Academic literature on the topic 'First Physical Theatre Company'
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Journal articles on the topic "First Physical Theatre Company"
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Rodosthenous, George. "“It’s All about Working with the Story!”: On Movement Direction in Musicals. An Interview with Lucy Hind." Arts 9, no. 2 (April 30, 2020): 56. http://dx.doi.org/10.3390/arts9020056.
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Lucy Hind is a South African choreographer and movement director who lives in the UK. Her training was in choreography, mime and physical theatre at Rhodes University, South Africa. After her studies, Hind performed with the celebrated First Physical Theatre Company. In the UK, she has worked as movement director and performer in theatres including the Almeida, Barbican, Bath Theatre Royal, Leeds Playhouse Lowry, Sheffield Crucible, The Old Vic and The Royal Exchange. Lucy is also an associate artist of the award-winning Slung Low theatre company, which specializes in making epic theatre in non-theatre spaces. Here, Lucy talks to George Rodosthenous about her movement direction on the award-winning musical Girl from the North Country (The Old Vic/West End/Toronto and recently seen on Broadway), which was described by New York Times critic Ben Brantley as “superb”. The conversation delves into Lucy’s working methods: the ways she works with actors, the importance of collaborative work and her approach to characterization. Hind believes that her work affects the overall “tone, the atmosphere and the shape of the show”.
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Buckland, Fiona. "Towards a Language of the Stage: the Work of DV8 Physical Theatre." New Theatre Quarterly 11, no. 44 (November 1995): 371–80. http://dx.doi.org/10.1017/s0266464x00009349.
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In the following article Fiona Buckland describes how the leading British experimental dance company, DV8 Physical Theatre, was formed out of a disillusionment with its own dance medium, and how DV8 now works towards a reinvestment of creative need in stage performance. The first part reviews the company's work, methodology, and content to date, while the second offers a detailed analysis and explication of their award-winning and provocative Dead Dreams of Monochrome Men (1988), which expresses the paradox of gay male cruising as a need for security and desire for risk, both in terms of content and as an exhilarating contact-release form. The article explores the dynamism and theatricality of a style in which the body is both subject and mode of performance, and also the media, critical, and audience response DV8 performances have evoked. The author, Fiona Buckland, received her MA in Film and Theatre from the University of Sheffield in 1993, after which she worked there and at Sheffield College as a part-time lecturer in movement and choreography. She has also held workshops in Loughborough, Sheffield, and New York, and is currently the recipient of a Fulbright award on the doctoral programme in Performance Studies at Tisch School of the Arts, New York University.
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Mahoney, Alison M. "Oily Cart's Space to Be: Exploring the Carer's Role in Sensory Theatre for Neurodiverse Audiences during COVID-19." Theatre Survey 62, no. 3 (August 23, 2021): 340–43. http://dx.doi.org/10.1017/s0040557421000260.
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Because sensory theatre productions are designed with neurodiverse audiences in mind, practitioners are first and foremost concerned with accessibility at all levels for their audience members, incorporating multiple senses throughout a performance to allow a variety of entry points for audiences that may have wildly divergent—and often competing—access needs. One-to-one interaction between performers and audience members results in highly flexible performances that respond to physical and auditory input from individual audience members, through which performers curate customized multisensory experiences that communicate the production's theatrical world to its audience. Given this reliance on close-up interaction, the circumstances surrounding the COVID-19 pandemic have posed a particular challenge for sensory theatre makers. In in-person sensory theatre, performers focus on neurodivergent audience members, with parents and paid carers often taking a (literal) back seat, but remotely delivered sensory theatre during COVID-19 hinges on the carer's facilitation of sensory engagement curated by sensory theatre practitioners. Oily Cart, a pioneering London-based sensory theatre company, responded to COVID-19 restrictions with a season of work presented in various formats in audiences’ homes, and their production Space to Be marked a shift in the company's audience engagement to include an emphasis on the carer's experience.1 Using this production as a case study, I argue that the pivotal role adopted by carers during the pandemic has the potential to shape future in-person productions, moving practitioners toward a more holistic, neurodiverse audience experience that challenges a disabled–nondisabled binary by embracing carers’ experiences alongside those of neurodivergent audience members.2
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Teale, Polly. "‘Distilling the Essence’: Working with Shared Experience." New Theatre Quarterly 31, no. 3 (July 9, 2015): 213–22. http://dx.doi.org/10.1017/s0266464x15000469.
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In this wide-ranging interview of 25 November 2014, Polly Teale, writer, director, and Artistic Director of UK-based Shared Experience theatre company, reflects on her stage adaptations of literary works, the lives of their authors, and the processes of adapting texts between genres. Founded in 1975 by Mike Alfreds, Shared Experience has toured internationally from Sydney to Beijing with highly physical stage adaptations of literary texts and biographies that express the inner lives of complex and fascinating characters. Teale discusses the adaptation of her play Brontë to a screenplay, Shared Experience’s upcoming production of Mermaid, and rehearsal strategies she uses to encourage actors to explore the subjective truths that lie beneath the surface of their characters. Besides Brontë, past productions have included Jane Eyre, The Mill on the Floss, and After Mrs Rochester. Shared Experience was recently awarded a £105,000 grant by the Andrew Lloyd Webber Foundation and has won several theatre awards including Time Out’s Live Award for Best Play in the West End (2004) and an Edinburgh Fringe First Award (2010). Rebecca Waese is a lecturer and researcher in Creative Arts and English at La Trobe University, Melbourne. She is co-writing a book on Polly Teale and has previously written on interdisciplinary adaptations and dramatic modes in Australian and Canadian literature.
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Knowles, Richard Paul. "Stratford's First Young Company." Theatre Research in Canada 11, no. 1 (January 1990): 3–28. http://dx.doi.org/10.3138/tric.11.1.3.
