Relevant bibliographies by topics / Actors' Equity Association

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Actors' Equity Association'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 August 2024

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Journal articles on the topic "Actors' Equity Association"

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Doiron, Jerry. "Freelancer or Employee? The Implications of the Canadian Revenue Agency’s Recent Decisions." Canadian Theatre Review 123 (June 2005): 8–10. http://dx.doi.org/10.3138/ctr.123.002.

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There has been much discussion over the past couple of years regarding the tax status of artists in Canada. Two cases, in particular, have generated a lot of attention: one case in Winnipeg, where three different members of the Royal Winnipeg Ballet were deemed to be employees of the company, and a second, in Thunder Bay, where an actor who had appeared at Magnus Theatre on a Canadian Theatre Agreement Engagement Contract was deemed to be an employee of that company (Canadian Actors’ Equity Association). Until these rulings, there had been a widespread supposition that performing artists, especially members of Canadian Actors’ Equity Association, were freelance (Equity). Because these determinations flew in the face of past practice, alarm bells rang. Although Canadian Revenue Agency (CRA) determinations are made on a case-by-case basis, a ruling pertaining to one individual (such as one dancer from the Royal Winnipeg Ballet) can be used as precedent to rule against another individual — and indeed, all dancers in the Royal Winnipeg Ballet or any other dance company.
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Wallace, Susan. "Seeing Red: Theatre and Labour in Twenty-First Century Canada." Canadian Theatre Review 125 (January 2006): 102–3. http://dx.doi.org/10.3138/ctr.125.015.

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This past summer, the Canadian Theatre Review issue entitled “Working Conditions” went to press lacking a contribution from Canadian Actors’ Equity Association, let alone from any of the other professional artists’ associations or unions. It is hard to imagine a more nearly ideal forum for a contribution from Equity, PGC, AFM or ADC than an issue devoted to theatre labour practices. For our part at Equity, we dropped the ball and, due to an unexpected staff turnover, CTR 123 went to print without our contribution. We have apologized to CTR and to Professor Wilson, in particular. In a more than gracious move, CTR has offered to print not only our clarification but a more fulsome response.
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Fowler, Richard. "Surviving the Ice Age." Canadian Theatre Review 82 (March 1995): 29–31. http://dx.doi.org/10.3138/ctr.82.007.

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Since the members of PRIMUS THEATRE are full-time professional actors, why do they not belong to the Canadian Actors Equity Association and why is the company for which they work not an Equity company? The answer to this question lies in an examina tion of th e terms used to phrase it. The members of PRIMUS THEATRE are precisely th at, members, the articulating limbs of a living organism; the thea tre of which they are members is not a building, not an admi nistra tive infrastructure, but the social unit which is the manifestation of their collective relationship; they are actors, but they are also musicians and dancers, choreographers and designers and directors, stage managers and technicians, publicists and managers; they alread y, by the very nature of their relationship, ha ve an “association” which defines and protects them; they do not work for a company which employs them but are themselves the company.
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Holmes, Sean P. "And the villain still pursued her: The actors’ equity association in Hollywood, 1919–1929." Historical Journal of Film, Radio and Television 25, no. 1 (March 2005): 27–50. http://dx.doi.org/10.1080/01439680500064975.

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Szabó, Marianna, Mark Seton, Ian Maxwell, and Mitchell L. Cunningham. "Psychological Well-Being of Australian Actors and Performing Artists: Life Satisfaction and Negative Affect." Medical Problems of Performing Artists 37, no. 2 (June 1, 2022): 106–17. http://dx.doi.org/10.21091/mppa.2022.2016.

