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This master thesis is concerning the role of the manager in working with children and young audience in the world of theatre. The first chapters undertake the definition of the theatre for children and theatre played by children and brief history of this genre in the Czech Republic. It describes the history and rich tradition of festivals and parades in this area for different age categories until presence. The following chapters are dedicated to the relationship of theatres with their both audiences, current and potential. The thesis also appoints different possibilities of working with the audience and its development, its active engagement through interactive elements and impulses and building the long-term relationship with them. It defines the role of the manager in working with children and young audiences, it describes the activities of organisations concerning the theatre for children, dramatic education and concerning working with the audience and its development. In following chapters, there is description of specific needs of children and student audience and their characteristics. In next chapter there, is the analysis of the level of using marketing instruments and managerial attitudes in theatres, and the possibilities of financing activities of theatres aimed at children audience and youth. By studying the literature and conduction of my own quantitative research, I learnt about the level of cooperation between theatres and schools, and I evaluated the attitude of theatres towards children and youth audience and I was curious if the theatres are nurturing their future spectators.

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This study casts the code-switching patterns observed among Spanish-English bilinguals in Bayside, Texas within the framework of Bell’s (1984) theory of audience design, which is claimed to apply to both monolingual style-shifting as well as bilingual code-switching. The latter part of this claim has been little explored. The intent of this study, then, is to determine if the explanatory power of audience design, as demon¬strated in studies on style-shifting, does indeed hold when applied to cases of language alternation. Analysis of the data from Bayside generally supports Bell’s theory as it shows speakers adjusting their use of Spanish and/or English to suit their audience. The study will highlight a less frequently analyzed aspect of Bell’s model, i.e., the role of the auditor, and will call for the auditor to be classified as a primary influencer of lin¬guistic choice in bilingual contexts, alongside the addressee. The code selection patterns exhibited by a pair of Bayside residents in a series of interviews and in conversations videotaped at the local general store will be com¬pared to illustrate the effects of addressee and auditor. A qualitative analysis will dem¬onstrate that differing determinations regarding the linguistic repertoires of the auditors led to contrasting linguistic choices on the part of the study’s subjects. The data collected will show that, when selecting a language of communication, as opposed to a register, style, or dialect, a speaker may be more greatly affected by an auditor than by the addressee. The methods used in collecting the data will also support an expan¬sion of Bell’s model to include an additional participant category suitable for capturing the effect of the recording device, as per Wertheim (2006). / text

The purpose of this study is to examine individuals’ perceptions of classicness in film experiences. To this end, the paper begins by providing general anecdotal and professional definitions of classicness, and by pointing out the limited explication found in previous academic literature in entertainment. I discuss distinctions between enjoyment and appreciation from previous literature in media psychology. Following this, a study is presented by applying a measure of enjoyment and appreciation adapted from Oliver and Bartsch’s scale (2010) to an online questionnaire in order to understand individuals’ film experiences with both popular (high grossing) and classic (high rating) films. Results indicate that perceptions of classicness are highly associated with appreciation, but unrelated to enjoyment. Additionally, results also provide a negative relation between appreciation and the release-year as well as budget. Discussion focuses on the study’s empirical definition of classicness, as well as the study’s extension of previous research examining the relationship between film popularity, budget, and audience perceptions (Grizzard, Lewis, Lee, & Eden, 2011). / text

This investigation proposes to employ the use of the mood management theory to examine the role of emotions in the entertainment experience, and how the emotions an audience member experiences while watching a movie can influence their overall ratings of it. Researchers will separate the components of the mood management theory into two experiments: one to explore how the difference in the experience of positive and negative affect influences audience ratings and the other to explore how the degree to which an individual experiences positive emotion influences their ratings for a movie. Using two movies of differing quality, researchers will measure the experience of emotion in participants and examine how it influences their ratings of the movie they watched. Researchers should expect to find significantly higher results across the board from participants who watched the movie Argo, which would indicate that higher quality movies adhere to the mood management theory in that they elicit both more instances of positive affect than negative affect and stronger emotional experiences in audience members.

This M. F. A. thesis exhibition consists of painting, sculpture, and video completed over the last five months. In support of the exhibition, an artist's statement outlines my exploration of the interaction between artist and audience, stylization and mass production of image.

In meinem Vortrag möchte ich zeigen, welche Entwicklungsetappen die Etablierung des Theaters in Tallinn durchgemacht hat. Interessant wäre darüber hinaus zu untersuchen, was dabei im Verhältnis zu anderen deutschsprachigen Theatern ähnlich bzw. was unterschiedlich war. Ich werde mich der Frage widmen, welche Beziehungen es zu anderen Truppen oder Theatern im Ostseeraum gab, welchem Repertoire die Vorliebe des Publikums galt und aus welchen Schichten der Tallinner Einwohner das Publikum bestand.