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The first so-called 'Young Company' at the Stratford Festival was founded in 1975 by the incoming Artistic Director, Robin Phillips. This essay describes the brief history of that loosely-defined company and analyses their productions of The Two Gentlemen of Verona and The Comedy of Errors in 1975 and of Hamletand The Tempest in 1976, the Festival's first productions of Shakespeare at the Avon Theatre.
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Bourne, Claire M. L., and Musa Gurnis. "Hamlet: The First Quarto by Taffety Punk Theatre Company." Shakespeare Bulletin 33, no. 4 (2015): 663–66. http://dx.doi.org/10.1353/shb.2015.0057.
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주현식. "The Performative Aesthetics in Theatre Company Momggol's and Sadari Movement Lab's Physical Theatre." Journal of Drama ll, no. 48 (February 2016): 339–71. http://dx.doi.org/10.15716/dr.2016..48.339.
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Anderson, Margot. "Dance Overview of the Australian Performing Arts Collection." Dance Research 38, no. 2 (November 2020): 149–67. http://dx.doi.org/10.3366/drs.2020.0305.
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The Dance Collection at Arts Centre Melbourne traces the history of dance in Australia from the late nineteenth century to today. The collection encompasses the work of many of Australia's major dance companies and individual performers whilst spanning a range of genres, from contemporary dance and ballet, to theatrical, modern, folk and social dance styles. The Dance Collection is part of the broader Australian Performing Arts Collection, which covers the five key areas of circus, dance, opera, music and theatre. In my overview of Arts Centre Melbourne's (ACM) Dance Collection, I will outline how the collection has grown and highlight the strengths and weaknesses associated with different methods of collecting. I will also identify major gaps in the archive and how we aim to fill these gaps and create a well-balanced and dynamic view of Australian dance history. Material relating to international touring artists and companies including Lola Montez, Adeline Genée, Anna Pavlova and the Ballet Russes de Monte Carlo provide an understanding of how early trends in dance performance have influenced our own traditions. Scrapbooks, photographs and items of costume provide glimpses into performances of some of the world's most famous dance performers and productions. As many of these scrapbooks were compiled by enthusiastic and appreciative audience members, they also record the emerging audience for dance, which placed Australia firmly on the touring schedule of many international performers in the early decades of the 20th century. The personal stories and early ambitions that led to the formation of our national companies are captured in collections relating to the history of the Borovansky Ballet, Ballet Guild, Bodenwieser Ballet, and the National Theatre Ballet. Costume and design are a predominant strength of these collections. Through them, we discover and appreciate the colour, texture and creative industry behind pivotal works that were among the first to explore Australian narratives through dance. These collections also tell stories of migration and reveal the diverse cultural roots that have helped shape the training of Australian dancers, choreographers and designers in both classical and contemporary dance styles. The development of an Australian repertoire and the role this has played in the growth of our dance culture is particularly well documented in collections assembled collaboratively with companies such as The Australian Ballet, Sydney Dance Company, and Chunky Move. These companies are at the forefront of dance in Australia and as they evolve and mature under respective artistic directors, we work closely with them to capture each era and the body of work that best illustrates their output through costumes, designs, photographs, programmes, posters and flyers. The stories that link these large, professional companies to a thriving local, contemporary dance community of small to medium professional artists here in Melbourne will also be told. In order to develop a well-balanced and dynamic view of Australian dance history, we are building the archive through meaningful collecting relationships with contemporary choreographers, dancers, designers, costume makers and audiences. I will conclude my overview with a discussion of the challenges of active collecting with limited physical storage and digital space and the difficulties we face when making this archive accessible through exhibitions and online in a dynamic, immersive and theatrical way.
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Lynde, Denyse. "Wolfeville's Mermaid Theatre: The First Fifteen Years." Theatre Research in Canada 9, no. 1 (January 1988): 81–93. http://dx.doi.org/10.3138/tric.9.1.81.
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This article is a historical overview of the first fifteen years of children's theatre in Wolfville, Nova Scotia, where the Mermaid Theatre was founded. Developing from a local to a major international company, the Mermaid has redefined its mandates and policies and undergone major personnel changes and shifts in repertory that have significant implications for Canadian drama in both a local and national context.
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Zarhy-Levo, Yael. "Joan Littlewood and Her Peculiar (Hi)story as Others Tell It." Theatre Survey 42, no. 2 (November 2001): 165–76. http://dx.doi.org/10.1017/s0040557401000084.
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The theatrical map in London during the 1960s consisted of four notable theatrical companies: the English Stage Company, the Royal Shakespeare Company, the National Theatre Company, and the Theatre Workshop. The first three companies, although somewhat transformed, fill major roles in British theatre to the present day. What happened to the fourth company, the Theatre Workshop? This question is all the more intriguing in light of the tribute current historical and critical accounts pay to the founder-director of this company, Joan Littlewood. Theatre critics and historians today view Littlewood as a major representative of radical theatre in the 1960s. Littlewood's position during her era, however, was quite a different story, and the tale of then versus the tale of now is a primer in theatre historiography. I will trace that tale in this essay by juxtaposing the diverse receptions she and her works have received during the past forty years.
Dissertations / Theses on the topic "First Physical Theatre Company"
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Haxton, Robert Peter. "Refusal and rupture as a postdramatic revolt : an analysis of selected South African contemporary devised performances with particular focus on works by First Physical Theatre Company and the Rhodes University Drama Department." Thesis, Rhodes University, 2014. http://hdl.handle.net/10962/d1015671.
