Journal articles on the topic 'International Theatre Institute (Proposed)'

The young actors of Liepāja theatre who graduated from Klaipeda University can serve as an excellent sample of successful interaction between cultures, traditions, and schools. Having acquired acting skills both in traditions of Lithuanian theatre and in the paradigm of so-called ‘fantastic realism’ by Evgeny Vakhtangov developed in the Boris Shchukin Theatre Institute, proposed by their pedagogues Vytautas and Velta Anužis, they can perform as actors of psychological theatre as well as postdramatic theatre performers. Evidence of this is the international success of their work in Konstantin Bogomolov’s post-dramatic chronotopic experiments “Stavanger (Pulp People)” and “My Blaster is Discharged”, and Sergey Zemlyansky’s non-verbal searches for psychological plasticity in Rainis’s tragedy “Indulis and Ārija”, and Nikolay Gogol’s comedy “The Wedding”.

The article maps Romania’s involvement with the International Theatre Institute during its first decade of membership. The argument revolves around a number of East–West convergence high points such as the 1959 Helsinki Congress or the 1964 Bucharest Symposium. It analyzes the connections developed by Romanian theatre specialists within the framework provided by iti, the specialized networks they helped create and the domestic impact of these interactions. The article examines the multifaceted Romanian involvement with these projects in national and international context. It begins in 1956, Romania’s first participation at the Dramatic Art Festival in Paris, the forerunner of iti’s Theatre of Nations Festival. It closes the arc of the story with the 1969 international symposium on training young theatre directors. The article shows that soon after joining iti ranks, Romanian theatre artist were propelled into the international limelight and were recognized by their Western peers. It advances the idea that East European theatre practitioners had a role in shaping their respective community of knowledge as much as their Western counterparts did.

The Twelfth International Theatre Institute (ITI) World Congress met in New York City over 4–10 June 1967 at the same time as the Arab–Israeli War was taking place. This context very much framed the delegates’ debates over the idea of artists as national leaders. One panel in particular, The Responsibility of Theatre to the Progress of Society, on Friday 8 June, offered an opportunity for the delegates to wrestle with the concept. The participants focused on three key questions: how audiences were witnesses to national reinvention, how theatre could serve as a pedagogical form, and how the intersection of these two allowed audiences to see themselves as citizens. This article focuses first on ITI's place in the geopolitical moment and then on the contributions during the conference and after by a specific set of artists from diverse countries, including the US, India, France, Morocco and Nigeria. The conversations represented a profound articulation of how theatre was influencing the complex ways in which nations were identifying and defining themselves and their citizens.

Peter Hepple, who died on 12 October 2006, had been an Advisory Editor of New Theatre Quarterly from the first issue of the relaunched journal back in 1985, and worked with us in the late 1970s during the old Theatre Quarterly's successful campaign to recreate a British Centre of the International Theatre Institute, of which he remained a council member. Here, in a tribute first published in The Independent on 14 October 2006, Ian Herbert remembers the man in the mac who was welcomed everywhere.

In this essay Paul Maloney and Adrienne Scullion investigate the ambitious agenda of theatre internationalism in the context of non-professional theatre making in Glasgow in the mid-twentieth century. For members of the Glasgow Jewish Institute Players, internationalism was represented through a diverse repertoire of classic European texts and contemporary American plays, presented alongside new original plays and sketches drawing on Yiddish and Scottish popular theatre tropes, and experienced through its members’ range of international diasporic networks, specifically with Jewish theatre makers in New York. It is argued that the internationalizing experience of the company and, specifically, its sustained exploration of immigration and of immigrants, achieves an important, even defining, role in the formation of a modern theatre industry and identity in Scotland. Historically interesting in and of itself, this article is also timely given a wider social and cultural ‘fear’ of contemporary migrants. The research encompasses a range of previously unexplored primary material including scripts, reviews, photographs, and company papers, including correspondence with New York-based playwright Sylvia Regan and new interviews with surviving company members. Paul Maloney and Adrienne Scullion work at Queen's University Belfast.

This special issue is unique in that it is the first time that this journal has collaborated with another to share the same set of questions ramified through the two journals’ different missions. Editor Esther Kim Lee and I proposed to link Theatre Research International and Theatre Survey in order to explore how the ‘2008 worldwide economic crisis brought scholars of theatre and performance to re-examine how neoliberalism, economic nomadism, and transnationalism affect artistic practices’, as we wrote in the call for papers. The response was impressive and demonstrated that performance scholars around the globe are thinking about these pressing issues in contiguous and contradictory ways.

The avant-garde theatre director Anne Bogart has made her name in the U.S. theatre community through her deconstructions of modern classics such as the musical South Pacific (1984), Cinderella/Cendrillon (1988) after Massenet's opera, Büchner's Danton's Death (1986), Gorki's Summerfolk (1989), William Inge's Picnic (1992), as well as through her idiosyncratic and original dance/theatre ‘compositions’ developed collabortively with her company, the Saratoga International Theater Institute (SITI). Prominent among such compositions have been 1951 (1986) on art and politics during the McCarthy era, No Plays, No Poetry (1988) on Brecht's theoretical writings, American Vaudeville (1991), and The Medium (1993) on the writings of the Canadian media philosopher Marshall McLuhan. Bogart has been acclaimed for her astute directing of the work by contemporary playwrights, such as Paula Vogel, Charles Mee Jr. and Eduardo Machado.

Although written two centuries apart and in divergent cultures, the kabuki play Tōkaidō Yotsuya Kaidan and Shakespeare's Macbeth exhibit marked similarities (as well as differences) in plot. Here, Carol Fisher Sorgenfrei analyzes some of the ways that these plays reflect (mostly male) anxieties regarding shifting patterns of gender and political power in Jacobean England and Tokugawa Japan. Professor Emerita of Theatre at UCLA, Carol Fisher Sorgenfrei is a specialist in Japanese theatre and intercultural performance, and was recently a Research Fellow at the International Research Institute in Interweaving Performance Cultures at the Free University, Berlin. She is the author of Unspeakable Acts: the Avant-Garde Theatre of Terayama Shūji and Postwar Japan (University of Hawaii, 2005) and co-author of Theatre Histories: an Introduction (Routledge, third edition, 2015). She is also a playwright whose latest play, Ghost Light, is a contemporary fusion of Macbeth and Yotsuya Ghost Stories, in which the ghost of a Japanese-American actress returns to wreak vengeance on the husband who betrayed her. The play will be staged as an Equity Showcase in New York in Autumn 2015.

In 1996 the Polish theatre scholar Juliusz Tyszka was present at the gathering of the International School of Theatre Anthropology (ISTA) in Copenhagen. Here, Dario Fo – in company with his wife and theatrical partner Franca Rame, also a contributor – was among the few invited to participate in both sessions of the conference: ‘Performers’ Bios: Whispering Winds of Theatre and Dance’ and ‘Theatre in a Multicultural Society’. Though already seventy years old and still in recovery from a recent stroke, Fo was incapable of confining himself to a conventional lecture, but (against his doctor's advice) combined his talk with performing the points he was making, whether imitating the curves of a voluptuous girl or enacting a speech in his universal ‘language’ of ‘gramelot’. He was to live on for another twenty years before his death at the age of ninety on 13 October 2016, outliving Franca Rame by just three years. Juliusz Tyszka, an advisory editor of NTQ and a regular contributor to the journal, is head of the Unit of Performance Studies, Institute of Cultural Studies, Adam Mickiewicz University at Poznań, Poland.