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BACKGROUND: Anecdotal evidence and media reports suggest that actors and other performing artists experience high levels of depression, anxiety, and stress. However, no empirical study has examined the psychological well-being of this professional group. OBJECTIVE: The Australian Actors’ Wellbeing Study (AWS) was conducted to examine the general wellbeing of Australian actors and performing artists. The present paper, reporting on data from the AWS, focuses on two aspects of respondents’ psychological well-being: life satisfaction and the experience of negative affect. METHODS: An online survey including several questionnaires was distributed to the Equity Foundation membership representing Australian actors. We report results from the Satisfaction with Life Scale (SWLS) and the Depression Anxiety Stress Scales (DASS) and examine their associations with respondents’ sociodemographic and occupational background, including their relationship status and any relationship stress, income from performing, and time taken away from performing. RESULTS: A sample of 782 Australian actors responded to the survey, with 582 participants completing the DASS and 568 the SWLS. Participants reported lower levels of life satisfaction and higher levels of depression, anxiety, and stress than found in the Australian general population. Being in a relationship was associated with better psychological well-being; however, work stress often impacted negatively on relationships. Income had little association with psychological well-being, unless the respondent felt under financial stress. Respondents who took extended periods of time away from performing reported less life satisfaction and more depression than others. CONCLUSION: Australian actors may be at a high risk for poor psychological health. Further research is necessary to establish causality among the variables we examined and to investigate protective factors that may increase well-being in the context of the performing arts industry.
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Wilson, Ann. "Editorial." Canadian Theatre Review 123 (June 2005): 3–4. http://dx.doi.org/10.3138/ctr.123.fm.

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To begin, an observation about the topic which this issue of Canadian Theatre Review addresses: Theatre is discussed most often as art, but theatre is also a site of labour, as the existence of unions and professional bodies such as Actors’ Equity and the Professional Association of Canadian Theatres evinces. These organizations, and others like them, protect the working conditions of their members. Their function is crucial, but it is one that carries implications, as it organizes theatrical labour through what is, fundamentally, an industrial model, based on the segregation of workers into discrete categories of specialization. Some of the implications are problematic, as many of the articles in the issue suggest: The divide between various modes of labour in the theatre is not neat and tidy, particularly in the case of small companies, where the artistic director may also be an actor in, and director of, productions mounted by the company, as Sky Gilbert discusses; or, when professional theatre is being produced in northern Canada, as Michael Clark writes. In a blunt assessment of the state of labour relations in Canadian theatre, Ivan Habel argues that, in addressing the various conditions of work, the contractual protocols for actors have expanded into the cumbersome, if well-intentioned, Canadian Theatre Agreement. He argues that the unwieldy agreement requires an onerous commitment of time if it is to be implemented appropriately, suggesting that it has become largely inaccessible for those whom it ostensibly serves: theatre artists.
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Baar, K. Kevyne. "“What Has My Union Done For Me?” The Screen Actors Guild, the American Federation of Television and Radio Artists, and Actors' Equity Association respond to McCarthy-Era blacklisting." Film History: An International Journal 20, no. 4 (December 2008): 437–55. http://dx.doi.org/10.2979/fil.2008.20.4.437.

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Broverman, Alison. "How to be Indie: The Fight for Independent Theatre Artists to Get What They Need from the Canadian Actors' Equity Association." Canadian Theatre Review 146, no. 1 (2011): 92–95. http://dx.doi.org/10.1353/ctr.2011.0043.

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Marchant, Graham. "The Funding of Drama Student Training in Britain." New Theatre Quarterly 17, no. 1 (February 2001): 31–44. http://dx.doi.org/10.1017/s0266464x00014305.

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The National Council for Drama Training represents the drama sector of the British performing arts industry and is responsible for the accreditation of the standard and content of the courses at vocational drama schools for professional actors and stage managers, to ensure their relevance to the industry. The Council has three wings: the employers (Society of London Theatre, Theatrical Management Association, the BBC, Channel 4, Channel 5, and ITV), the trades union (Equity), and the leading professional training providers. The purpose of the report which follows was to provide as objective as possible an assessment of the workings of the government's new Dance and Drama Awards scheme, to assist the industry in discussions with Government on improvements to the scheme. Its author, Graham Marchant, is an arts consultant with an exceptional breadth of knowledge and experience, particularly as theatre administrator, senior Arts Council officer, and principal of a vocational school for professional dancers. The NCDT was enabled to commission the Report through the generous provision of funds from the Mackintosh Foundation and the Society of London Theatre.
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Komala, Adeh Ratna. "Optimalisasi Laba UMKM Melalui Manajemen Keuangan." Indonesian Community Service and Empowerment Journal (IComSE) 3, no. 1 (March 29, 2022): 192–97. http://dx.doi.org/10.34010/icomse.v3i1.4930.