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This mini-thesis investigates the concepts of refusal and rupture as a postdramatic revolt and how these terms can be applied and read within the context of analysing contemporary devised performance in South Africa. The argument focuses on the efficacy of Hans-Thies Lehmann’s postdramatic terminology and the potential of its use in an appreciation of contemporary performance analysis. I investigate the potential in South African contemporary devised performance practice to challenge prevailing modes of traditional dramatic expectation in order to restore the experience of discovery and questioning in the spectator. This research is approached through a qualitative process which entails a reading and application of selected critical texts to the analysis with an application of Lehmann’s terminology. This reading/application is engaged in a dialogue with the interpretative and experiential aspects of selected South African devised performances with particular focus on four cross-disciplinary works selected for analysis. Chapter One functions as an introduction to the concept of postdramatic theatre and the application of the terms refusal and rupture as deconstructive keywords in the process of a devised performance. Chapter Two is an analysis of several South African contemporary performances with particular focus on Body of Evidence (2009) by Siwela Sonke Dance Company, Wreckage (2011) a collaboration by Ubom! Eastern Cape Drama Company and First Physical Theatre Company, Discharge (2012) by First Physical Theatre Company, and Drifting (2013) by The Rhodes University Drama Department. This mini-thesis concludes with the idea that with an understanding of refusal and rupture in a postdramatic revolt, contemporary devised performance achieves an awakening in its spectators by deconstructing the expectation of understanding and the need for resolve; the assumption and need for traditional dramatic structures and rules are challenged. Instead, it awakes an experience of discovery and questioning.
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Curenton, Myron Wade. "Plowshares Theatre Company the first twenty years." Diss., Connect to online resource - MSU authorized users, 2008.
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Thesis (M.A.)--Michigan State University. Dept. of Theatre, 2008."The objective of this study is to discuss the history and origin of the Plowshares Theatre Company based upon an interview with the current artistic director, Gary Anderson, and his assistant, Dr. Addell [Austin] Anderson"-- vFrom the abstract. Title from PDF t.p. (viewed on Aug. 4, 2009) Also issued in print.
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Richtarik, Marilynn J. "Acting between the lines : the first five years of the Field Day Theatre Company." Thesis, University of Oxford, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.284286.
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Kidd, Kerry Siobhan. "Educating the audience : the idea of the audience in post-war English theatre and culture, 1945-1965, with particular reference to the English Stage Company at the Royal Court." Thesis, University of Sheffield, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.391166.
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Henzelyová, Rita. "Pohybové divadlo a pantomima na Slovensku." Master's thesis, 2016. http://www.nusl.cz/ntk/nusl-267927.
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The subject of this thesis is Slovak mime theatre. It begins with the connections to the period of its foundation and introduces topic about founder of Slovak mime theatre - Milan Sládek. The next part of the thesis focuses on Slovak amateur theatre artists and their work at the time when professional mime theatre didn't exist in Slovakia. These artists used to experiment with different kinds of theatre technics, including mime theatre. Last part is based on analysis work and performances of the modern authors - Miroslav Kasprzyk, Štefan Capko, Juraj Benčík, Tomáš Kasprzyk, Valéria Daňhová, Barbora Debnárová, Pavol Seriš and modern theatre companies - Puppet Thetare Žilina, Debris Company, Teatro Tatro and Theatre Silent Sparks. It describes how the character of Slovak mime theatre has changed within more than fifty years of existence.
Books on the topic "First Physical Theatre Company"
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Nathanson, Gill. The Belgrade Theatre in Education Company: The first 21 years. [Coventry]: [Belgrade Theatre in Education Company], 1986.
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Jerome, Hynes, ed. Druid: The first ten years. Galway: Druid Performing Arts and Galway Arts Festival, 1985.
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El Teatro Campesino: The evolution of America's first Chicano theatre company, 1965-1985. San Juan Bautista, CA (P.O. Box 1240, San Juan Bautista 95405): El Teatro, 1985.
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El Teatro Campesino: The evolution of America's first Chicano theatre Company, 1965-1985. San Juan Bautista, CA: El Teatro Campesino, 1985.
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Company, Tinderbox Theatre, ed. Tinderbox Theatre Company presents "Convictions": First performed at Crumlin Road Courthouse on October 30, 2002. Belfast: Tinderbox, 2000.
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Wells, Stanley. 2. Theatre in Shakespeare’s time. Oxford University Press, 2015. http://dx.doi.org/10.1093/actrade/9780198718628.003.0002.
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Both drama and theatre were developing rapidly in Shakespeare’s early years. ‘Theatre in Shakespeare’s time’ explains how Shakespeare followed in the footsteps of the first great wave of stage writers known as the University Wits—John Lyly, Thomas Lodge, Christopher Marlowe, George Peele, Thomas Nashe, and Robert Greene—learning from them and collaborating with them. It describes the London theatrical scene, the playing spaces, and the actors of the time before outlining Shakespeare’s early career, the narrative poems that kept him afloat financially, and introducing the Lord Chamberlain’s, and later King’s Men, the acting company that formed in 1594.
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Valentini, Valentina. The Dramaturgy of Sound and Vocality in the Theatre of Socìetas Raffaello Sanzio. Edited by Yael Kaduri. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199841547.013.29.
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This chapter examines the vocal and sonorous dramaturgy of a series of performances by the Italian experimental theatre company Socìetas Raffaello Sanzio, fromSanta Sofia(1986) to the cycleTragedia Endogonidia(2002–2004). The company aimed to create a new language calledGeneralissima, to satisfy the need for a re-foundation of theanti-logosof the word. Thus it experimented with the conflict that exists between voice and body and between the spoken word and action. The voice constitutes a terrain for experimentation, an adequate domain for the theatre to be regenerated, using the body to the side of technological manipulation of the voice. The aim is to allow the story to be told by sound, by the materiality of the voice, of the text and of the senseless utterances, together with the tactile sensations created by the physical characteristics of the environment.
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Shakespeare, William. A Midsommer Nights Dreame: Applause First Folio Editions (Applause Shakespeare Library Folio Texts). Applause Books, 2000.
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Sihra, Melissa. Shadow and Substance. Edited by Nicholas Grene and Chris Morash. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780198706137.013.35.