On 11 September 1973 the Chilean armed forces, led by General Augusto Pinochet, overthrew the democratically elected Socialist–Communist coalition government of President Salvador Allende Gossens. The coup marked the beginning of severe repression against leftists, trade unionists, journalists, and artists, many of whom were exiled, killed, or merely ‘disappeared’ after being arrested. This letter focuses on the years following the coup: it was written almost one year before the plebiscite on 5 October 1988 when Chileans voted against Pinochet continuing in power as president for another eight years, preparing the way for the elections of December 1989. Despite these hopeful developments – and previous coverage of theatre under the dictatorship, by Catherine Boyle in NTQ 15 (1988) and Enzo Cozzi in NTQ 22 (1989) – we felt it important to publish this moving account by a Chilean actively involved in the struggle, written to Eugenio Barba following the UNESCO-sponsored meeting on Latin American theatre they both attended in Lima, Peru, in April 1987. Its author, Hector Noguera, is a professor in the Theatre Department of Santiago's Catholic University as well as director of the university's professional theatre company, a founding member of several independent groups where he continues to direct and act, and president of the International Theatre Institute in Chile.

Time structures are essential to any analysis of drama or theatre performance, and in this article Jerzy Limon takes the final scene from Tom Stoppard's Arcadia as an example to show that non-semantic systems such as music gain significance in the process of stage semiosis and may denote both space and time. The scene discussed is particularly complex owing to the fact that Stoppard introduces two different time-streams simultaneously in one space. The two couples presented dance to two distinct melodies which are played at two different times, and the author explains how the playwright avoided the confusion and chaos which would have inevitably resulted if the two melodies were played on the stage simultaneously. Jerzy Limon is Professor of English at the English Institute at the University of Gdańsk. His main area of research includes the history of English drama and theatre in the sixteenth and seventeenth centuries, and various theoretical aspects of theatre. His most recent works, published in 2008, include a book on the theory of television theatre, Obroty przestrzeni (Moving Spaces), two chapters in books, and articles in such journals as Theatre Research International, Shakespeare Jahrbuch, Journal of Drama Theory and Criticism, and Cahiers élisabéthains.

Anna Zubrzycki and Grzegorz Bral worked for a number of years with Gardzienice before founding Teatr Pieéń Kozła – Song of the Goat Theatre – in Wrocław in 1996. The conversation that follows took place on 22 June 2009, during Song of the Goat's run of Macbeth, their most recent production. Created in tandem with the Year of Grotowski theatre festival, the ‘World as a Place of Truth’ held in Wrocław on 13–30 June 2009, it was one of a series of meetings, presentations, and performances organized by Joanna Klass of Arden 2 for the US Artists Initiative, a project established in partnership with the Grotowski Institute and the Center for International Theatre Development. Macbeth will be performed at the Barbican Centre in London as part of Song of the Goat's two-month-long British tour of this production in October and November 2010, accompanied by workshops and demonstrations. Its itinerary is Eastleigh (4–9 October), Birmingham (11–15 October), Cambridge (18–23 October), Manchester Metropolitan University (25–30 October), London (3–20 November), and Brighton (21–26 November). This conversation about some of the principles of the company's work was led by Maria Shevtsova, Professor of Drama and Theatre Arts at Goldsmiths, University of London, and co-editor of New Theatre Quarterly.

The International Institute for the Unification of Private Law proposed that an International Hotelkeeper's Contract be signed by all nations so that innkeeping laws be consistent throughout the world. The benefit to innkeepers is the right to sue guests who fail to use the agreed upon accommodations for a percentage of the first seven days rent if the innkeeper can prove actual damages. The disadvantage to the innkeeper is the responsibility for all guest property up to 500 to 1, 000 times the daily room rate. Lined up against the proposed contract are both the International Hotel Association and the American Hotel and Motel Association. In favor of the contract are the government representatives who voted for it. The paper discusses the seeming inconsistencies between the groups.

Maintaining and nurturing an ensemble theatre have been Anne Bogart’s foremost concerns in these past near-thirty years since she and Tadashi Suzuki founded the Saratoga International Theatre Institute (SITI) in 1992. Suzuki had established the Suzuki Company of Toga (SCOT) in 1976, making a secluded mountainous landscape of Japan its home to this day. Bogart’s venture in the United States, although inspired by Suzuki’s model of a production-based troupe of high artistic standards that, at the same time, developed its unique training methods, by no means merely duplicates its predecessor. In this Covid Conversation, Bogart briefly maps a segment of SITI’s history, reflecting on the company’s inter-arts endeavours with differing dance idioms and its engagement with Greek tragedy. She discusses the effects of the Covid pandemic on her troupe, also interrupting its performances of The Bacchae at the Guthrie Theatre in Minneapolis. Her most recent opera production, Tristan and Isolde, was closed for the same reason at the Croatian National Theatre – a key work in her portfolio of nineteenth-century grand opera as well as contemporary avant-garde opera. An acclaimed theatre director, Anne Bogart runs and teaches the Graduate Directing Programme at Columbia University in New York. At the SITI summer school in Saratoga, she and the company have workshopped the Viewpoints method that she has elaborated from Mary Overlie’s six principles for theatre and dance training. Bogart’s international workshops have further developed her method. She is the author of A Director Prepares (Routledge, 2001) and of many influential books that include (with Tina Landau) The Viewpoints Book (Theatre Communications Group, 2004). The Art of Resonance is forthcoming (2021, Bloomsbury). Maria Shevtsova is the Editor of New Theatre Quarterly whose most recent book is Rediscovering Stanislavsky (Cambridge University Press, 2020). The following conversation took place on 27 August 2020, was transcribed by Kunsang Kelden, and was edited by Maria Shevtsova. It is followed by a short coda announcing the transition of SITI into a resource centre.

In this article Eva Urban describes a historical tradition of Breton enlightenment theatre, and examines in detail two multilingual contemporary plays staged in Brittany: Merc’h an Eog / Merch yr Eog / La Fille du Saumon (2016), an international interceltic co-production by the Breton Teatr Piba and the Theatr Genedlaethol Cymru (the Welsh-language national theatre of Wales); and the Teatr Piba production Tiez Brav A Oa Ganeomp / On avait de jolies maisons (2017). She examines recurring themes about knowledge, enlightenment journeys, and refugees in Brittany in these plays and performances, and presents the argument that they stage cosmopolitan and intercultural philosophical ideas. Eva Urban is Senior Research Fellow at the Senator George J. Mitchell Institute for Global Peace, Security and Justice, Queen's University Belfast. She has held a Région de Bretagne Postdoctoral Research Fellowship at the Centre for Breton and Celtic Studies, University of Rennes 2, a research lectureship in the English Department, University of Rennes 2, and a British Academy Postdoctoral Fellowship at the University of Cambridge. She is the author of Community Politics and the Peace Process in Contemporary Northern Irish Drama (Peter Lang, 2011) and has published articles in New Theatre Quarterly, Etudes Irlandaises, Caleidoscopio, and chapters in book collections.

Stanislavski has become a minor industry, both in theatre training and in publishing, with courses and related books endorsing, elaborating, or questioning his ‘System’. But how much of the System is really accessible to an English-speaking readership, and how full a view of Stanislavski's fully-formed ideas does it represent? Even the order and timing of the appearance of his works in English has, argues Jean Benedetti, determined our reception of his thought, and left us ignorant, sometimes wilfully, of the real development of his thinking: and in the following article, he traces the complicated and often fraught history of the translation of Stanislavski's works into English, revealing how (sometimes from the best of intentions) a slanted and incomplete view of the System still dominates our perceptions. Following a career in the theatre, film, and television. Jean Benedetti was Principal of the Rose Bruford College of Speech and Drama from 1970 to 1987, and since 1979 has been chairman of the Theatre Education Committee of the International Theatre Institute. In 1982 he published Stanislavski: an Introduction, and his biography of Stanislavski, the first in the West in forty years, was published in the autumn of 1988, and in paperback earlier this year. He is currently working on a documentary history of the Moscow Art Theatre.