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The purpose of this service is to provide training to manage business profits for Micro, Small and Medium Enterprises (MSEs) in the Bandung area as many as 200 participants. The implementation method is carried out virtually via zoom us where at the end of the session participants are given the opportunity to ask questions related to problems in managing finances. The material provided is related to the stages in managing finances, namely: separate business capital from own capital, all recorded correctly, financial statements are prepared including statements of financial position, comprehensive income statements, statements of changes in equity and cash flow statements. This is done so that business operations are well controlled. This activity is organized by the Accounting Student Association (HMAk UNIKOM). The result of this service is that the participants of Micro, Small and Medium Enterprises (MSEs) are greatly helped in managing their business profits. The material presented becomes the basis for participants in improving their business financial records. The participants were also given additional material in using social media to market their products, The conclusion of this activity is very beneficial for Micro, Small and Medium Enterprises (MSEs) actors in managing their business finances so that the sustainability of their business is maintained. Key words: MSEs, profit optimization, social media
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Dissertations / Theses on the topic "Actors' Equity Association"

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Hardin, Mark. "A CHORUS LINE: DOES IT ABIDE BY RULES ESTABLISHED BY ACTORS' EQUITY ASSOCIATION FOR THE AUDITION PROCESS?" Master's thesis, University of Central Florida, 2006. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/2067.

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I have been cast as "Bobby" in A Chorus Line at Orlando Broadway Dinner Theatre in Orlando. I will use this opportunity as my thesis role. As part of my thesis defense, I will combine an analysis of the character of "Bobby" in A Chorus Line with an assessment of Actors' Equity Association's audition policies from 1970 to the present, and investigate whether the audition held in the show abides by the policies established by AEA for Broadway calls. "Bobby" has an interesting arc of development as he actually gives the director what he (the director) does not want, yet is still cast in the fictitious Broadway show. Why he would choose to stray from the director's instructions is an interesting question and demanding study. To facilitate my research on the character (aside from script and score analysis), I will interview Thommie Walsh (about for whom the role was written and the original "Bobby" on Broadway) as well as other men who have played the role to get insights into the character that will enhance my performance. Mr. Walsh will also elaborate on his real-life relationship with Michael Bennett and how that compares and contrasts with the relationship between "Bobby" and "Zach." I also will interview as many of the original cast members as possible (namely Baayork Lee) to get contributing memories and anecdotal evidence from the original production. A Chorus Line captures the one element all performers experience – the audition. The audition process has changed over the years, and I will focus on the development of protocol from the early 1970's (when A Chorus Line takes place) to the present. I will explore the manner in which the process has evolved and what A Chorus Line's contribution was (if any) to that process. This show has become so much a part of the musical theatre vernacular that historical exploration of procedures would also clarify how this work was structured. Were actors subjected to that intense style of audition on a huge stage in the early 1970s? Are they still today? My research will trace the history and rules governing auditions, performers and staff as delineated by Actors' Equity Association. I will also include a comparison of Equity to the variety of non-Equity auditions. Other sources will include rulebooks from AEA and interviews with dancers (past and present), AEA staff and Patrick Quinn, President of AEA.
M.F.A.
Department of Theatre
Arts and Sciences
Theatre
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Shane, Rachel. "Negotiating the creative sector understanding the role and impact of an artistic union in a cultural industry : a study of Actors' Equity Association and the theatrical industry /." Columbus, Ohio : Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1158512076.

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Dolgoy, Sholem. "Forging a professional community : the evolution of the institutions of English Canadian Theatre - 1955 to 1979 /." 2007. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:MR38768.