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In spite of the very important role of women in the development of Irish theatre through the twentieth century, their contribution has continued to be marginalized, with ‘women’s drama’ set off against an implicit male norm. This was still obvious in the Abbey Theatre’s centenary programme, in which no play by a woman featured on the theatre’s main stage. The work of Charabanc Theatre Company, a women’s collective, and the highly successful plays of Marie Jones emerging from that company can be contrasted with the male-dominated Field Day in terms of a disparity of critical attention. Marina Carr, the Irish woman playwright best known internationally, in spite of the strong gender concerns of her plays, has been reluctant to identify herself as ‘feminist’ because of its associations. It has only been in the twenty-first century that the work of women playwrights and directors has been accepted as part of mainstream theatre .
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Suematsu, Michiko. Verbal and Visual Representations in Modern Japanese Shakespeare Productions. Edited by James C. Bulman. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199687169.013.32.
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Despite growing interest in Asian Shakespeare performances, the intercultural strategy of Asian Shakespeare has largely been discussed from a scenographic perspective due to its powerful visual representations that transcend cultural boundaries. This chapter aims to correct the overemphasis on visual representation in critical assessment of Japanese Shakespeare performances by discussing, first, the presence of language in Yukio Ninagawa’s Shakespeare productions, and, second, the characteristic use of dramatic texts in productions by the Ku Na’uka Theatre Company, Mansai Nomura, and the Shakespeare for Children Company, which each demonstrate bold and unique modes of engagement with the text. The chapter finally discusses whether or not there is a uniquely Japanese theatrical response to the text and, if so, what cultural factors lie behind it.
Book chapters on the topic "First Physical Theatre Company"
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Michelassi, Nicola. "Didascalia comica." In Studi e saggi, 475–92. Florence: Firenze University Press, 2020. http://dx.doi.org/10.36253/978-88-5518-150-1.29.
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The first part of this paper consists of a theatre play written specifically for the international congress El teatro Español en Europa and performed on that occasion by the Segugi theatre company. The play stages the generational and poetic conflict between two seventeenth-century Florentine playwrights: the tragedian Girolamo Bartolommei (1584-1662) and his son, the comedian Mattias Maria (1640-1695). Girolamo, contrary to the innovations of modern comedy and the mixture of tragic and comic, dedicated in 1658 a treatise entitled Didascalia comica to Mattias in which he sought to bring his son to traditional positions; nevertheless, Mattias became a leading exponent of that new Spanish imitation comic theatre that, since the times of Giacinto Andrea Cicognini (1606-1649), had found in Florence a fertile place of reworking and diffusion. The second part offers a critical note on the historical issues illustrated in the pièce.
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Oppitz-Trotman, George. "Moving Cloth." In Stages of Loss, 115–54. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198858805.003.0004.
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Clothes were the most important and expensive properties of an early modern theatre company. The first recorded performances of English professional actors on mainland Europe occurred in the context of a major crisis in the international cloth trade and efforts to form an international Protestant alliance. Known for their extravagant and luxurious clothing, the English Comedians took advantage of existing routes developed for the export and import of cloth. Extant dramatic adaptations of English plays associated with their tradition reflect the vital importance of textile stock to their performances and reception. Their reputation for sartorial extravagance involved the English Comedians in discourses of national loss: in the Holy Roman Empire, as in England, imported fine clothes were linked repeatedly to a diminishment of national treasure. Meanwhile, their comic tradition made extravagant use of the symbolic and physical properties of clothing. Although the formative importance of cloth economies to the early English professional theatre has been widely recognized, this chapter puts that dynamic into an international context for the first time.
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Aylward, Michael. "Gimpel’s Theatre, Lwów." In Polin: Studies in Polish Jewry Volume 32, 125–46. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781906764739.003.0008.
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This chapter examines how the music of the Yiddish theatre was preserved on gramophone records between 1904 and 1913. It describes how the gramophone brings to life the sounds and atmosphere of the popular Yiddish theatre in Galicia in the most vivid manner imaginable. It also talks about the record companies that focused on Gimpel's theatre in Lwów, such as Favorite, Beka, and the Gramophone Company that recorded about 800 titles of Yiddish theatre music. The chapter provides a very brief history of the theatre founded by Jakob Ber Gimpel and gives an overview of the recordings the theatre made in the decade preceding the First World War. It mentions the field recordings being made in rural Hungary by Béla Bartók and Zoltán Kodály.
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Silvana de Rosa, Annamaria, and Elena Bocci. "Between Physical and Virtual Reality." In Branding and Sustainable Competitive Advantage, 69–95. IGI Global, 2012. http://dx.doi.org/10.4018/978-1-61350-171-9.ch006.
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This chapter presents a perspective theory, not yet fully developed, that seeks to analyze the connections between “Social Representations and Corporate Communication” (Penz, 2006; Usunier & Lee, 2009). It is divided into two sections. In the first, descriptive section we identified the organizational dynamics of the Benetton Company utilizing structural elements found in the enterprise’s literature and documents. The objective was to understand Benetton galaxy’s role in globalization and its complex market strategies. Since this was an internal view of the company, data was obtained from internal documents, including the company’s publications, such as Global Vision and Colors publications. In order to understand the company from an external perspective, we consulted studies conducted on the Benetton universe that considered the marketing element as interaction between the company and the market (Kotler, 1997; Nardin, 1987; Semprini, 1996; Moliner, 1996; Tafani, 2006). In the second, empirical section, the social representation of the Benetton brand is analyzed using a large sample of Benetton’s advertisements, selected as the basis for research to identify the perceptive modalities of advertising messages and attitudes in Benetton’s communication strategies (de Rosa, 1998, 2001; de Rosa & Losito, 1996; de Rosa & Bocci, 2009). In this second section the relationship between social representations and corporate communication will be presented in a dialogical perspective that examines the social discourse “of” Benetton in regard to social issues. We will look at the different phases of advertising campaigns (1992-2008, with special focus on one of the controversial campaigns: Autumn-Winter 1992\1993) and the discourse “about” Benetton. The targets of reference for our research program are considered to be not only recipients of the company’s advertising campaigns, but also potential buyers.