Hysteria, first performed in São Paulo, Brazil, in 2001, was assembled from oral histories, medical cases, records, and remnants documenting the lives of Brazilian women from the late nineteenth and early twentieth centuries who were incarcerated in Rio de Janeiro's Pedro II Institute. Its UK premiere in 2008, performed by the all-female cast of the Brazilian Grupo XIX de Teatro, included a setting of the show in the old Victoria Baths in Manchester. In this article Elaine Aston identifies ways in which Hysteria keeps open or re-opens the question of feminist liberation. Exploring the show's critique of Western feminism's claims to independence and liberation, her analysis moves towards a mode of interdependent feminist thinking through which liberation might be realized. Elaine Aston is Professor of Contemporary Performance at Lancaster University and editor of Theatre Research International. Her most recent publications include Feminist Views on the English Stage (2003); Feminist Futures: Theatre, Performance, Theory (edited with Geraldine Harris, 2006); Staging International Feminisms (edited with Sue-Ellen Case, 2007); and Performance Practice and Process: Contemporary (Women) Practitioners (with Geraldine Harris, 2008).

New Zealand Law Foundation International Dispute Resolution Lecture 2013, delivered at Stone Lecture Theatre, University of Auckland Faculty of Law, 26 November 2013. This essay derives from that lecture, which considers the important issue of arbitrator selection, appointment and challenge standards and procedures, and introduces the Arbitrator Intelligence project – a proposed solution for informational asymmetries that can affect the fairness of arbitrator selection and appointment.

In the first part of this three-part series. Maria Shevtsova discussed the misconceptions and misplacement of emphases which have pervaded sociological approaches to theatre, and proposed her own methodology of study. Here, she examines in fuller detail two aspects of her taxonomy which have an existing sociological literature – looking first at dramatic theory, as perceived by its sociological interpreters from Duvignaud onwards and (perhaps more pertinently) backwards, to Gramsci and Brecht. She then considers approaches to dramatic texts and genres, especially as exemplified in the explication of Elizabethan and Jacobean tragedy. Finally, she explores the implications and assumptions of the relatively new discipline of ‘theatrical anthropology’, in which theatre is taken to be the prototype of society. Now teaching in the Department of French Studies at the University of Sydney, Maria Shevtsova trained in Paris before spending three years at the University of Connecticut. She has previously contributed to Modern Drama, Theatre International, and Theatre Papers, as well as to the original Theatre Quarterly and other journals.

Arnold Wesker, who died in April 2016, denied having been an ‘angry young man’ and, though the cliché clung, he declared, ‘But I am an angry old man.’ In this memoir, Simon Trussler, while reflecting on causes for the anger, does not attempt an analysis of the life and works, but recollects the times when their shared interests and intentions brought them into contact, and explores some of the reasons why the youthful climb to a peak of success was followed by a slow decline not in output or activity but in the critical response to a writer perceived as having gone out of fashion. NTQ's former co-editor, the late Clive Barker, was closely involved with Wesker in the early Centre Forty-Two project and its aim to open wider access to the arts, while Trussler helped to initiate Wesker's later involvement in the International Theatre Institute. Other ‘loose connections’ with Wesker's life and career here flesh out the facts and received opinions of the formal obituaries. Simon Trussler was one of the founding editors of the old Theatre Quarterly , as later of New Theatre Quarterly. He conducted two major interviews with Wesker in the original TQ, both later reprinted in book form, and with Glenda Leeming co-authored the first full-length study of Wesker's plays (Gollancz, 1981). Among many other publications, he is author of the award-winning Cambridge Illustrated History of British Theatre (1994).

In the first part of this series, published in NTQ17. Maria Shevtsova discussed the misconceptions and misplacements of emphases which have pervaded sociological approaches to theatre, and proposed her own methodology of study. In Part Two, published in NTQ18. she examined in fuller detail two aspects of her taxonomy which had an existing sociological literature—looking first at dramatic theory, as perceived by its sociological interpreters, and then considering approaches to dramatic texts and genres. From the assessment of the relatively new discipline of theatre anthropology which concluded Part Two. she now turns to examine sociological approaches to the act of performance itself, analyzing in particular the various attempts by semioticians to provide an appropriately comprehensive vocabulary for its description, and measuring these against the pioneering work of Mikhail Bakhtin. She concludes her study with some practical examples of productions which illuminate the sociology of performance. Maria Shevtsova trained in Paris before spending three years at the University of Connecticut. She has previously contributed toModern Drama, Theatre International, andTheatre Papers, as well as to the originalTheatre Quarterlyand other journals.

In contrast to most studies of cultural nationalism, which tend to focus on literary style, narrative devices, or the static visual arts, in this article Carol Fisher Sorgenfrei analyzes the ways that Japanese actors deploy physical and vocal techniques in portraying gender and ethnic ambiguity. Expanding on her recent work on actor-dancer Itō Michio (1893–1961), she uses the concept of J-centrism (Japancentrism) to demonstrate how modern Japanese performing bodies (in both traditional and contemporary genres) imply political meaning – her title being a riff on Susan Sontag's famous essay ‘Fascinating Fascism’. While not suggesting that the artists under consideration promulgate fascism, Sorgenfrei maintains that the Japanese aesthetic preference for gender and ethnic ambiguity fuels the politics of Japanese cultural nationalism, even when the performers or directors adamantly disavow rightist, nationalistic ideologies. Through a focus on analysis of selected performances by Bando Tamasaburō and theoretical writings by Suzuki Tadashi, Sorgenfrei suggests that the performance of ambiguity by a single actor implies the ‘universality’ and cultural superiority of the Japanese body. Professor Emerita of Theatre at UCLA, Carol Fisher Sorgenfrei is a specialist in Japanese theatre and intercultural performance, and was recently a Research Fellow at the International Research Institute in Interweaving Performance Cultures at the Free University, Berlin, where she researched the work of Japanese dancer Itō Michio. She is the author of Unspeakable Acts: the Avant-Garde Theatre of Terayama Shūji and Postwar Japan (University of Hawaii, 2005) and co-author of Theatre Histories: an Introduction (Routledge, third edition 2015).

SummaryThere is increased interest in the relationship between plasma fibrinogen levels and the incidence of coronary artery disease. The National Institute for Biological Standards and Control (UK) has completed a study to establish an International Standard for plasma fibrinogen. This study was conducted using a recommended assay procedure to measure the clottable material present in the proposed lyophilised Standard (coded 89/644). Twenty-two laboratories from nine countries took part in the study and analysis of the data allowed the calibration of 89/644 at 2.4 mg/ml clottable protein. Agreement with this figure was established in two laboratories using three or more different assays for plasma fibrinogen. Degradation studies of the proposed plasma fibrinogen Standard suggested that no loss of clottable protein was observed when the lyophilised material was stored at 20° C for 1 year.The Fibrinogen Sub-Committee of the ISTH (Amsterdam, The Netherlands, June 1991) supported the establishment of 89/644 as an International Standard. This collaborative study will be presented to the Expert Committee on Biological Standardisation of the World Health Organisation at their 1992 session. In the meantime 89/644 will be distributed as the proposed International Standard for plasma fibrinogen measurement containing 2.4 mg/ ml clottable protein.

The purpose of this paper was to propose a framework for solving conflicts of mining projects, based on the inclusion of: (i) the alignments to the project management framework of the Project Management Institute; (ii) the implementation of an Integrated Sustainable Development Program; (iii) a public surrender of accounts and (iv) the continuous audit processes by internal institutions and by external, independent and international institutions. This proposed framework was contextualized to a conflict with a specific mining project; however, a generic solution framework is presented. Finally, some recommendations for future researches were proposed.

