</p><p><strong>Keywords:</strong> Advertising agencies, Award winner, Creative ability, Audience attitude.</p>

<p>The question formulation for this work has been "is an ice-hockey audience influenced by music during time-outs in a game?". The method was to observe one period with Färjestads BK and Mora IK, but a recording was also made, together with a conversation with the arena DJ. From the recording, the audience reactions were graded from a given scale. The grades were compilated to a diagram that shows the audience reactions in relation to the time, from the first face-off to the final whistle. From the diagram, one can see the connections between the audience reactions and the music. During the observation, all important incidents were noted so that potential connections could be made. Any influence on the audience by the music could not ascertain with this method. Finally, it could be ascertained that if a better picture of the reality is wanted, it will demand more observations and records of more games, as this work only analyses one period in one game.</p>

<p>Syftet med det här arbetet är att undersöka hur barnteatern kan se ut idag och om den uppfyller barnens krav.</p><p>Observationer gjordes på tre slumpmässigt utvalda barnföreställningar för lågstadiet. Därefter intervjuades medverkande och publik som i detta fall bestod av barnen och dess lärare. Intervjufrågorna behandlade dels hur medverkande tänker inför en föreställning för barn och hur publiken uppfattade den, dels hur de anser att en bra barnföreställning bör vara.</p><p>Resultatet i undersökningen visar några tydliga tendenser. De tre barnföreställningarna höll en god kvalitet i avseende på framförande, musik och dekor. Men barn är ofta ovana teaterbesökare och har svårt att ta in information genom bara iakttagande. Därför behöver de en annan typ av föreställning än de tre jag observerade. En föreställning med mera delaktighet.</p> / <p>The purpose of this study is to investigate the current state of children’s theatre, and if it meets the needs of the children.</p><p>Observations were carried out in three randomly chosen children’s theatre performances. After the observations, performers and the audience - in this case, children and their teachers - were interviewed. The questions dealt with how performers think prior to a performance for children, and how the audience reacted to it, in addition to how they think a good children’s theatre performance should be.</p><p>The result of the study indicates some clear tendencies. The three children’s theatre performances received good reviews with regard to performance, music and décor. But children are seldom familiar with the theatre and have trouble attaining information through watching alone. Thus, they need a different kind of theatrical performance than the three I observed. A performance in which they are more involved in the action.</p>