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"Mike Pearson and Cliff McLucas, John Keefe, Simon Murray: ‘On Brith Gof’, a montage of material about and concerning the work of Brith Gof, a Welsh Theatre Company." In Physical Theatres: A Critical Reader, 170–78. Routledge, 2007. http://dx.doi.org/10.4324/9780203012857-42.
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Bidnall, Amanda. "Barry Reckord, the Race Relations Narrative, and the Royal Court Theatre." In West Indian Generation. Liverpool University Press, 2017. http://dx.doi.org/10.5949/liverpool/9781786940032.003.0007.
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“Barry Reckord, the Race Relations Narrative, and the Royal Court Theatre” shifts its analysis of the race relations narrative to the forefront of postwar London drama. Jamaican playwright—and one of the quintessential “angry young men”—Barry Reckord was among the first to have a play selected by the English Stage Company for production at the reborn Royal Court Theatre. By examining Reckord’s first three plays, Flesh to a Tiger, You in Your Small Corner, and Skyvers, in the context of the Royal Court’s rise to cultural ascendancy, this chapter demonstrates how Reckord helped build the so-called cultural revolution that would write him out of its history.
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Arreola, Dora. "Transgenero Performance." In Building Womanist Coalitions, 171–83. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042423.003.0010.
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Validating the practice of art for the empowerment of female identity and contesting borders of gender and sexual identities, in this chapter, the author describes the collaborative process of Mujeres en Ritual Danza-Teatro, a cross-border, all-women dance-theatre company, which she founded in 1999 in Tijuana, Mexico. Rooted in ritual and contemporary techniques of physical theatre, the work of Mujeres en Ritual explores the limits of gender, taboo sexuality, and culture in the border region. It examines the exploitation of women’s bodies as an extension of U.S.-Mexico relations and political economy. Through a community-based process with women on both sides of the border, the company experiments with gender transgression and transformation to arrive at transgenero (“transgender” and “trans-genre”) performance.
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Skeel, Sharon. "“Her ballet, Barn Dance, was the first truly American balletic composition that we have ever seen.”." In Catherine Littlefield, 175–96. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190654542.003.0012.
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Catherine dismisses agent Arnold Meckel because she anticipates many prestigious engagements in light of her company’s European triumphs. Although these engagements fail to materialize, she secures some bookings on her own and premieres new ballets such as Classical Suite, a neoclassical piece set to music by Bach. She hires agent Michael Myerberg, who secures a contract with the Chicago City Opera for the 1938 fall season. She wins over Chicagoans who were initially upset at her displacement of Chicago dancer/choreographer Ruth Page. In Chicago, Catherine changes the name of her company back to the Littlefield Ballet and premieres her ballet Americana pieces Café Society and Ladies’ Better Dresses. Karen Conrad leaves the Littlefields to join Mikhail Mordkin’s troupe, which becomes Ballet Theatre. Miriam Golden and others also join Ballet Theatre. Catherine is passed over for the Philadelphia Award.
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Macintosh, Fiona. "Harrison as Scholar-Poet of the Theatre." In New Light on Tony Harrison, 101–10. British Academy, 2019. http://dx.doi.org/10.5871/bacad/9780197266519.003.0010.
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Tony Harrison is widely acclaimed for his ability to make the most complex arguments lucid and accessible. Yet it is this very accessibility that often belies the degree of scholarship that informs his work for the theatre, in particular. It is not just that his versions of ancient Greek plays are underpinned by solid classical learning; it is also that they involve a considerable amount of scholarly research in libraries. To bear witness to this scholar-poet's scrupulous attention to detailed scholarship, this chapter takes as case-study an overlooked text from Harrison’s corpus, Medea, A Sex-War Opera(1985). This work was commissioned by New York’s Metropolitan Opera House as a libretto for a score by Jakob Druckman that was never completed. Indeed, Harrison’s libretto has never properly seen the light of day: the only (albeit truncated) production to date - the 1991 Medea: Sex Warby The Volcano Theatre Company - interwove Valerie Solanis’ 1960’s radical feminist text, The S.C.U.M. Manifesto (Society for Cutting Up Men) into the Harrison libretto. Yet Medea, A Sex-War Opera is an ingenious, witty and hard-hitting piece of social intervention that still speaks powerfully back to, and vociferously against, twenty-first century gender discrimination. Ranging from George Buchanan’s Latin version (c.1540s) to Robert Brough’s demotic mid-Victorian burlesque (1856), the libretto is testament to Harrison’s extraordinary wide reading from ancient to modern versions of Medea’s story.
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Ose, Grethe Osborg, and Trygve J. Steiro. "Introducing IO in a Drilling Company." In Advances in Business Strategy and Competitive Advantage, 370–88. IGI Global, 2013. http://dx.doi.org/10.4018/978-1-4666-2002-5.ch022.
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The introduction of Integrated Operations (IO) in the offshore oil and gas industry makes distanced and distributed decision-making a growing part of normal work. Some functions have been transferred from offshore installations to onshore offices as a consequence of the technologies that have recently become available. The authors analyze whether the onshore organization is ready for increased responsibilities by increasing the resilience in its work patterns, since resilience is important for maintaining or increasing safety level compared to current operation, where personnel on board installations can observe the plant at first hand. This study has been performed as a case study of an onshore Support Center in a drilling company at the start of the process of using the Support Center. The establishment of the Support Center involved re-arranging the office arrangements to an open landscape for all offshore installation support personnel and grouping them according to disciplines. They also acquired new technology, including video conference equipment. Important findings are that developing resilience has to be followed through at all levels of the organization. Time and resources have to be made available when work practices change, providing the physical framework alone does not improve resilience. The study also offers a more detailed description of capability resilience and which aspects should be considered when developing resilience. The authors look at the status so far in the change process and also find areas that should be developed in order to increase resilience further.