In 2001 Mathias Woo, a trained architect and co-artistic director of Hong Kong's foremost performing arts group, Zuni Icosahedron, proposed the concept of ‘multimedia architectural music theatre’ (MAMT), which he later investigated through a series of performances focusing on three masters of modern architecture – Louis I. Kahn, Ludwig Mies van der Rohe, and Le Corbusier. This article traces the development of Woo's architectural theatre aesthetics by examining the most ambitious work in the series, Looking for Mies, premiered in 2002 and revived in 2009 and 2011. This links Hong Kong's twenty-first-century postmodernist theatre to early twentieth-century European modernism, particularly the Bauhaus, and international examples of architecture-centred performance. Looking for Mies unearths connections between theatre and architecture, and explores the relations between tradition and technology, man and machine, live performance and digitally mediated experience on the modern stage. Rossella Ferrari is a Lecturer in Modern Chinese Culture and Language at the School of Oriental and African Studies (SOAS), University of London. She has published articles in TDR: The Drama Review, Postcolonial Studies, Journal of Contemporary China, Modern Chinese Literature and Culture, and other journals. Her monograph Pop Goes the Avant-garde: Experimental Theatre in Contemporary China is forthcoming from Seagull Books, and her current research focuses on inter-Asian collaboration and performance networks in the Chinese-speaking world.

Progressive Coalitions, (Inter)National Influences and Knowledge Assessments in Swedish Curriculum Reform, ca 1930–1950Insight gained through assessments and international precedents are two strategies typically used to reform national curricula in modern educational systems. The present article illustrates how a progressive movement in Sweden used its participation in the International Examination Inquiry, not as source of ideas or methods, but as an experience of urbanity that lent credence to its proposed solutions to national educational issues. It will be shown how this movement used the IEI to promote and establish a particular institute in Sweden, the Swedish Institute for Educational Psychology (SPPI), an institute that came to re/produce a psychology-laden educational termino-logy directly affecting Swedish curricula for years to come.

Temporary or permanent, local or international, voluntary or forced, legal or illegal, registered or unregistered migrations of individuals, whole communities or individual groups are an important factor in constructing and modifying (modern) societies. The extent of international migrations is truly immense. At the time of the preparation of this publication more than 200 million people have been involved in migrations in a single year according to the United Nations. Furthermore, three times more wish to migrate, mostly from sub-Saharan Africa towards some of the most economically developed areas of the world according to the estimates by the Gallup Institute (Esipova, 2011). Some authors, although aware that it is not a new phenomenon, talk about the era of migration (Castles, Miller, 2009) or the globalization of migration (Friedman, 2004). The global dimensions of migration are definitely influenced also by the increasingly visible features of modern societies like constantly changing conditions, instability, fluidity, uncertainty etc. (Beck, 2009; Bauman, 2002).The extent, direction, type of migrations and their consequences are affected by many social and natural factors in the areas of emigration and immigration. In addition, researchers from many scientific disciplines who study migrations have raised a wide range of research questions (Boyle, 2009, 96), use a variety of methodological approaches and look for different interpretations in various spatial, temporal and contextual frameworks. The migrations are a complex, multi-layered, variable, contextual process that takes place at several levels. Because of this, research on migrations has become an increasingly interdisciplinary field, since the topics and problems are so complex that they cannot be grasped solely and exclusively from the perspective of a single discipline or theory. Therefore, we are witnessing a profusion of different “faces of migration”, which is reflected and at the same time also contributed to by this thematic issue of the journal Ars & Humanitas.While mobility or migration are not new phenomena, as people have moved and migrated throughout the history of mankind, only recently, in the last few decades, has theoretical and research focus on them intensified considerably. In the last two decades a number of research projects, university programs and courses, research institutes, scientific conferences, seminars, magazines, books and other publications, involving research, academia as well as politics and various civil society organizations have emerged. This shows the recent exceptional interest in the issue of migration, both in terms of knowledge of the processes involved, their mapping in the history of mankind, as well as the theoretical development of migration studies and daily management of this politically sensitive issue.Migration affects many entities on many different levels: the individuals, their families and entire communities at the local level in the emigrant societies as well as in the receiving societies. The migration is changing not only the lives of individuals but whole communities and societies, as well as social relations; it is also shifting the cultural patterns and bringing important social transformations (Castles 2010). This of course raises a number of questions, problems and issues ranging from human rights violations to literary achievements. Some of these are addressed by the authors in this thematic issue.The title “Many faces of migration”, connecting contributions in this special issue, is borrowed from the already mentioned Gallup Institute’s report on global migration (Esipova, 2011). The guiding principle in the selection of the contributions has been their diversity, reflected also in the list of disciplines represented by the authors: sociology, geography, ethnology and cultural anthropology, history, art history, modern Mediterranean studies, gender studies and media studies. Such an approach necessarily leads not only to a diverse, but at least seemingly also incompatible, perhaps even opposing views “on a given topic. However, we did not want to silence the voices of “other” disciplines, but within the reviewing procedures actually invited scientists from the fields represented by the contributors to this volume. The wealth of the selected contributions lies therefore not only in their coherence and complementarity, but also in the diversity of views, stories and interpretations.The paper of Zora Žbontar deals with the attitudes towards foreigners in ancient Greece, where the hospitality to strangers was considered so worthy a virtue that everyone was expected to “demonstrate hospitality and protection to any foreigner who has knocked on their door”. The contrast between the hospitality of ancient Greece and the modern emergence of xenophobia and ways of dealing with migration issues in economically developed countries is especially challenging. “In an open gesture of hospitality to strangers the ancient Greeks showed their civilization”.Although the aforementioned research by the United Nations and Gallup Institute support some traditional stereotypes of the main global flows of migrants, and the areas about which the potential migrants “dream”, Bojan Baskar stresses the coexistence of different migratory desires, migration flows and their interpretations. In his paper he specifically focuses on overcoming and relativising stereotypes as well as theories of immobile and non-enterprising (Alpine) mountain populations and migrations.The different strategies of the crossing borders adopted by migrant women are studied by Mirjana Morokvasic. She marks them as true social innovators, inventing different ways of transnational life resulting in a bottom-up contribution to the integrative processes across Europe. Some of their innovations go as far as to shift diverse real and symbolic boundaries of belonging to a nation, gender, profession.Elaine Burroughs and Zoë O’Reilly highlight the close relations between the otherwise well-established terminology used in statistics and science to label immigrants in Ireland and elsewhere in EU, and the negative representations of certain types of migrants in politics and the public. The discussion focusses particularly on asylum seekers and illegal immigrants who come from outside the EU. The use of language can quickly become a political means of exclusion, therefore the authors propose the development and use of more considerate and balanced migration terminology.Damir Josipovič proposes a change of the focal point for identifying and interpreting the well-studied migrations in the former Yugoslavia. The author suggests changing the dualistic view of these migrations to an integrated, holistic view. Instead of a simplified understanding of these migrations as either international or domestic, voluntary or forced, he proposes a concept of pseudo-voluntary migrations.Maja Korać-Sanderson's contribution highlights an interesting phenomenon in the shift in the traditional patterns of gender roles. The conclusions are derived from the study of the family life of Chinese traders in transitional Serbia. While many studies suggest that child care in recent decades in immigrant societies is generally performed by immigrants, her study reveals that in Serbia, the Chinese merchants entrust the care of their children mostly to local middle class women. The author finds this switch of roles in the “division of labour” in the child care favourable for both parties involved.Francesco Della Puppa focuses on a specific part of the mosaic of contemporary migrations in the Mediterranean: the Bangladeshi immigrant community in the highly industrialized North East of Italy. The results of his in-depth qualitative study reveal the factors that shape this segment of the Bangladeshi diaspora, the experiences of migrants and the effects of migration on their social and biographical trajectories.John A. Schembri and Maria Attard present a snippet of a more typical Mediterranean migration process - immigration to Malta. The authors highlight the reduction in migration between Malta and the United Kingdom, while there is an increase in immigration to Malta from the rest of Europe and sub-Saharan Africa. Amongst the various impacts of immigration to Malta the extraordinary concentration of immigrant populations is emphasized, since the population density of Malta far exceeds that of nearly all other European countries.Miha Kozorog studies the link between migration and constructing their places of their origin. On the basis of Ardener’s theory the author expresses “remoteness” of the emigratory Slavia Friulana in terms of topology, in relation to other places, rather than in topography. “Remoteness” is formed in relation to the “outside world”, to those who speak of “remote areas” from the privileged centres. The example of an artistic event, which organizers aim “to open a place like this to the outside world”, “to encourage the production of more cosmopolitan place”, shows only the temporary effect of such event on the reduction of the “remoteness”.Jani Kozina presents a study of the basic temporal and spatial characteristics of migration “of people in creative occupations” in Slovenia. The definition of this specific segment of the population and approach to study its migrations are principally based on the work of Richard Florida. The author observes that people with creative occupations in Slovenia are very immobile and in this respect quite similar to other professional groups in Slovenia, but also to the people in creative professions in the Southern and Eastern Europe, which are considered to be among the least mobile in Europe. Detailed analyses show that the people in creative occupations from the more developed regions generally migrate more intensely and are also more willing to relocate.Mojca Pajnik and Veronika Bajt study the experiences of migrant women with the access to the labour market in Slovenia. Existing laws and policies push the migrants into a position where, if they want to get to work, have to accept less demanding work. In doing so, the migrant women are targets of stereotyped reactions and practices of discrimination on the basis of sex, age, attributed ethnic and religious affiliation, or some other circumstances, particularly the fact of being migrants. At the same time the latter results in the absence of any protection from the state.Migration studies often assume that the target countries are “modern” and countries of origin “traditional”. Anıl Al- Rebholz argues that such a dichotomous conceptualization of modern and traditional further promotes stereotypical, essentialist and homogenizing images of Muslim women in the “western world”. On the basis of biographical narratives of young Kurdish and Moroccan women as well as the relationships between mothers and daughters, the author illustrates a variety of strategies of empowerment of young women in the context of transnational migration.A specific face of migration is highlighted in the text of Svenka Savić, namely the face of artistic migration between Slovenia and Serbia after the Second World War. The author explains how more than thirty artists from Slovenia, with their pioneering work in three ensembles (opera, ballet and theatre), significantly contributed to the development of the performing arts in the Serbian National Theatre in Novi Sad.We believe that in the present thematic issue we have succeeded in capturing an important part of the modern European research dynamic in the field of migration. In addition to well-known scholars in this field several young authors at the beginning their research careers have been shortlisted for the publication. We are glad of their success as it bodes a vibrancy of this research area in the future. At the same time, we were pleased to receive responses to the invitation from representatives of so many disciplines, and that the number of papers received significantly exceeded the maximum volume of the journal. Recognising and understanding of the many faces of migration are important steps towards the comprehensive knowledge needed to successfully meet the challenges of migration issues today and even more so in the future. It is therefore of utmost importance that researchers find ways of transferring their academic knowledge into practice – to all levels of education, the media, the wider public and, of course, the decision makers in local, national and international institutions. The call also applies to all authors in this issue of the journal.

