Relevant bibliographies by topics / Living Theatre, New York

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

Academic literature on the topic 'Living Theatre, New York'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Living Theatre, New York"

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Olsen, Christopher. "Off-Off-Broadway Explosion: How Provocative Playwrights of the 1960s Ignited a New American Theater. By David A. Crespy. New York: Back Stage Books, 2003; pp. 192; 32 illus. $19.95 paper." Theatre Survey 46, no. 2 (October 25, 2005): 349–51. http://dx.doi.org/10.1017/s004055740539020x.

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David Crespy's account of Off-Off Broadway's roots in New York City is a welcome addition to a growing body of scholarship on this vibrant period in American theatre history. Many authors writing on this era have limited themselves to focusing on particular theatre groups, such as the Living Theatre, Café Cino, and the Open Theatre, or on the work of specific playwrights, such as Maria Irene Fornés, Sam Shepard, and Edward Albee. More historical accounts are needed to examine a cross section of theatre practitioners in the context of the political and artistic movements of the 1960s. Crespy has managed to do this to some degree, and has even convinced the elusive Edward Albee to write a foreword.
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Bentley, Eric, Robert Brustein, and Stanley Kauffmann. "The Theatre Critic as Thinker: a Round-Table Discussion." New Theatre Quarterly 25, no. 4 (November 2009): 310–23. http://dx.doi.org/10.1017/s0266464x09000608.

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In 1946, Eric Bentley published The Playwright as Thinker, a revolutionary study of modern drama that helped to create the intellectual climate in which serious American theatre would thrive in the second half of the twentieth century. In 1964 Robert Brustein published an equally influential study of modern drama entitled The Theatre of Revolt. And in 1966, Stanley Kauffmann began a brief, combative stint as first-string theatre critic for the New York Times. Kauffmann's short-lived tenure at the Times dramatized the enormous gap that had arisen between mainstream taste and the alternative vision of the theatre that he shared with Bentley and Brustein. Collectively, these three critics championed the European modern dramatists, like Pirandello, Brecht, Beckett, and Genet, whose plays were rarely if ever performed on Broadway. They also embraced the early work of performance groups such as Julian Beck and Judith Malina's Living Theater when they were either ignored or deplored by most mainstream reviewers. Above all, they challenged the time-honoured idea that the primary goal of the theatre is to provide the audience with an emotional catharsis achieved by realistically identifying with the dramatic protagonist. By contrast, Bentley, Brustein, and Kauffmann championed a theatre that emphasized poetic stylization, intellectual seriousness, and social engagement. The discussion which follows, held on 27 October 2007 at the Philoctetes Center, New York, examines the legacy of these leading American theatre critics of the past fifty years. Bert Cardullo, who transcribed and edited the discussion, was Stanley Kauffmann's student at the Yale School of Drama and is the author, editor, or translator of many books, among them Theater of the Avant-Garde, 1889–1950, What Is Dramaturgy?, and American Drama/Critics: Writings and Readings.
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Rosenthal, Cindy. "Circling Up with The Assembly: A Theatre Collective Comes of Age." TDR/The Drama Review 60, no. 3 (September 2016): 64–95. http://dx.doi.org/10.1162/dram_a_00571.

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The Assembly is alive and well and living in New York (since 2008), creating group-devised theatre that interrogates The Weather Underground’s activism (HOME/SICK); economic and racial inequalities in the 21st century (That Poor Dream); and aging, art, and self-expression in America (I Will Look Forward To This Later). This young company of directors, designers, dramaturgs, writers, and performers celebrates the legacies of their avantgarde forebears by collectively making visually, aurally, and physically inventive political art that strives to build community.
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Kott, Jan. "The Two Hells of Doctor Faustus: a Theatrical Polyphony." New Theatre Quarterly 1, no. 1 (February 1985): 7–18. http://dx.doi.org/10.1017/s0266464x0000138x.