Conference papers on the topic "First Physical Theatre Company"
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Woodward, Jay, and Michelle Kwok. "CREATING A VIRTUAL STUDY ABROAD EXPERIENCE TO RUSSIA." In International Conference on Education and New Developments. inScience Press, 2021. http://dx.doi.org/10.36315/2021end141.
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COVID-19 has drastically altered our world. Though travel is halted, global education does not have to stop. We used this time to reconceive the notion of study abroad and designed a study abroad program that could be facilitated virtually and enhanced with face-to-face classroom interaction. We were inspired to embark on this journey for several reasons. First, the realities of the pandemic create risks associated with international travel. Second, international experiences need to be more accessible–more students should be able to participate in global education, even if they do not have the means or ability to do so. We present our design considerations in building and implementing this virtual study abroad program. As part of the design, we partnered with VEXA (Virtual Experiences Abroad), a Moscow-based company that built the online interface and facilitated the interactions between our students and Russian citizens, including visits to a Russian Orthodox Church, the Bolshoi Ballet theater, and elementary and middle schools. We also brought elements of Russian culture to life through face-to-face experiences including a live cooking session with a Russian chef, discussions with a Russian Orthodox priest, and a ballet lesson with a company member of the Bolshoi theatre. These types of experiences facilitated group discussions and social interaction opportunities, crucial for establishing relationships. Overall, our main goal was to reconceive the traditional notion of study abroad while garnering results that would match the transformational gains that global education provides.
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Tahera, Khadija, Chris Earl, and Claudia Eckert. "Improving Overlapping Between Testing and Design in Engineering Product Development Processes." In ASME 2013 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. American Society of Mechanical Engineers, 2013. http://dx.doi.org/10.1115/detc2013-12913.
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Testing components, prototypes and products comprise essential, but time consuming activities throughout the product development process particularly for complex iteratively designed products. To reduce product development time, testing and design processes are often overlapped. A key research question is how this overlapping can be planned and managed to minimise risks and costs. The first part of this research study investigates how a case study company plans testing and design processes and how they manage these overlaps. The second part of the study proposes a significant modification to the existing process configuration for design and testing, which explicitly identifies virtual testing, that is an extension to Computer Aided Engineering which mirrors the testing process through product modelling and simulation, as a distinct and significant activity used to (a) enhance and (b) replace some physical tests. The analysis shows how virtual testing can mediate information flows between overlapping (re)design and physical tests. The effects of virtual testing to support overlap of test and (re)design is analysed for the development phases of diesel engine design at a case study company. We assess the costs and risks of overlaps and their amelioration through targeted virtual testing. Finally, using the analysis of the complex interactions between (re)design, physical and virtual testing, and the scope for replacing physical with virtual testing is examined.
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Lindemann, Udo, and Ralf Stetter. "Industrial Application of the Method “Early Determination of Product Properties”." In ASME 1998 Design Engineering Technical Conferences. American Society of Mechanical Engineers, 1998. http://dx.doi.org/10.1115/detc98/dtm-5647.
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Abstract Nothing is more critical for the success of a project than a design flaw that remains undetected until the product is in production or even handed over to the customer. In order to prevent the negative effects of undetected flaws, the method “early determination of product properties” has been developed at the Chair of Design at the Technische Universität München. In this paper the introduction of the method in a mid-size industrial company and the first resulting tool, the Parameter Checklist, are described. The presented research started with a detailed analysis of the product development process in the industrial company. In order to introduce a complex method in an industrial company, many aspects of the situation of the designers, from existing tools and procedures to the designers’ capabilities have to be considered. Because of this, the method was divided into distinct ideas, stages and tools, and compared individually to the situation given. On this basis a first methodical tool was developed, intended to support designers while using the method. The tool called Parameter Checklist supports designers in planning analyses (e.g. tests with physical prototypes, finite element analyses) and in interpreting the results of these analyses. Furthermore, by using the tool, a database is filled that provides enough information to reconstruct the described analyses. In contrast with conventional testing instructions, the Parameter Checklist contains an explicit description of the model, in some respects found to be important, and a list of the influencing parameters. This is the basis for both a simple but conscious form of analysis planning and a more thorough interpretation of the analysis results.
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Landi, Luca, Agnese Sorgenti, and Denny Clerini. "Axiomatic Design of an Adjustable Lifting System for the Assembly of Booms of Telehandlers." In ASME 2017 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2017. http://dx.doi.org/10.1115/imece2017-71298.
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This work describes the Axiomatic Design of a lifting system to be used during the assembly of various telescopic lift booms. The main function of the lifting system is to assist the workers during both the pre-assembly of the individual parts of a boom and also during the final assembly of a wide ranges of telescopic booms of telehandlers. Prior to the design of the lifting system the fundamental phase of data collection work is described in the paper. The company production process is analysed to detect the needs and design constraints impacting directly on the design stage. The preliminary design stage included: functional, ergonomic study of the lifting system and also considerations on the safety of operators during assembly. The Axiomatic Design allows the designer to implement the Customer Needs into Functional Requirements and Design Parameters through a matrix description. So the product designer can recognize and properly transform Functional Requirements into Design Parameters during early stages of the design. In the paper the development of this new lifting system is shown through Axiomatic Design method. The resulting modular lifting system and the principal results obtained will be described in terms of: - reduction of assembly space on the “moving assembly chain” of the company, - reduction of cycle time of the assembly of the boom using the new lifting system, - improvement of ergonomic conditions of workers. During the so called decoupling phase of Axiomatic Design, the Design Parameters of the lifting system are first determined and then hierarchically ordered. So the wasted time for typical trial and error process of advanced design stage is reduced because of this clear ordering. The physical prototype of the new lifting system was already built and successfully used for the assembly on the industrial field.