Temporary or permanent, local or international, voluntary or forced, legal or illegal, registered or unregistered migrations of individuals, whole communities or individual groups are an important factor in constructing and modifying (modern) societies. The extent of international migrations is truly immense. At the time of the preparation of this publication more than 200 million people have been involved in migrations in a single year according to the United Nations. Furthermore, three times more wish to migrate, mostly from sub-Saharan Africa towards some of the most economically developed areas of the world according to the estimates by the Gallup Institute (Esipova, 2011). Some authors, although aware that it is not a new phenomenon, talk about the era of migration (Castles, Miller, 2009) or the globalization of migration (Friedman, 2004). The global dimensions of migration are definitely influenced also by the increasingly visible features of modern societies like constantly changing conditions, instability, fluidity, uncertainty etc. (Beck, 2009; Bauman, 2002).The extent, direction, type of migrations and their consequences are affected by many social and natural factors in the areas of emigration and immigration. In addition, researchers from many scientific disciplines who study migrations have raised a wide range of research questions (Boyle, 2009, 96), use a variety of methodological approaches and look for different interpretations in various spatial, temporal and contextual frameworks. The migrations are a complex, multi-layered, variable, contextual process that takes place at several levels. Because of this, research on migrations has become an increasingly interdisciplinary field, since the topics and problems are so complex that they cannot be grasped solely and exclusively from the perspective of a single discipline or theory. Therefore, we are witnessing a profusion of different “faces of migration”, which is reflected and at the same time also contributed to by this thematic issue of the journal Ars & Humanitas.While mobility or migration are not new phenomena, as people have moved and migrated throughout the history of mankind, only recently, in the last few decades, has theoretical and research focus on them intensified considerably. In the last two decades a number of research projects, university programs and courses, research institutes, scientific conferences, seminars, magazines, books and other publications, involving research, academia as well as politics and various civil society organizations have emerged. This shows the recent exceptional interest in the issue of migration, both in terms of knowledge of the processes involved, their mapping in the history of mankind, as well as the theoretical development of migration studies and daily management of this politically sensitive issue.Migration affects many entities on many different levels: the individuals, their families and entire communities at the local level in the emigrant societies as well as in the receiving societies. The migration is changing not only the lives of individuals but whole communities and societies, as well as social relations; it is also shifting the cultural patterns and bringing important social transformations (Castles 2010). This of course raises a number of questions, problems and issues ranging from human rights violations to literary achievements. Some of these are addressed by the authors in this thematic issue.The title “Many faces of migration”, connecting contributions in this special issue, is borrowed from the already mentioned Gallup Institute’s report on global migration (Esipova, 2011). The guiding principle in the selection of the contributions has been their diversity, reflected also in the list of disciplines represented by the authors: sociology, geography, ethnology and cultural anthropology, history, art history, modern Mediterranean studies, gender studies and media studies. Such an approach necessarily leads not only to a diverse, but at least seemingly also incompatible, perhaps even opposing views “on a given topic. However, we did not want to silence the voices of “other” disciplines, but within the reviewing procedures actually invited scientists from the fields represented by the contributors to this volume. The wealth of the selected contributions lies therefore not only in their coherence and complementarity, but also in the diversity of views, stories and interpretations.The paper of Zora Žbontar deals with the attitudes towards foreigners in ancient Greece, where the hospitality to strangers was considered so worthy a virtue that everyone was expected to “demonstrate hospitality and protection to any foreigner who has knocked on their door”. The contrast between the hospitality of ancient Greece and the modern emergence of xenophobia and ways of dealing with migration issues in economically developed countries is especially challenging. “In an open gesture of hospitality to strangers the ancient Greeks showed their civilization”.Although the aforementioned research by the United Nations and Gallup Institute support some traditional stereotypes of the main global flows of migrants, and the areas about which the potential migrants “dream”, Bojan Baskar stresses the coexistence of different migratory desires, migration flows and their interpretations. In his paper he specifically focuses on overcoming and relativising stereotypes as well as theories of immobile and non-enterprising (Alpine) mountain populations and migrations.The different strategies of the crossing borders adopted by migrant women are studied by Mirjana Morokvasic. She marks them as true social innovators, inventing different ways of transnational life resulting in a bottom-up contribution to the integrative processes across Europe. Some of their innovations go as far as to shift diverse real and symbolic boundaries of belonging to a nation, gender, profession.Elaine Burroughs and Zoë O’Reilly highlight the close relations between the otherwise well-established terminology used in statistics and science to label immigrants in Ireland and elsewhere in EU, and the negative representations of certain types of migrants in politics and the public. The discussion focusses particularly on asylum seekers and illegal immigrants who come from outside the EU. The use of language can quickly become a political means of exclusion, therefore the authors propose the development and use of more considerate and balanced migration terminology.Damir Josipovič proposes a change of the focal point for identifying and interpreting the well-studied migrations in the former Yugoslavia. The author suggests changing the dualistic view of these migrations to an integrated, holistic view. Instead of a simplified understanding of these migrations as either international or domestic, voluntary or forced, he proposes a concept of pseudo-voluntary migrations.Maja Korać-Sanderson's contribution highlights an interesting phenomenon in the shift in the traditional patterns of gender roles. The conclusions are derived from the study of the family life of Chinese traders in transitional Serbia. While many studies suggest that child care in recent decades in immigrant societies is generally performed by immigrants, her study reveals that in Serbia, the Chinese merchants entrust the care of their children mostly to local middle class women. The author finds this switch of roles in the “division of labour” in the child care favourable for both parties involved.Francesco Della Puppa focuses on a specific part of the mosaic of contemporary migrations in the Mediterranean: the Bangladeshi immigrant community in the highly industrialized North East of Italy. The results of his in-depth qualitative study reveal the factors that shape this segment of the Bangladeshi diaspora, the experiences of migrants and the effects of migration on their social and biographical trajectories.John A. Schembri and Maria Attard present a snippet of a more typical Mediterranean migration process - immigration to Malta. The authors highlight the reduction in migration between Malta and the United Kingdom, while there is an increase in immigration to Malta from the rest of Europe and sub-Saharan Africa. Amongst the various impacts of immigration to Malta the extraordinary concentration of immigrant populations is emphasized, since the population density of Malta far exceeds that of nearly all other European countries.Miha Kozorog studies the link between migration and constructing their places of their origin. On the basis of Ardener’s theory the author expresses “remoteness” of the emigratory Slavia Friulana in terms of topology, in relation to other places, rather than in topography. “Remoteness” is formed in relation to the “outside world”, to those who speak of “remote areas” from the privileged centres. The example of an artistic event, which organizers aim “to open a place like this to the outside world”, “to encourage the production of more cosmopolitan place”, shows only the temporary effect of such event on the reduction of the “remoteness”.Jani Kozina presents a study of the basic temporal and spatial characteristics of migration “of people in creative occupations” in Slovenia. The definition of this specific segment of the population and approach to study its migrations are principally based on the work of Richard Florida. The author observes that people with creative occupations in Slovenia are very immobile and in this respect quite similar to other professional groups in Slovenia, but also to the people in creative professions in the Southern and Eastern Europe, which are considered to be among the least mobile in Europe. Detailed analyses show that the people in creative occupations from the more developed regions generally migrate more intensely and are also more willing to relocate.Mojca Pajnik and Veronika Bajt study the experiences of migrant women with the access to the labour market in Slovenia. Existing laws and policies push the migrants into a position where, if they want to get to work, have to accept less demanding work. In doing so, the migrant women are targets of stereotyped reactions and practices of discrimination on the basis of sex, age, attributed ethnic and religious affiliation, or some other circumstances, particularly the fact of being migrants. At the same time the latter results in the absence of any protection from the state.Migration studies often assume that the target countries are “modern” and countries of origin “traditional”. Anıl Al- Rebholz argues that such a dichotomous conceptualization of modern and traditional further promotes stereotypical, essentialist and homogenizing images of Muslim women in the “western world”. On the basis of biographical narratives of young Kurdish and Moroccan women as well as the relationships between mothers and daughters, the author illustrates a variety of strategies of empowerment of young women in the context of transnational migration.A specific face of migration is highlighted in the text of Svenka Savić, namely the face of artistic migration between Slovenia and Serbia after the Second World War. The author explains how more than thirty artists from Slovenia, with their pioneering work in three ensembles (opera, ballet and theatre), significantly contributed to the development of the performing arts in the Serbian National Theatre in Novi Sad.We believe that in the present thematic issue we have succeeded in capturing an important part of the modern European research dynamic in the field of migration. In addition to well-known scholars in this field several young authors at the beginning their research careers have been shortlisted for the publication. We are glad of their success as it bodes a vibrancy of this research area in the future. At the same time, we were pleased to receive responses to the invitation from representatives of so many disciplines, and that the number of papers received significantly exceeded the maximum volume of the journal. Recognising and understanding of the many faces of migration are important steps towards the comprehensive knowledge needed to successfully meet the challenges of migration issues today and even more so in the future. It is therefore of utmost importance that researchers find ways of transferring their academic knowledge into practice – to all levels of education, the media, the wider public and, of course, the decision makers in local, national and international institutions. The call also applies to all authors in this issue of the journal.