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The first article in the first issue of the original TQ was a piece by Jan Knott, utilizing the concept of the absurd as a means of understanding Greek tragedy. Recently, his essays, of which many first appeared in TQ, have been published in a new collection, The Theatre of Essence, from Northwestern University Press. Kott's idiosyncratic approach to the interpretation of theatre texts continues to distinguish him as one of those rare literary critics whose insights illuminate the play in production – the reflection in the Brook–Scofield King Lear of his Beckettian interpretation in the seminal Shakespeare Our Contemporary being just the most famous instance. Now Jan Kott, who teaches at the State University of New York, Stony Brook, turns to the world of Shakespeare's own contemporary, Christopher Marlowe, and examines Doctor Faustus as the meeting-place of many kinds of Elizabethan and pre-Elizabethan theatre, contributing to an understanding of the play that is rooted not in a dead theology but in a living theatricality.
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Cox, Jordana. "The Phantom Public, the Living Newspaper: Reanimating the Public in the Federal Theatre Project's1935(New York, 1936)." Theatre Survey 58, no. 3 (August 10, 2017): 300–325. http://dx.doi.org/10.1017/s0040557417000266.

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Stories of American democracy, whether critical or congratulatory, canonical or popular, feature “the public” as their recurring protagonist. “The public” is a rhetorical fixture of political campaigns and democratic theories, opinion polls and calls to action. Its influence is formidable: the very idea scores political speech, and calls citizens into being. Yet as many scholars have argued, “the public” is a moving target, and possibly even a total fiction. Perhaps the best-known challenge in recent decades has come from literary critic and social theorist Michael Warner. “Publics” he writes in hisPublics and Counterpublics,“have become an essential part of the social landscape, and yet it would tax our understanding to say exactly what they are.” If a public is difficult to describe, it is in part, Warner explains, because the idea hovers in modern imaginaries between the concrete and the abstract. “A public” can conjure at once: a bounded audience—“a crowd witnessing itself in visible space”; a more abstract “social totality” like the constituents of a nation; and a community conjured through shared texts or identities.
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FARRINGTON, HOLLY. "“I Improvised behind Him…Ahead of Time”: Charles Mingus, Kenneth Patchen and Jazz/Poetry Fusion Art." Journal of American Studies 41, no. 2 (July 5, 2007): 365–74. http://dx.doi.org/10.1017/s0021875807003519.

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In the last two weeks of March 1959, the jazz bassist Charlie Mingus and the beat poet Kenneth Patchen performed on stage together at the Living Theatre in New York City. Mingus and his band improvised to jazz themes at the back, while Patchen read simultaneously from his poetry at the front. This article examines in detail both Patchen's and Mingus's work with jazz/poetry fusion art and positions these collaborations within the context of the wider movement. It explores the artistic relationship between Mingus and Patchen and examines and contextualizes these performances within the jazz aesthetic.
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Labeija, Kia. "Rebirth." TDR/The Drama Review 60, no. 4 (December 2016): 2–3. http://dx.doi.org/10.1162/dram_a_00589.

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Kia Labeija was born and raised in the heart of New York City’s theatre district, Hellz Kitchen. Her multidisciplinary practice explores the intersections of community, politics, fine arts, and activism. Her digital portraits offer theatrical and cinematic re-imaginings of nonfictional events. As a member of the iconic House of Labeija and an active member of NYC’s ballroom scene, she offers the art of Voguing as both a performance and community-based practice. Labeija speaks publicly on the subject of HIV/AIDS as an advocate for the underrepresented living with HIV, including long-term survivors, women, minorities, and children born with the virus.
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Schechner, Richard. "Quo Vadis, Performance History?" Theatre Survey 45, no. 2 (November 2004): 271–74. http://dx.doi.org/10.1017/s0040557404000249.

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Frankly, I'm not much of a historian. That is, the past interests me mostly as grist for my theoretical mill. I am not nostalgic. I don't often trek through ruins—whether of stone, paintings, videotape, paper, library stacks, or my own many notebooks. Of course, I've done the right thing when it comes to this kind of activity. I have climbed the pyramids at Teotihuacan and in Mayan country, sat on stone benches of the Theatre of Dionysus in Athens and in Epidaurus (where I was tormented by some really awful productions of ancient Greek dramas), and visited the theatre museums of four continents. On the art-history front, I've gazed at more paintings and sculptings than I can readily organize in memory. But my strongest meetings with “history” have been at the cusp of the past and present—living events always already changing as they are (re)performed. This has been the core of my “anthropology-meets-theatre” work whether among the Yaquis of Arizona, at the Ramlila of Ramnagar in India, in the highlands of Papua–New Guinea, at Off-Off Broadway in New York, in the interior of China, and at very many other events in a wide variety of places.
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Mason, Jeffrey D. "American Theatre in the Culture of the Cold War: Producing and Contesting Containment, 1947–1962. By Bruce A. McConachie. Studies in Theatre History & Culture. Iowa City: University of Iowa Press, 2003; pp. xiv + 347; 15 illus. $49.95 cloth." Theatre Survey 46, no. 2 (October 25, 2005): 341–43. http://dx.doi.org/10.1017/s0040557405360200.

