Implementing digital technologies, such augmented reality and 3D models, to various cultural sectors is an ongoing procedure, especially favorable after COVID-19 pandemic. Even though such technologies are familiar to museums, galleries and archaeological places all over the world, little research or practical cases have been developed when it comes to theaters and theatrical costumes. Proposed research article describes the methodology of both reference material collection and applications development, while an analysis of functions and aesthetic results are described, especially when it comes to 3D models. The paper’s aim to reveal that theatrical operations (as part of cultural sector) as well as structured parts (such as acts, performances and costumes) can be preserved and served to larger audiences via technological means, such as an augmented reality application.

We used LA-ICP-MS U-Pb data for detrital zircon to constrain the Maximum Depositional Age (MDA) and provenance of clastic sedimentary rocks of the Volyn-Orsha sedimentary basin, which filled an elongated (~625×250 km) depression in SW Baltica and attained ~900 m in thickness. Eighty-six zircons out of one hundred and three yielded concordant dates, with most of them (86 %) falling in the time interval between 1655 ± 3 and 1044 ± 16 Ma and clustering in two peaks at ca. 1630 and 1230 Ma. The remaining zircons yielded dates older than 1800 Ma. The MDA is defined by a tight group of three zircons with a weighted average age of 1079 ± 8 Ma. This age corresponds to the time of a clockwise ~90° rotation of Baltica and the formation of the Grenvillian – Sveconorwegian – Sunsas orogenic belts. Subsidence was facilitated by the presence of eclogites derived from subducted oceanic crust. The sediments of the Orsha sub-basin in the northeastern part of the basin were derived from the local crystalline basement, whereas the sediments in the Volyn sub-basin, extending to the margin of Baltica, were transported from the orogen between Laurentia, Baltica, and Amazonia.

Reservoir in the Central Structural Zone of the Xihu Sag is the Huagang Formation, dominated by natural gas reservoirs, and the reservoir in the Western Slope Zone is the Pinghu Formation, dominated by light oil and wet gas. In this paper, the Gas Drive Water Displacement- Magnetic Resonance Imaging (GWD-MRI) experiments are used to simulate the charging characteristics of the sandstone migration layer. The centrifugal- Magnetic Resonance (Cen-NMR) experiments simulate the short-term fast trap charging process, and the Semi-Permeable Baffle (SPB) charging experiment simulates the slow trap accumulation process. Studies have shown that there is a start-up pressure for the migration layer charging, and the start-up pressure of the core with a permeability of 0.3mD is about 0.6MPa. Experimental simulations have confirmed that there is a front zone with changed water saturation, with a width of about 1-1.5cm. The migration layer charging mainly has two actions, drive effect and carry effect. The drive effect reduces the water saturation to 70%-80%, and the carry effect can still reduce the water saturation by 5%-10%. The water saturation of rapid charging is mainly affected by the petro-physical. The porosity is high, the water saturation is low. The water saturation decreased significantly with the increase of centrifugal force when the centrifugal force is smaller. If the centrifugal force is greater than 0.8 MPa, the water saturation decreases slowly. The water saturation of the trap slowly charging is basically maintained at 40%-50%, which matches the water saturation of the airtight coring from 40%-55%, the petro-physical do not affect the final water saturation.

A simplification of Chinese traditional painting approach was proposed to study whether or not “Less is More” is still truly a design trend. A total of 225 volunteers from a website participated in the study. Through a questionnaire survey and analysis, this study explored the feasibility of “simplified” in comedy. The results show that the proposed approach of “simplification” can be applied to the drama character creation, but the simplification scale needs to be flexibly adjusted according to different topics. For viewers, there is not much recognition and liking for the works that are simplified to the extreme and present symbolization. In future research, the proposed “simplified” approach is needed to adjust and improve for practical use. It also needs more analysis of the differences in cognition of different participants according to the cognitive and communication theories of artistic creation.

The theatre has a tremendous ability to influence public discourse and shape societal opinions. And medical conditions can provide writers with a rich scope for plot development and characters with challenges to overcome. In particular, the neurological condition epilepsy has many possibilities with historical beliefs that people were possessed by gods and devils and the sudden, disabling seizures characteristic of the condition. But used unsympathetically, it can promote misunderstanding within audiences, resulting in discrimination for people with the condition. This review looks back at how epilepsy has been portrayed throughout history. How the Greeks portrayed epilepsy as a punishment from the gods. Then later, how Shakespeare utilised epilepsy to suggest characters as uncontrollable. However, we finish on a message of hope as modern writers look to collaboration to ensure accurate and honest portrayals of epilepsy, improving public understanding and removing many of the stigmas that have dogged the condition.

In this paper I analyze the three plays produced during the inaugural season (2011) of the Theatre for Young Audiences Research Center of the National Theater Company of Korea and place it within the context of contemporary ideas and realities surrounding Korean youth. In the first part of this paper I explore how Korean youth are perceived by society and the reality in which they live. In the second part I analyze the aforementioned plays, especially through the directions of the production and portrayal of adult and young characters. The last part offers concluding thoughts. Through this study I ask the question of whether if it is possible for theatre to actually portray the realities of adolescents, when in fact the identities of youth are still fluid and the experiences of youth as diverse as those of adults. I suggest that theatre artists break free to depict reality or educate audiences and focus on providing a critical experience to adolescents.