International forest projects financed by development assistance agencies or international lending institutions, have evolved during the last 20 years from industrial forest management projects to agroforestry/watershed conservation projects. A 1985 World Resources Institute report calls for the investment of $8 billions US over the period 1987-91 to fight deforestation. International forest projects ex-ante rates of return are found to be well above 10%. Non-economic variables and economic variables are listed to explain a 50% discrepancy between those and ex-post rates of return of forest plantation projects in West Africa. The financial and economic analysis is defined and proposed to improve their financing. Key words: Tropical forestry action plan, rates of return, common property, externalities, private and public sectors participation.

This article examines how the exchanges of archival and artistic practices in Central European and, more precisely, in Hungarian theatre and performance can create performative sites calling attention to the continuities and recurring reflexes of pre- and post-1989 realities. The genre of re-performance allows performance artists to comment on their own experience with the communist regimes, as well as to enact the continuing political and aesthetic potentials of past performances. In 1986, a recently founded performance group, the Collective of Natural Disasters, premiered its piece Living Space in Budapest, considered to be an iconic production in the history of Hungarian dance theatre, and earning international success. The solo performer (Yvette Bozsik) was set in a small glass box, suggesting the claustrophobic atmosphere of the 1980s in the country. In 2012, the group re-interpreted the 1986 production with considerable critical changes under the title (In)Finity. The new solo performer (Rita Góbi) was locked in a similar glass box. However, the group refashioned the main question about freedom by offering a mediatized landscape on stage where the recurring experience of claustrophobia was seen through technical innovations forming new regimes and forms of surveillance. Kornélia Deres is a Humboldt Research Fellow in the Institute of Media Culture and Theatre at the University of Cologne. Between 2015 and 2018 she was an assistant professor at Károli University (Budapest), and since 2017 has been a lecturer at ELTE University in Budapest. She is co-editor of five books and the author of Hammer for Images (2016), as well as two volumes of poetry.

The recent death of J. B. Priestley, in the same year as that of the finest exponent of his plays, Sir Ralph Richardson, seems to signal the close of an era. We had hoped in an early issue of New Theatre Quarterly to arrange an interview with the playwright to coincide with his ninetieth birthday, and although generous tributes have been paid to Priestley's work in the theatre, two aspects of this work (incidentally of crucial importance to the policy of this journal) have been somewhat neglected. After the end of the Second World War, during the discussions and plans for building the new Britain (and by extension Europe) from the ruins of the old, Priestley stood for a particular kind of integrity in the British theatre: and his role in the creation of the International Theatre Institute and his own conception of the British Theatre Conference of 1947 raised many interesting questions about the social, national, and international role that theatre could play. If the intervening years have not seen developments to match that vision, our theatre nevertheless owes a great deal to the various reforms that have followed from such initiatives, and in future issues we intend to return to those ideals and ideas – to see what basis they constitute for a critique of our own time, and to assess what continuing relevance they have for our future. Any theatre journal today also owes a debt to Priestley for his pioneering championship and criticism of the various forms of popular entertainment in which he so delighted, and in which he discerned strong social values – essentially, the inspiration for a line of criticism carried forward brilliantly by Raymond Williams and others over the last three decades. Tragically, two of the great comedians who earned his admiration, Tommy Cooper and Eric Morecambe, departed before him, too far short of his own fullness of years. The world's stock of laughter has slumped since their passing and, as Priestley showed us, we have lost two innovators in the art of theatre. Tommy Cooper's deconstruction, if not demolition, of the stage was a masterly exposure of the polished sales techniques of showbusiness, and his exploitation of the art of anti-climax showed new ways through which to hold an audience and relate to them. Eric Morecambe, equally ruthless and proficient at puncturing the pretensions and posturings of glib naturalism and pseudo-aestheticism, had also the self-deflating wisdom of the true philosopher. One day, when we have grown over-familiar with the reruns of the reruns of the shows he has left behind, a retrospective examination of all the work of Morecambe and Wise will surely show that, underlying the technical brilliance of the comic playing, there is also a serious progression through the process of ageing, as brash optimism is tempered by the disillusionment of experience in the struggle to survive and extract what advantages one can from life. We learned a great deal about theatre from Tommy Cooper, and a lot about living and growing older from Eric Morecambe: they have gone leaving that education unfinished, but to commemorate them in the power of their effect, and to remind us of our debt to Priestley, we reproduce here the two pieces he wrote about them as living performers in the collection of essays Particular Pleasures, published in 1975 by Heinemann (to whom our grateful acknowledgements are extended).