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From 1947 to 1962, Broadway audiences enjoyed major works by Tennessee Williams and Arthur Miller as well as plays ranging from A Thousand Clowns to Who's Afraid of Virginia Woolf? and a string of durable musical comedies offering light and dark visions of the urban streets (Guys and Dolls and West Side Story), inspirational fables (The Music Man and The Sound of Music), and war in legend and in recent memory (Camelot and South Pacific). Meanwhile, Judith Malina and Julian Beck founded the Living Theatre, José Quintero and Theodore Mann established the Circle in the Square, Joe Papp offered his first free Shakespeare productions in New York City parks, and Joe Cino and Ellen Stewart led the development of Off-Off Broadway. This heterogeneous theatre scene comprised diverse and even competing representations of a complex but interconnected culture, and Bruce A. McConachie has undertaken the task of elucidating the workings of such art not in isolation but as cultural and social production.
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Bharucha, Rustom. "Kroetz's ‘Request Concert’ in India, Part Two: Bombay." New Theatre Quarterly 3, no. 12 (November 1987): 377–88. http://dx.doi.org/10.1017/s0266464x00002517.

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In the first of this series of three articles, published in NTQ 11, the director Rustom Bharucha – born in India. but living and working mainly in New York – described how he initially became intrigued by the idea of transposing Franz Xaver Kroetz's play without words, Request Concert, concerning the last evening in the life of a very ordinary German woman, into a variety of Asian contexts. His ambition was first realized – in collaboration with fellow-director Manuel Lutgenhorst, and with valued assistance from the International School of Theatre Anthropology – in a production mounted in Calcutta, with the actress Joya Sen. The following account of the second production, in Bombay, illuminates both the varieties of Indian urban life and the varieties of theatrical experience, with fascinating insights into the nature of Bombay's competitive, media-saturated society, and the perceptions of the actress Sulabha Deshpande concerning her role and its technical requirements – and how both shed new light on this play and on the nature of theatricality.
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Dissertations / Theses on the topic "Living Theatre, New York"

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Bederson, Aron. "New York avant-garde theatre, values, goals, and resonances." Tallahassee, Florida : Florida State University, 2009. http://etd.lib.fsu.edu/theses/available/etd-07072009-194354/.

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Thesis (Ph. D.)--Florida State University, 2009.
Advisor: William Cloonan, Florida State University, College of Arts and Sciences, Dept. of Interdisciplinary Humanities. Title and description from dissertation home page (viewed on Nov. 19, 2009). Document formatted into pages; contains vii, 98 pages. Includes bibliographical references.
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Lee, Arnold Ildoo. "Adaptive Living in the City." Thesis, Virginia Tech, 2016. http://hdl.handle.net/10919/71661.

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Although living in the city can provide many benefits, it also provides many issues as well. Housing costs are constantly increasing, both physical and mental spaces are sacrificed, and our innate connection to nature is severed. These produce profoundly damaging effects on the human psyche and cause people to migrate from the urban to the suburban and rural areas. The solution is to design more efficient urban buildings that can actively adapt to its inhabitants' programmatic needs and utilizes wood, specifically cross-laminated timber, as its main material to reconnect with nature.
Master of Architecture
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Ford, Miriam. "The Process of Mothering Transnationally for Mexican Women Living in New York." Thesis, Adelphi University, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3571810.

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The role of mothering has always been an important area for study in nursing. However, transnational mothering, the experience of women mothering from afar, has not been well studied in the discipline. The purpose of this study was to explore the process of mothering by Mexican women in the context of their move to the United States. The conceptual framework of symbolic interaction and the methodology of grounded theory (Glaser & Strauss, 1967) were used to guide the study.