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Thesis (M.A.)--York University, 2007. Graduate Programme in Interdisciplinary Studies.
Typescript. Includes bibliographical references (leaves 183-202). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:MR38768
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Books on the topic "Actors' Equity Association"

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Devine, Francis. Acting for the actors: Dermot Doolan and the organisation of Irish actors and performing artists 1947-1985. Dublin: SIPTU, 1997.

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Simmons, Renee Antoinette. Frederick Douglass O'Neal: Pioneer of the Actor's Equity Association. New York: Garland, 1996.

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Simmons, Renee A. Frederick Douglass O'Neal: Pioneer of the Actors' Equity Association. Taylor & Francis Group, 2021.

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Simmons, Renee A. Frederick Douglass O'Neal: Pioneer of the Actors' Equity Association. Taylor & Francis Group, 2021.

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Frederick Douglass O'Neal: Pioneer of the Actors' Equity Association. Taylor & Francis Group, 2021.

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Weavers of Dreams, Unite!: Actors' Unionism in Early Twentieth-Century America. University of Illinois Press, 2013.

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Weavers of dreams, unite!: Actor's unionism in early twentieth-century America. Urbana: University of Illinois Press, 2013.

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Performance of the century: 100 years of actors' equity association and the rise of professional American theater. Milwaukee, WI: Applause Theatre & Cinema Books, 2012.

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Holmes, Sean P. For the Dignity and Honor of the Theatrical Profession. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037481.003.0006.

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This chapter examines the Actors' Equity Association's (AEA) campaign to raise the status of the acting community by cleansing it of its long-standing reputation for immorality. It focuses in the first instance on the efforts of Equity leaders to improve the collective image of actors by persuading the Methodist Church to lift its ban on commercial amusements and taking newspapers to task for reinforcing the association that existed in the public mind between acting and criminality. Its primary concern, however, was with the internal dimension of the campaign. It takes as its starting point the AEA's crusade against the excessive consumption of alcohol, a practice that straddled not only the divide between the legal and the extralegal but also the ill-defined line between the public sphere and the private sphere. It argues that accusations of drunkenness often functioned as a pretext for disciplining those performers whose sexual habits were at odds with the so-called civilized morality embraced by the leadership of the AEA—that is, “promiscuous” women and homosexual men. Even as the theater as a cultural institution was helping to redraw the boundaries of propriety in American society, the AEA was seeking to bind the men and women of the legitimate stage to a moral code that was rooted in increasingly outmoded notions of respectability.
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Actor's Equity Association/the League of American Theatres and Producers, Inc., New York, New York. [Atlanta, Ga.?]: U.S. Dept. of Health and Human Services, Public Health Service, Centers for Disease Control and Prevention, National Institute for Occupational Safety and Health, 1994.

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Book chapters on the topic "Actors' Equity Association"

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Shane, Rachel. "Actors' Equity Association and the Professionalization of the Acting Vocation." In Professionalization in the Creative Sector, 127–41. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003138693-9.

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Craft, Elizabeth T. "The Man Who Owned Broadway." In Yankee Doodle Dandy, 80–110. Oxford University PressNew York, 2024. http://dx.doi.org/10.1093/oso/9780197550403.003.0004.

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Abstract As a creator and performer who also became one of Broadway’s most powerful producers and businessmen, in conjunction with partner Sam Harris, George M. Cohan occupied a singular position. This chapter examines how Cohan helped shape contemporary discourses about wealth and business, as both a Broadway magnate and a creator, amid a rapidly transforming US economy and theatrical industry. Themes of money and class pervade Cohan’s shows throughout his career, but as this chapter shows, from around 1909 to 1919 business came to the fore. The chapter examines Get-Rich-Quick Wallingford (1910), which staged national anxieties about big business capitalism while also celebrating it. Finally, the chapter discusses the actors’ strike of 1919 and Cohan’s vocal opposition to the Actors’ Equity Association, demonstrating how Cohan’s unique position as Broadway performer and magnate made him a lightning rod in this highly publicized battle between business and workers.
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Craft, Elizabeth T. "The Celebrity." In Yankee Doodle Dandy, 148–80. Oxford University PressNew York, 2024. http://dx.doi.org/10.1093/oso/9780197550403.003.0006.