In this article, Ronald Tavel argues that the commercial American theatre, endorsed by the American educational system and theatrical establishment, has never nurtured a vision of the scripted play as art – and has consequently produced no single example of it. The nation's genuine playwrights who saw their tasks as makers of art have, he claims, been neglected throughout American history, and left to wither in the wings. In the 1960s, Ronald Tavel founded and named the still-extant Theatre of The Ridiculous, and has written forty produced plays, a number of which have been translated into a dozen languages and staged in four continents. He has written and directed thirteen films for Andy Warhol: ten of these have recently been restored for international distribution by the New York Museum of Modern Art, and all are to be collected for publication later this year by Sun and Moon Press, Los Angeles. Ronald Tavel lives in Taipei, but is currently teaching a course on Warhol and the filmmaker-architect Jack Smith at the Art Centre College of Design in California. The American Institute in Taiwan selected the article which follows as the keynote address at the Seventeenth Annual Convention of the American Studies Association of the Republic of China.

This study aims to develop English for Cruise Line Bartender materials needed by Cruise Line Bartender students of The International Bali Institute of Tourism, to explain how the materials were developed, and to analyze the quality of the developed materials. This study adopts the design proposed by Dick and Carey (2001). The model proposed by Dick and Carey consists of several stages; 1) conducting need analysis (problem determination), 2) designing the model, 3) developing the model, 4) validating the model by experts, and 5) trying out the model (dissemination). The object of this study was the English for cruise line bartender at the International Bali Institute of Tourism. In collecting the data, three instruments were used namely questionnaires, guided interviews, and document analysis. The study shows that eight topics are required to be developed. The topics are getting to know you, setting up a bar, kinds of drink, drink recipe, and taking beverage order, we are sorry, cruise vacationers, and job interview. The materials were designed by following the English for Specific Purposes (ESP) material design involving input, content focus, language focus, and task. Since English for cruise line bartender is part of ESP that is under English for Occupational Purposes, the steps of the interactive data analysis method consist of data reduction, data display, and conclusion drawing. The results of expert judges' validation were analyzed descriptively by comparing the scores of two raters using Gregory's formula (2000). The quality of the developed materials was categorized as good material. Thus, it can be used as the source for learning by prospective the secretary of Cruise Line Bartender Program at The International Bali Institute of Tourism.Keywords: English Learning Materials, Cruise line, Bartender

This article analyzes the factors which contribute to the existence of a small population of conscious Ruthenians in Serbia. According to the author, the factors that undoubtly influence and improve the life conditions of the Ruthenian national community in Serbia / Vojvodina at the beginning of the 21st century are: Ruthenian language educational vertical; Apostolic Exarchate for Greek Catholics in Serbia and Montenegro; National Council of the Rusyn National Minority; Institute for Culture of the Vojvodinian Ruthenians; Ruthenian National Theatre Petro Riznic Djadja; diverse publishing activity; electronic media; new cultural organizations and manifestations; revolutionary changes in the Carpathian area; favourable international conditions. The Backa-Srem Ruthenians present a kind of proof that long-lasting existence of a community small in number is quite possible only if a state creates suitable conditions. Since the Serbian / Vojvodinian authorities do their best to implement international conventions it may be said that there is much hope for the Ruthenians in Serbia to preserve their culture and national identity in the future, especially in Europe without borders.

The lysis of bacteria by bacteriophage was independently discovered by Frederick Twort and Felix d?Herelle but it was d?Herelle who proposed that bacteriophage might be applied to the control of bacterial diseases. Within the former Soviet Union (FSU), bacteriophage therapy was researched and applied extensively for the treatment of a wide range of bacterial infections. In the West, however, it was not explored with the same enthusiasm and was eventually discarded with the arrival of antibiotics. However, the increase in the incidence of multi-antibiotic-resistant bacteria and the absence of effective means for their control has led to increasing international interest in phage therapy and in the long experience of the Eliava Institute. The Eliava Institute of Bacteriophage, Microbiology and Virology (IBMV), which celebrates its 85th anniversary in 2008, was founded in Tbilisi in 1923 through the joint efforts of d?Herelle and the Georgian microbiologist, George Eliava.

The explosion of new theatre writing in Britain during and since the 'nineties contrasted with a dearth of original plays on continental Europe, east and west. Sanja Nikcevic attributes this in part to the dominance over the previous decades of the role of leading directors, who increasingly sought out raw materials to shape productions conforming to their own or their company's ideas. She traces the attempts in a number of countries to correct the imbalance by encouraging new writing through workshops and festivals—yet also how the explosion and importation of the British ‘in-yer-face’ style then affected the kind of new writing that was considered innovative and acceptable at such events. She argues against the claims made for the political significance of plays such as Sarah Kane's Blasted, suggesting rather that the acceptance of the normality of violence without reference to its social context negates the possibility of remedial action. A former Fulbright Scholar, Sanja Nikcevic is Head of the Department of English Literature at the University of Osijek, Croatia. Her full-length publications include The Subversive American Drama: Sympathy for Losers (1994), Affirmative American Drama: Long Live the Puritans (2003), and New European Drama: the Great Deception (2005). She was the founder and for eight years the president of the Croatian Centre of the International Theatre Institute.

The word „SPRACH-FLUSS“ (flow of language), depicts images of flowing rivers and streams; babbling, gurgling, murmuring along to their destination. They encounter obstacles, turn corners and meander but undeniably reach their goal. SPRACH-FLUSS was a project held in the Sub-Saharan region of Africa in the years 2008 and 2009. 120 pupils and their teachers from 16 countries in Africa took part in these work-shops organised by the Goethe Institute in Johannesburg in conjunction with the Institute for Theatre and Media at the University of Hildesheim in Germany. Of these 120, 20 were invited to put what they learned to use, in a ‘meet-and-greet’ workshop in the Robert-Bosch secondary school in Hildesheim. The high point of this workshop was a stage performance at the Berlin Academy of Art, called „Sprachen ohne Grenzen“ (Languages without Borders). The aim of the workshops, both in Africa and Germany, was for the pupils and teachers to experience through descriptive games, communication training, body work and personality development, a livelier, more enjoyable and more effective method of learning and teaching German. The participants experienced the German language as an international means of communication, during the various interactive exercises they turned corners and meandered but worked hard ...

In this paper, a smart green energy management system based on DMX512 protocol that is established by United States Institute for Theatre Technology (USITT) is proposed. The end user can monitor and control the LED lamps and electric powers according to the information received from the sensors by means of the channels of DMX512. In addition, the different color lights including red, green, and blue lights can be achieved by means of the color-mixing methods of red, green, and blue LEDs based on photometry theory. As a matter of fact, there have been attracted much attention on the mobile devices in recent years. In the study, a mobile device with an Android platform is used to control the electric power and LED lamps according to the information received from the ZigBee module immediately. However, the smart green energy management system based on DMX512 protocol has some merits, such as in real-time control, easy operation, low cost, etc.