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Santavicca, J. W. "Wet Flue Gas Desulfurization (WFGD) Slurry Spray Header Design System." In ASME 2005 Power Conference. ASMEDC, 2005. http://dx.doi.org/10.1115/pwr2005-50126.
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The Babcock & Wilcox Company (B&W) has developed a rule-driven design (RDD) computer application to speed the design of its wet flue gas desulfurization (WFGD) slurry spray header system including support steel. The application, written using the RuleStream RDD system, captures the talents of the many people involved in the spray system’s design, including those involved in process engineering, design engineering technology, structural mechanics, and technical design. B&W’s design standards and best practices are blended with fabricator capabilities and industry standards to form the application rules. Third-party software (for example CAESAR II) and proprietary computer programs are leveraged by the application courtesy of the RuleStream RDD architecture. The application seeks to automate the routine first 80% of the design, while providing interfaces to complete the design or explore “what-if” situations. Interfaces allow the evaluation of spray coverage, pipe velocities, pressure drop, physical clearances, weights, and stresses. The application generates drawings, a solid model, and a bill of material for fabrication. Using the application, repeatable, consistent results are achieved. There is a higher confidence in the generated design and a reduction in design cycle time. This saved time may be allocated to exploring alternative designs, pursuing fabricator quotes, performing contract level analysis in the proposal phase, or may be applied to other areas of the WFGD design.
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Wickman, Casper, and Rikard Söderberg. "Defining Quality Appearance Index Weights by Combining VR and CAT Technologies." In ASME 2001 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. American Society of Mechanical Engineers, 2001. http://dx.doi.org/10.1115/detc2001/dac-21143.
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Abstract As markets become increasingly competitive and customers more demanding, virtual verification has become an important tool for cutting costs and shortening lead-times. So far, the main focus area for Virtual Reality (VR) tools has been to extend and support concurrent engineering between manufacturing and design in early stages of the development process. Today, when a styling concept of a product is evaluated in an aesthetic manner, all models used are nominal. If the styling concept is evaluated with nominal models, variation aspects and design solutions that would greatly influence the overall quality appearance will not be discovered until the first test series are made. By using non-nominal models during the design process, important geometric aspects can be issued, and the need for physical test series can be reduced. In the automotive industry, especially within body design, the relations between doors, hoods, fenders and other panels are critical. Today, the quality appearance (QA) of vehicles is judged by these relations. This paper describes how virtual reality technique is used to define a weight system for different prominent areas of a product when evaluating the quality appearance with QA index. It will also discuss how combining traditional Computer Aided Tolerance (CAT) tools with modern virtual reality tools has the potential to enhance concurrency between styling and design and provide more powerful support for the geometry process in early phases. Traditional non-nominal verification can then already be conducted in the concept phase using digital models instead of physical ones. In the paper, today’s geometry design process at an automotive company is described. An example of the rear end of a vehicle is used to illustrate how integrated CAT/VR tools can be used to support decision making when allocating weights fore the quality appearance index.
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Aquelet, N., H. Lesourne, and M. Souli. "Fluid-Structure Interaction for Hydrodynamic Problems: Impact Between a Tanker Bow Flare and a Submarine." In ASME 2002 Pressure Vessels and Piping Conference. ASMEDC, 2002. http://dx.doi.org/10.1115/pvp2002-1466.
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A methodology to predict the capacity of a nuclear submarine hull to act as a protective container and energy absorber under impact by an another underwater structure is needed. Principia Marine, company of Research in Shipbuilding (formerly IRCN, Institut de Recherche en Construction Navale), is responding to this need by developing an underwater impact crash prediction methodology based upon LS-DYNA3D software. Several physical phenomena with their own characteristic times follow one another at the time of the shock. So different but complementary tasks to develop this methodology were worked individually. This paper deals with contribution to this ongoing program that breaks up into two objectives. The first goal aims to highlight the effect of water on the structural deformation at the time of the collision between a nuclear submarine and a tanker ram bow, which is generally plane. The two-dimensional modelling of this collision uses an Eulerian formulation for the fluid and a Lagrangian formulation for the structure. The fluid-structure interaction is treated by an Euler/Lagrange penalty coupling. This method of coupling, which makes it possible to transmit the efforts in pressure of the Eulerian grid to the Lagrangian grid and conversely, is relatively a recent algorithmic development. It was successfully used in many scientific and industrial applications: the modelling of the attack of birds on the fuselage of a Jet for the Boeing Corporation, the underwater explosion shaking the oil platforms, and airbag simulation… The requirements of modelling for this algorithm are increasingly pointed. Thus, the second objective of this paper is to compare the results in pressures and velocities near the bulb for two cases, in the first one, the bulb is modelled by a slip boundary condition, in the second one, the bulb is a rigid Lagrangian structure, which involves the use of the Euler/Lagrange penalty coupling.
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Haider, Syed J., Steven Textor, Aaron Sutton, and Yvan Hubert. "Managing a New Pressure Cycling Reality in Liquid Pipelines." In 2014 10th International Pipeline Conference. American Society of Mechanical Engineers, 2014. http://dx.doi.org/10.1115/ipc2014-33485.