Data were collected through 13 semi-structured interviews of women from Mexico living in New York City who had at least one child under the age of 16 still living in Mexico. The results indicated that the process of transnational mothering was non-linear. Phases emerged from data analysis using Grounded Theory Methods of constant comparative analysis of transcripts, using coding, categorizing, and conceptualizing. Three final phases, each with sub categories, which explained the process of transnational mothering included reconceptualizing mothering, struggling, and embracing hope.

Reconceptualizing mothering was used to name this substantive theory that emerged. The Basic Social Process identified that fit the substantive theory that emerged was "social identity" as social identity is affected by a new understanding of one's role. The women in this study acknowledged the poor fit of their traditional roles of mothering in New York and therefore created new roles. The community that they developed and relied upon assisted with this new role adjustment. Implications for this study in the area of practice include the need for greater client advocacy and assisting transnational mothers to build and foster a community. The importance of the discipline's involvement in the area of health policy cannot be overstated as policies affecting mother child separation and reunification need a nursing voice.

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Prévot, Géraldine. "Alibis d’un autre monde ? : expériences théâtrales au-dehors à Paris et à New York : 1913- 1939." Thesis, Paris 10, 2017. http://www.theses.fr/2017PA100152.

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Les expériences théâtrales au-dehors sont multiples, à Paris et à New York entre 1913 et 1939, et plus largement dans l’ensemble du monde théâtral. Comment les interpréter, et les resituer dans l’histoire générale des formes théâtrales? Leur extrême diversité empêche tout discours homogène et invite à adopter une méthode d’analyse procédant par cas d’étude plutôt que par système. Cette thèse se propose de forger un concept opératoire, celui de « dehors », qui permettrait d’analyser ces formes et d’en restituer la polysémie. En se concentrant sur le contexte urbain et en faisant le choix d’une attitude comparatiste, cette étude vise à prendre en compte le spectacle des et dans les villes de Paris et New York, à un moment où les échanges entre les deux métropoles sont extrêmement féconds. Jacques Copeau, André Barsacq, le groupe Octobre, les représentations du Vray Mistère de la Passion dans les années 1930, les spectacles du Front Populaire, ou encore Jean-Richard Bloch sont quelques-unes des figures et des séances théâtrales sur lesquelles la partie française s’arrêtera. Pour le contexte américain, l’étude s’appuie notamment sur les expériences des Provincetown Players, sur la tradition des pageants et leur réorientation idéologique dans certains cas, sur les conceptions théâtrales de Percy MacKaye, sur les projects architecturaux de Friedrich Kiesler ou Norman Bel Geddes, mais aussi sur le Federal Theatre Project. L’objectif de cette thèse est ainsi d’analyser de quoi ces appropriations théâtrales diverses du dehors peuvent être le signe, au sein de quelle histoire théâtrale elles peuvent s’inscrire, et dans quelle mesure leur oubli relatif est révélateur, sur le plan tant esthétique que politique
Many outdoor theatrical experiences could be observed in Paris and in New York, between 1913 and 1939 and, more broadly, in the whole theatrical world. How can we interpret them? And how can we insert them in the larger history of theatrical forms? Their extreme diversity prevents us from having a homogeneous discourse about them and calls for a method based on case studies more than on a systematic approach. This thesis aims at creating an operative concept, the « outdoor » concept (« dehors » in French), which will enable us to dig deeper into those theatrical forms and to restore their polysemy. By focusing on an urban context and by choosing a comparative approach, this thesis aspires to take into account the spectacle of the cities of Paris and New York and the spectacles in them, at a time when the exchanges between the two cities were very productive. Jacques Copeau, André Barsacq, the « groupe Octobre », the showings of the Vray Mistère de la Passion in the 1930s, the great shows during the Popular Front or Jean-Richard Bloch are some of the figures and theatrical events discussed in the first part of this work. The second part deals with the American context, it draws on experiences such as the Provincetown Players, the pageant tradition and its ideological shift, the theatrical vision of Percy MacKaye, the architectural projects of Friedrich Kiesler or Norman Bel Geddes, or the Federal Theatre Project. This thesis will hopefully help to understand these outdoor performances, what they indicate in terms of history and aesthetics and how their relatively cursory consideration can paradoxically be meaningful in several respects
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Ralph, Greg. "The rising cemetery project : an architecture for the living /." Online version, 2007. http://digitalcommons.rwu.edu/archthese/6/.