The international educational migration as a resource of «soft power» of the state has been analyzed in the article. Based on comprehensive analysis of the existing definitions of educational migration the author’s interpretation of this concept have been proposed. Based on the data of UNESCO, the Institute of international education of the United States, the Ministry of Science and Higher Education of the Russian Federation the statistics of international educational migration has been presented and analyzed. The main emphasis has been made on such categories of international educational migrants as students (bachelors, masters), postgraduate students. The reasons for the popularity of foreign students in countries such as Canada and the United States have been described. Based on the study two groups of factors have been highlighted: external and internal (motivational) factors, influencing decision-making in choosing the country of study.Based on the data of the Ministry of Science and Higher Education of the Russian Federation, the advantages of education in Russia have been analyzed. The issue of adaptation of foreign students in Russian universities has been considered: first-year curatorial programs, the Institute of student fellowships. It has been concluded hat Russian universities have a wealth of experience in teaching and adaptation of foreign students.The concepts and projects to attract foreign students to the Russian Federation also have been described in detail. Special attention to two projects “5–100” and “Export of Russian education” has been paid. The Federal Agency for the Commonwealth of Independent States Affairs, Compatriots Living Abroad, and International Humanitarian Cooperation (Rossotrudnichestvo) as one of the main institutions in the export of Russian education has been designated. The measures to attract foreign students to Russian universities have been proposed.

SUMMARY: Recently, the Institute of Internal Auditor’s (IIA) Internal Audit Standards Board (IASB) conducted a comprehensive review of the International Standards for the Professional Practice of Internal Auditing (Standards). The IIA proposed changes to some of the Standards and also recommended new Standards. The IIA provided for a 90-day exposure period (from February 15, 2010, to May 14, 2010) for interested parties to examine and provide comments on the proposed changes and new Standards. The Auditing Standards Committee of the Auditing Section of the American Accounting Association provided the comments in the letter below to the IIA on the 2010 International Standards for the Professional Practice of Internal Auditing exposure draft.

SUMMARY According to the IIA, “The International Professional Practices Framework (IPPF) is the conceptual framework that organizes authoritative guidance promulgated by The Institute of Internal Auditors.” The IPPF includes overarching principles and standards of internal audit practice (e.g., the definition of internal audit, the code of ethics, the standards), as well as detailed guidance for carrying out specific activities (e.g., practice advisories). The IPPF is currently organized to differentiate between mandatory guidance and strongly recommended guidance for internal auditors as they carry out the responsibilities of the profession. On August 4, 2014 the Institute of Internal Auditors (IIA) solicited public comments on its proposed enhancements to the International Professional Practices Framework (IPPF). This “relook” is intended to modify the existing structure of the IPPF so that it (1) “benefits IIA members, the internal audit profession as a whole, and its stakeholders,” and (2) strengthens “the IPPF's ongoing relevance for the foreseeable future.” The comment period ended November 3, 2014.

State socialist experts were at the center of Eastern Europe’s internationalization from the mid-1950s until 1989. They acted as intermediaries between their states and other national, regional, and international environments. The contributions integrate national milieus within broader frameworks mostly circumscribed by inter- and nongovernmental specialized organizations (the United Nations Economic Commission for Europe; the United Nations Educational, Scientific and Cultural Organization; International Theater Institute, or the un Commission on Population and Development). The issue is an innovative initiative to identify within four fields (economy, demography, theatre, and historical studies) state socialist experts’ contributions to international debates and institution building. We argue that these groups were fundamentally characterized by their transnational dynamism. The resultant forms of mobility and transfer resituate specific systems of knowledge production from Eastern Europe within the larger story of postwar globalization. The collection also includes an anthropological study about the internationalization trajectories of lower-ranked professionals and the resilience of their expertise ethics after 1989. Socialist experts’ mobilities can be circumscribed at the intersection of multiple phenomena that defined the postwar: national settings’ impact on inter- and supra-state interactions; Cold War politics; the tribulations of international organizations; and global trends determined by the accelerating interconnectedness of the world and decolonization. Our findings de-center established narratives about the Cold War and they show how representatives from the East participated in and sometimes determined the conditions of Europeanizing and globalizing trends in their respective fields within particular organizations.

In this study, a method for analyzing the fatigue strength of a bogie frame under a random load was proposed. Based on the geometric features, a welded joint coordinate system was established to compute the stress components of each node in this coordinate system. With the influence of small amplitude cycles included, based on the corrected S–N curve and a method for calculating the equivalent constant amplitude stress, the node and comprehensive degree of utilization were calculated based on the anti-fatigue design grade of welded joints to evaluate the fatigue strength of a structure under a given lifespan. The FKM and International Institute of Welding methods were used to evaluate the fatigue strength of typical welded joints of a bogie frame. The characteristics of the node degree of utilization under different analytical methods were compared, and the results showed that when the time histories of the three stress components of the nodes had significant non-proportional features, the FKM method obtained conservative results. When the time histories of the three stress components of the nodes were synchronized, the criterion value specified by the International Institute of Welding method was the main factor affecting the distribution characteristics of the node degree of utilization. The analysis based on the International Institute of Welding method can effectively balance the lightweight design and reliability of the structure.

On 16 April 2014, the Sewol Ferry capsized in the southern region of South Korea: 304 passengers died, including 250 high school students. Despite an international outcry, there has not yet been a comprehensive investigation into what caused the Sewol to sink and why the passengers were not rescued promptly. This article discusses how performance can represent something that defies explanation because we do not know how or why it happened. Yellow Ribbon’s Talent Show, Namsan Arts Centre’s From Pluto, and Camino de Ansan performed the role of the students who died. Taking these three case studies, this article analyzes the ways in which they strive to represent the unrepresentable as they attempt to document the sinking and achieve justice, while memorializing the victims and arguing for the necessity of a more safety-conscious society. Areum Jeong is Assistant Professor in Humanities at Sichuan University-Pittsburgh Institute. Jeong’s research takes a transnational approach to Korean and Korean-American film, literature, theatre, and performance. Her current book project explores how performance documents death, loss, and memory in South Korean and diasporic communities.

A number of “masks” cast in metal are known from the North-West, particularly Kashmir and Himachal Pradesh. They are not used as theatre masks, they lack openings for view or speech, and are found in temples fixed to a wall. One, found near Peshawar in Gandhara is conspicuous by its artistic beauty. It is inscribed on its lower rim; both script and style allow to date it in the middle or late Gupta period. The inscription has been read and interpreted by G. Fussman, who assumed that some of his readings would need revision. A new reading is proposed and discussed here, as it admits of two rather divergent interpretations.

Capacitance measurements at the National Institute of Standards (NIS), Egypt, are traceable to the Bureau International des Poids et Mesures (BIPM). It calibrates the main NIS standard capacitors, AH11A. In this paper, traceability of the BIPM capacitance measurements could be used to evaluate a new accurate measurement method through an Ultra-Precision Capacitance Bridge. The new method is carefully described by introducing some necessary equations and a demonstrating chart. Verification of this new method has been realized by comparing its results for the 10 pF and 100 pF capacitance standards with the results obtained by the conventional substitution method at 1 kHz and 1.592 kHz. The relative differences between the two methods are about 0.3 µF/F, which reflect the accuracy of the new measurement method. For higher capacitance ranges, the new measurement method has been applied for the capacitance measurements up to 1 μF at 1 kHz. The relative differences between the two methods are in the range of 5.5 µF/F on the average which proves the acceptable accuracy and the reliability of the new method to be used.