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Abstract This chapter examines Cohan the celebrity, demonstrating how he harnessed the mass circulation press and burgeoning journalistic attention to celebrities to establish his compelling Yankee Doodle patriotic persona. As “Broadway’s press agent,” Cohan also promoted Broadway and linked his own fame to it. In the 1920s through to the end of his life, after his unsuccessful stand against Actors’ Equity Association and as styles on Broadway changed, Cohan cashed in on celebrity in various ways, including through writings in the print media, performances in films and radio programs, starring roles in other playwrights’ shows, and popular songs. He continued to harp on familiar themes like patriotism and Broadway, but now largely through the lens of nostalgia. The last section of this chapter examines Cohan’s portrayals of Broadway celebrity in The Man Who Owned Broadway (1909) and his last, unfinished work The Musical Comedy Man.
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Horowitz, Mark Eden. "1960." In The Letters of Oscar Hammerstein II, 987–1024. Oxford University PressNew York, 2022. http://dx.doi.org/10.1093/oso/9780197538180.003.0019.

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Abstract There are discussions of a possible re-make of State Fair, and an adaptation of Allegro for television. Hammerstein reflects on his association with Vincent Youmans. Oscar deals with ill-health and cancer treatment. Oscar defends The Sound of Music from a “friend’s” accusation that it is “unadulterated treacle.” Rodgers and Hammerstein attend the opening of Flower Drum Song in the West End and respond to the new cast recording. Hammerstein continues supporting and advocating for the United World Federalists. Hammerstein tells Rodgers how a young person must be cast in the film of The Sound of Music and why Doris Day would be inappropriate. Oscar discusses the dispute between Actors Equity and the League of New York Theatres that resulted in a blackout. Dorothy Hammerstein received condolence letters on Oscar’s passing, including from Maria Trapp, and Agnes de Mille, and reports on Oscar’s passing to his doctor and Sister Gregory.
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"Equality and the Principle of Association." In Philosophie et Culture: Actes du XVIIe congrès mondial de philosophie, 441–51. Éditions du Beffroi, 1988. http://dx.doi.org/10.5840/wcp1719885242.

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Mallach, Alan, and Todd Swanstrom. "Agents of Neighborhood Change." In The Changing American Neighborhood, 189–211. Cornell University Press, 2023. http://dx.doi.org/10.7591/cornell/9781501770890.003.0010.

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This chapter looks into the agents of neighborhood change. It elaborates on how the processes of neighborhood change are fragmented, variable, and unstable. Although city government is not always the dominant actor in the neighborhood policy system, it is almost always a factor. Local governments, community development corporations, neighborhood associations, and other agents of change engage in intentional actions to stabilize or revive neighborhoods. The chapter also considers anchor institutions and private corporations as agents of change that sustain and rebuild neighborhoods. It mentions the challenge of equity and accountability in the networked governance model due to the power imbalance between agents and other players in the system.
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Sheen, Erica. "A World Stage." In Geopolitical Shakespeare, 107–24. Oxford University PressOxford, 2024. http://dx.doi.org/10.1093/9780191995163.003.0006.

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Abstract In April 1949, the US State Department announced the selection of an American theatre company to take a production of Hamlet to the Shakespeare Festival in Elsinore. This chapter tracks the entangled agencies that saw the production through sponsorship by ANTA (American National Theater and Academy), and the personal involvement of President Harry Truman and his White House staff, to the conflicting political commitments of the production’s creative team: producer-financier Blevins Davis, designer Nat Karson, actor-director (and Hamlet) Robert Breen, and veteran British actor Clarence Derwent (Polonius and President of Equity). It shows how the cooperative principles associated with the production’s affiliation to ANTA began to founder under the combined pressures of Breen and Davies’s aspiration to establish their partnership as a state–private enterprise and the association of Karson and Derwent with ‘un-American’ political activities.
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"The Nation-State: World Society and the Nation-State." In World Society: The Writings of John W. Meyer, edited by Georg Krücken and Gili S. Drori, 173–205. Oxford University PressOxford, 1999. http://dx.doi.org/10.1093/oso/9780199234042.003.0008.