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Krasne-Levine, Norma Singman. "Havurah as an alternative to traditional supplementary religious education for Soviet Jewish immigrants living in New York city /." Ann Arbor, Mich. : UMI, 2001. http://wwwlib.umi.com/dissertations/preview/3003025.

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McLean, Janice Angelia. "Living their faith : identity and mission among West Indian immigrants in Pentecostal churches in New York City and London." Thesis, University of Edinburgh, 2009. http://hdl.handle.net/1842/28750.

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The last sixty years have seen the emergence of three particular developments that are currently exerting tremendous effects on the shape, articulation and practice of World Christianity. These are: the demographic shift in Christian adherence from the North to the South; the rapid expansion of Pentecostalism and the Charismatic movement in various places around the globe, particularly in the South; and the growth of migration from many two-thirds world nations to first world countries. In their interaction, these developments have produced a plethora of new religious expressions within World Christianity – specifically the presence of non-Western Christianity in the North. For as Non-Western immigrants migrate to the West, they bring with them a vibrant religious life which they use to navigate the terrains of the new society. This thesis delineates the experiences of West Indian Pentecostals living in New York City and London as they engage with their host societies. It explores the manner in which several generations of immigrants are constructing and re-negotiating their ethnic and religious identities. The thesis reveals that both the home country and the Diaspora context play a vital role in this process of identification. This is especially notable for the immigrant children who can be seen as constituting the frontline in terms of cultural and social change. This study also highlights the process by which ‘mission’ is being conceptualized and practiced within these Diaspora faith communities. The findings indicate that mission – its conceptualization and practice –is also a product of the West Indian and Diaspora contexts. However, this re-conceptualization is conducted within the framework of a re-definition of the local and global dimensions associated with the term. As a result, the translational process becomes one of dynamism and constant negotiation as the ideas emanating from home and the host societies are able to critique and influence each other. This thesis clearly reveals that Diaspora faith communities occupy a significant position within the lives of their members. They are sites of dynamism, where members access social and cultural capitals; maintain transnational ties; interact with the Diaspora context; and live out their faith. Therefore, this thesis argues that these faith communities function as a bridge connecting the home country and the Diaspora context, enabling their members to retain certain aspects of the ethno-religious identities and the cultures of their homelands, while equally, assisting them to adjust to, and create a place of belonging within the new society.
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Widener, Charlene. "The changing face of American theatre colorblind and uni-racial casting at the New York Shakespeare Festival under the direction of Joseph Papp /." Diss., Columbia, Mo. : University of Missouri-Columbia, 2006. http://hdl.handle.net/10355/4410.

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Thesis (Ph. D.) University of Missouri-Columbia, 2006.
The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on August 9, 2007) Vita. Includes bibliographical references.
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Lee, Jirye. "Stage of Her Own: Autobiographical Solos by Women in New York City in the First Decade in the 21st Century." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1494288492098892.

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Hardman, Stephen David. "It's a living: the post-war redevelopment of the American working class novel." Thesis, University of Canterbury. American Studies, 2006. http://hdl.handle.net/10092/894.

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A recurrent premise of post-war criticism is that World War II marked the end of the American working class novel. This thesis challenges this assumption and argues that the working class novel redeveloped throughout the 1940s and 1950s in response to major social, political, economic and cultural changes in the United States. A prime justification for the obituary on the working class novel was that after 1945 the United States no longer had class divisions. However, as the first two chapters of this study point out, such a view was promulgated by influential literary critics and social scientists who, as former Marxists, were keen to distance themselves from class politics. Insisting that the working class novel was hamstrung by a dogmatic Marxist politics and a fealty to social realism, these critics argued that the genre's relevance depended on the outdated politics and conditions of the 1930s. As such they were able to use literary criticism as a means of justifying their own ambiguous politics and deflecting any close scrutiny of their accommodation with the post-war liberal consensus. In a close examination of four writers in the subsequent chapters it is shown that, in fact, working class writers were extremely successful in adapting to post-war conditions. Harvey Swados, in his novel On the Line (1957) and in his journalism, provides crucial insights into the effects of the transition from a Fordist to a post-industrial society on the identity of the industrial worker. In The Dollmaker (1954) Harriette Arnow dramatises an important migration from the rural South to Detroit during World War II which exposes the ways in which American capitalism was able to diffuse a national working class identity. Chester Himes' novel If He Hollers Let Him Go (1945), and his experiences as an African American writer in the 1940s, highlight the intersections between race (and racism) and class in the United States. Hubert Selby, in Last Exit to Brooklyn (1957), undermines the hegemonic ideology of post-war consumerism by drawing attention to the poverty and violence in an urban working class community. All these writers share a common concern with continuing, and re-developing, the dynamic and heterogeneous tradition of American working class cultural production.
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Books on the topic "Living Theatre, New York"