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Pressure cycling is one of the many operational factors a liquids pipeline company has to contend with in their pipeline integrity cracking program. The management of pressure cycling is important because of the potential development and growth of cracks in the pipe wall by fatigue mechanism where pressure cycling acts as the driving force. The operational source of these cycles can be complex but often include planned start/stops, batch pigs passing pump stations, mid-point injections or deliveries, viscosity changes due to commodity transitions, flow rate changes, and unplanned line outages. The first step to understanding pressure cycling is the development of a methodology which defines pressure cycling targets and monitors cycling on the line. Enbridge Pipelines Inc. (Enbridge) has developed two processes to manage pressure cycling on existing and future assets. These procedures help define the path to limiting pressure cycling but also steer the cultural change required to mitigate this risk within an established operating environment. All operational lines within Enbridge Pipelines Inc. are monitored monthly for pressure cycling risks. Understanding the impact of pressure cycling on these lines can be very complex. To determine the risks associated with an operating pipeline the line’s susceptibility to cracking and its pressure cycling severity must be understood. Once the risks are identified, a pressure cycling mitigation plan, to ensure continued safe operation of the asset can be developed. In order to complete a mitigation plan a detailed operational review needs to be conducted and a company-wide team engaged. The team will determine how the existing operational philosophy can change or what physical modifications are required to improve the current operation and limit or reduce pressure cycling. All new projects within Enbridge have to meet the “Fatigue Design Standard for New Pipelines” to ensure the new line has been designed to handle the estimated cycling. To estimate the cycling of a new line the operational philosophy needs to be well understood; this includes: injection/delivery points, planned maintenance outages, estimated unplanned outages, commodity transitions, transient mitigation, and pressure profiles for each known event. This paper will focus on the processes Enbridge uses to manage pressure cycling on new and existing lines. A separate paper from Enbridge titled “IPC2014-33566: Allowable Pressure Cycling Limits for Pipelines” focuses on the fatigue science and how the pressure cycling targets are determined for the pipelines.
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Witwer, Keith. "Preliminary Demonstration of GeoMelt Treatment of Hanford’s K-Basin Sludge." In ASME 2011 14th International Conference on Environmental Remediation and Radioactive Waste Management. ASMEDC, 2011. http://dx.doi.org/10.1115/icem2011-59004.
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The U.S. Department of Energy (DOE) and CH2M Hill Plateau Remediation Company (CHPRC) are seeking a waste treatment solution for sludge stored in the K-Basin spent fuel pond at the Hanford Nuclear Site, in Washington State, USA. This sludge is a Remote Handled Transuranic (RHTRU) waste destined for final disposal at the Waste Isolation Pilot Pant (WIPP) in New Mexico. Removal of the sludge from the K-Basin and transport for interim storage at the Hanford Site is referred to as Phase 1 in this process. Phase 2 is defined as the treatment and packaging of the sludge such that it can be transported and disposed at the WIPP. This paper discusses work in support of Phase 2. ISI’s GeoMelt ICV process is ideally suited to treating a heterogeneous sludge that is rich in uranium metal and which contains a mixture of other fuel derived products, earthen materials, and miscellaneous items (operational debris, resin, etc). GeoMelt can quickly and efficiently treat small drum load batches and will fully destroy organics, oxidize reactive metals, and permanently immobilize radioactive constituents within a high-integrity vitrified product that will meet or exceed all WIPP acceptance criteria. The GeoMelt Technology has an extensive experience base, having treated more waste by vitrification than any other company in the world (25,500 metric tons). The equipment tested for this Project phase constituted the front end, or Sludge Pretreatment and Transport steps, of the proposed GeoMelt process. These components first focused on an engineering scale (22-liter), followed by testing with a full-scale (130-liter), horizontal rotary plow dryer/mixer. The dryer removes water from the sludge, via external heating and under reduced pressure, and mixes it with glass forming minerals (GFM) prior to treatment in the GeoMelt ICV system. Testing was first performed in July and September 2010 using a 22-liter drying system, which demonstrated a baseline drying technique and allowed an assessment of the resulting physical properties before, during, and after drying/mixing. Full-scale testing using a 130-liter dryer and condensate system was then performed in October 2010. An Operational Acceptance Test (OAT) of the equipment, followed by four “Dryer Holdup” tests and three “GFM Cleanout” tests were performed. Each of the Project Test Objectives was successfully met. Both the 22-liter engineering-scale and the 130-liter full-scale steam jacketed, horizontal plow, dryer are shown to dry and mix 5-vol% solids K-Basin sludge and GFM without difficulty. These test results, combined with previous treatability testing in 2004 wherein successful GeoMelt vitrification of a K-Basin sludge simulant was demonstrated, confirm the efficacy of the overall treatment process towards providing an immediate solution to the final disposition of K Basin Sludge.
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Graf, Edward, Timothy Luce, and Fred Willett. "Design Improvements Suggested by Computational Flow and Thermal Analyses for the Cooling of Marine Gas Turbine Enclosures." In ASME Turbo Expo 2005: Power for Land, Sea, and Air. ASMEDC, 2005. http://dx.doi.org/10.1115/gt2005-68574.
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Land based and marine gas turbine generators as well as mechanical drive units are often surrounded by an enclosure. A housing insures that the environmental noise regulations are met. In a marine environment, it also protects the crew from potential physical harm associated with the drive train: burns from high surface temperatures and bodily trauma from high speed rotating elements. The large amount of heat given off by the gas turbine is removed from the enclosure by a continuous stream of injected cooling air. Cooling air flow may be provided by using a motor-driven cooling fan or by the use of an eductor utilizing the aerodynamic effect of the gas turbine exhaust flow. Past design of enclosure cooling was based on well utilized rules of thumb, such as the number of compartment air changes per minute. The dearth of detailed enclosure design technical data combined with the large number of gas turbine design and packaging contracts for which our company is presently the prime contractor, has led us to pursue a multi-level systematic investigation of these flows. This paper reports the first phase of the detailed numerical simulations of various typical enclosure geometries and cooling schemes. The RANS computational fluid dynamic work included ‘cold flow’ screening analyses to optimize the flow patterns inside the enclosure. Then the optimized enclosure was studied as a complex thermal problem that included compressibility, convective and radiative heat transfer inside the enclosure and conduction through the enclosure walls to the outside. The results of this study allow us to insure that outside wall temperatures are maintained at a safe level and that local circumferential temperature variations about the gas turbine drive shaft will not cause rotor distortion.