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Abstract This chapter reviews arguments and evidence concerning the following proposition: Many features of the contemporary nation-state derive from worldwide models constructed and propagated through global cultural and associational processes. These models and the purposes they reflect (e.g., equality, socioeconomic progress, human development) are highly rationalized, articulated, and often surprisingly consensual. Worldwide models define and legitimate agendas for local action, shaping the structures and policies of nation-states and other national and local actors in virtually all of the domains of rationalized social life – business, politics, education, medicine, science, even the family and religion.
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Fernández, Robert Pérez, and Rodolfo Ferrando. "Uruguay." In Dementia Care: International Perspectives, 351–56. Oxford University Press, 2019. http://dx.doi.org/10.1093/med/9780198796046.003.0047.

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Uruguay has the oldest population in Latin America, with a prevalence rate of dementia similar to that in developed countries. With regard to dementia care, the key strengths of the National Health System include: equity in accessibility to diagnosis, specialized medical consultations, diagnosis made according to international standards; and the availability of anti-dementia drugs and pharmacological treatments. Its main weaknesses are delayed diagnosis, fragmented care, the use of only a curative model of care, a lack of interdisciplinary team approach, and a lack of non-pharmacological treatments, as well as a lack of communication of diagnoses to patients. In its current format, the health system does not fully guarantee the human rights of people with dementia and their families. Recent actions have been taken by the national association of relatives (AUDAS) and academic groups to address this situation through the presentation of a National Dementia Plan.
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Dhar, Diksha, Sachitaa Srivastava, and Lata Bajpai Singh. "Inclusive Leadership and Innovative Work Behaviour." In Role of Human Resources for Inclusive Leadership, Workplace Diversity, and Equity in Organizations, 20–44. IGI Global, 2023. http://dx.doi.org/10.4018/978-1-6684-6602-5.ch002.

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This research attempts to inspect the effects of inclusive leadership on employees and their sense of psychological safety and innovative work behaviours. It examines whether coworker envy and organizational cynicism acts as an intervening measure in the link between inclusive leadership and psychological safety. It also endeavours to look into the role of coworker envy and organizational cynicism as a mediating factor in the association between inclusive leadership and innovative work behaviour. For the present research, information was gathered from 279 people employed in the hotel industry. SmartPLS 3 software was used to analyse the data using the PLS-SEM (partial least square-structural equation modelling) method. The findings indicate a significant positive relationship amongst inclusive leadership, psychological safety, and innovative work behaviour. In addition, a partial intervening effect of coworker envy and organizational cynicism was also observed.
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Conference papers on the topic "Actors' Equity Association"

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Yasujima, Akira, and Yasunobu Ito. ""Entrepreneuring" of Mature Small- to Medium-sized Companies in Crisis Situation: A Case Study of a Legacy Bakery with 90 Years of History." In 15th International Conference on Applied Human Factors and Ergonomics (AHFE 2024). AHFE International, 2024. http://dx.doi.org/10.54941/ahfe1005105.