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Tytell, John. The Living Theatre: Art, exile, and outrage. London: Methuen Drama, 1997.

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The Living Theatre: Art, exile, and outrage. New York: Grove Press, 1995.

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Ostrowska, Joanna. The living Theatre - do sztuki do polityki. Poznań: Wydawn. Kontekst, 2005.

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The living theatre - od sztuki do polityki. Poznan: Wydawnictwo "Kontekst", 2005.

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Le Living Theatre: De la toile à la scène, 1945-1985. Paris: L'Harmattan, 2007.

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Tytell, John. The Living Theatre: Art, exile, and outrage. New York: Grove Press, 1995.

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The life of the theatre: The relation of the artist to the struggle of the people. New York: Limelight Editions, 1986.

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Malina, Judith. Conversazioni con Judith Malina: L'arte, l'anarchia, il Living Theatre. Milano: Elèuthera, 1995.

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I maestri della ricerca teatrale: Il Living, Grotowski, Barba e Brook. Roma: Laterza, 2007.

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Antigone di Sofocle-Brecht per il Living Theatre. Pisa: Edizioni ETS, 2014.

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Book chapters on the topic "Living Theatre, New York"

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Bianchini, Natka. "New York and Beyond." In Samuel Beckett’s Theatre in America, 91–119. New York: Palgrave Macmillan US, 2015. http://dx.doi.org/10.1057/9781137439864_5.

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Babbage, Frances. "New York and After." In The Routledge Companion to Theatre of the Oppressed, 15–21. Abingdon, Oxon ; New York : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9781315265704-2.

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Castellani, Paul. "Closing institutions in New York State." In Deinstitutionalization and Community Living, 31–48. Boston, MA: Springer US, 1996. http://dx.doi.org/10.1007/978-1-4899-4517-4_3.

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Rella, Andrew, Jon Miller, and Emilie Hauser. "An Overview of the Living Shorelines Initiative in New York and New Jersey." In Living Shorelines, 65–86. Boca Raton, FL : Taylor & Francis, 2017. | Series: Marine: CRC Press, 2017. http://dx.doi.org/10.1201/9781315151465-7.

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Shearer, Martha. "A New Way of Living: Post-war Musicals and the New New York." In New York City and the Hollywood Musical, 153–92. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-56937-0_6.

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Burrell, Julie. "The Negro People’s Theatre and the Emergence of the Civil Rights Theatre Movement." In The Civil Rights Theatre Movement in New York, 1939–1966, 25–67. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-12188-4_2.

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Huang, Alexander C. Y. "Asian-American Theatre Reimagined: Shogun Macbeth in New York." In Weyward Macbeth, 121–25. New York: Palgrave Macmillan US, 2010. http://dx.doi.org/10.1007/978-0-230-10216-3_13.

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Marta, Effinger-Crichlow. "Navigating Respectability in Turn-of-the-Century New York City." In The Routledge Companion to African American Theatre and Performance, 55–59. New York, NY : Routledge, 2019. |: Routledge, 2018. http://dx.doi.org/10.4324/9781315191225-11.

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Nouryeh, Andrea. "Reflections in a Pool: Mary Zimmerman’s Metamorphoses and Post-9/11 New York City." In Interrogating America through Theatre and Performance, 257–69. New York: Palgrave Macmillan US, 2007. http://dx.doi.org/10.1057/9780230100787_17.

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Burrell, Julie. "Introduction." In The Civil Rights Theatre Movement in New York, 1939–1966, 1–24. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-12188-4_1.