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This study aims to elucidate the processes inherent in entrepreneurial activities by exploring how small- to medium-sized mature companies strive to reorganize as they respond to various crises. Specifically, we examine business reorganization processes through a case study of a well-established company in Japan, re-conceptualizing entrepreneurship — commonly considered a static and ambiguous notion — as a dynamic process of “entrepreneuring”. Recently in Japan, anticipation for the “emergence of transcendent individuals“ who generate innovations has been growing. However, there is a paucity of interests in analyses centered on small- and medium-sized mature companies which often grapple with constraints and limitations unique to themselves. In recent years, scholarly discourse have expanded beyond associating entrepreneurship solely with new business ventures, and the significance of dynamically analyzing entrepreneuring as a process in a world where practices and mindsets are already organized (Steyaert 2007: 462) is pointed out in international journals. Additionally, inquiries into how newly organized cultures emerge in the process of organizational and institutional changes (Hjorth & Reay 2022: 159) have gained traction. The conceptual viewpoint of entrepreneuring is shifting from methodological individualism towards practicalism and relationism. Building on these premises, this paper presents a hypothesis about the nature of entrepreneuring by delineating a case of organizational restructuring in a company, viewed through the lens of long-term process changes. The subject of this study is a legacy bakery with which a private equity (corporate restructuring) fund, managed by one of the authors (AY), has been engaged since 2019. Before the fund’s engagement, the bakery’s financial constraints led to severely limited investments in facilities and to a shortage of middle-ranking and younger staff. Furthermore, the COVID-19 pandemic and the Ukrainian conflict significantly strained its operations. Under these circumstances, the bakery has been engaged in the process of entrepreneuring in order to diversify its customer base and revamp its business portfolio. We conducted a qualitative examination of the data, which included records from participant-observations spanning nearly five years, individual interviews with key stakeholders and reflection sheets gathered after workshops. Comparative analyses with other cases of corporate turnarounds orchestrated by the fund have also been undertaken. Initially, the company's failure to recognize the necessity for organizational change had impeded attempts at autonomous or internal reorganization. However, the “institutional changes” brought from outside, namely the change in shareholders and the onset of a financial deficit, catalyzed the generation of reorganization efforts. During the process, the “institutions”, or corporate cultures, based on the bakery's decades-old customs created barriers against change. Also, potential conflicts between multiple “institutional logics” historically embedded in the company emerged during the change process. Nevertheless, through ongoing efforts across the organization,the employees began to explore the common benefits that emerged from such conflicts. The results of this study illustrate the process of a gradual diversification of relationships among involved agents that catalyzed the reorganization process. Innovations within small- and medium-sized companies with limited managerial resources can be perceived as processes of reorganization sparked by intersection and amalgamation of various actors representing a constantly evolving performative action.
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Reports on the topic "Actors' Equity Association"

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Health hazard evaluation report: HETA-90-0355-2449, Actors' Equity Association/The League of American Theatres and Producers, Inc., New York, New York. U.S. Department of Health and Human Services, Public Health Service, Centers for Disease Control and Prevention, National Institute for Occupational Safety and Health, August 1994. http://dx.doi.org/10.26616/nioshheta9003552449.

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Does your Local Control Accountability (LCAP) Plan deliver on the promise of increased or improved services for English Learners? 10 research aligned rubrics to help answer the question and guide your program. The Center for Equity for English Learners (CEEL), 2015. http://dx.doi.org/10.15365/ceel.lcap2015.1.

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As California’s Local Control Funding Formula (LCFF) came into effect in 2013, districts were given more flexibility to use state resources and create a new school finance system to improve/increase services for students with greater needs for support, including English Learners (ELs), students from low-income backgrounds, and foster youth. Local Education Agencies (LEAs) were tasked with preparing the Local Control and Accountability Plans (LCAPs) to describe how districts use their plans to meet their annual goals for all students. To aid LEAs in their design and implementation of programs to address the needs of ELs, Californians Together, the California Association for Bilingual Education (CABE), California Rural Legal Assistance (CRLA), and the Center for Equity for English Learners (CEEL) collaboratively developed the rubrics with 10 focus areas that have a high impact on ELs. These areas include: (1) English Language Development, (2) Parent Engagement, (3) Professional Development, (4) Programs and Course Access, (5) Expenditures, (6) District Wide Use of Concentration and Supplemental Grant Funds, (7) School Wide Use of Concentration and Supplemental Grant Funds, (8) Actions and Services, (9) Proportionality, and (10) English Learner Data to Inform Goals. These 10 rubrics and their corresponding indicators are based on research-based principles and practices for English Learners. These rubrics were first employed in the review of first-year LCAPs by the above-mentioned organizations and remain an important analytical instrument for district leaders to gain insights into the planning for and improving programs and services for ELs.
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