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Conference papers on the topic "Living Theatre, New York"

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Stein, Michael A. "Evolving Infrastructure - Light and Transparent." In IABSE Congress, New York, New York 2019: The Evolving Metropolis. Zurich, Switzerland: International Association for Bridge and Structural Engineering (IABSE), 2019. http://dx.doi.org/10.2749/newyork.2019.0750.

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<p>In very simple terms cities consist of infrastructure, operations, and people. All over the world more and more people are migrating to cities to find work and improve their living conditions. Consequently, for more and more people the built environment in our cities becomes their natural environment. The quality of the natural environment has a strong impact on the well-being of the people living in it, thus, we can improve the quality of life for an ever-growing number of people by improving the quality of buildings and structures. For years under public budget pressure, infrastructure has been designed focusing mainly on functional aspects, with occasionally abysmal results in terms of user friendliness. More recently this trend has reversed, and this paper shows some examples of large and small infrastructure projects in New York City where special emphasis has been put on creating a pleasant experience for commuters and other travelers. Engineers play an important role in this trend, as with their knowledge and creativity they are instrumental in supporting the municipality’s efforts to find affordable solutions for their projects.</p>
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Gabler, Markus. "Why the 200-year bridge is a myth - a new perspective towards an evolving structure." In IABSE Congress, New York, New York 2019: The Evolving Metropolis. Zurich, Switzerland: International Association for Bridge and Structural Engineering (IABSE), 2019. http://dx.doi.org/10.2749/newyork.2019.0210.

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<p>When we design bridges for 100, 120 or even 200 years we have a static use case in mind. We design for one given traffic load - maybe increased 10% for the future - and anticipate virtually no adjustments in use and structural behavior, except for some bearing or cable replacement features. Looking back how demands changed even within the last 50 years, it would be naive to anticipate we know what is required in 200 years. Also - the effort spent in maintenance and refurbishment is significant during its service life.</p><p>We should think of bridges as living or evolving things. And digitization can help! A structural health monitoring system (SHMS) is necessary to better understand needs for strengthening and repair. A site-specific traffic analysis will show how demands change regarding means of transport and loads. Also, a "living" BIM model which will be maintained and nurtured during the whole life of a bridge is an important step to get a clear overview "how it goes" and what will be required next. Finally – the structural system of a bridge should allow for easy replacement of components, widening or re-use elsewhere. Modular construction would be a key element to allow for better adaptability.</p>
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Milacek, McKenna S., Joshua Schultz, and Mark Muszynski. "Revisiting Low Income Residential Construction Options in Spokane." In IABSE Congress, New York, New York 2019: The Evolving Metropolis. Zurich, Switzerland: International Association for Bridge and Structural Engineering (IABSE), 2019. http://dx.doi.org/10.2749/newyork.2019.0241.

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<p>Affordable housing plays an important role in providing equal opportunity for individuals within most communities in the United States. In the area of eastern Washington State, in particular, there is currently a dearth of affordable housing options; especially for larger families. This lack of three- and four- bedroom residences presents a challenge for the City of Spokane, and the low-income residents seeking housing. This paper provides a preliminary look at certain alternate construction approaches for stand-alone houses with the end goal of optimizing taxpayer funding available, and to reduce living expenses for occupants. Two possible alternative approaches [structural insulated panels (SIPs) and straw bale wall construction] are compared to traditional wood frame construction; all in terms of cost and structural performance. Alternate foundation options are also currently under consideration. It appears that certain alternate construction techniques are worthy of a fresh look; particularly straw bale construction.</p>
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Beane, Jeffrey A., and Rebecca Buntrock. "The John F. Kennedy Center for the Performing Arts Expansion Project." In IABSE Congress, New York, New York 2019: The Evolving Metropolis. Zurich, Switzerland: International Association for Bridge and Structural Engineering (IABSE), 2019. http://dx.doi.org/10.2749/newyork.2019.2538.

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<p>The John F. Kennedy Center for the Performing Arts is located on the banks of the Potomac River in Washington, D.C. The Kennedy Center is home to the National Symphony Orchestra, the Washington National Opera and The Suzanne Farrell Ballet. In addition to being the nation's busiest arts facility, the Kennedy Center is also a "Living Memorial" to President Kennedy. The south expansion of the Kennedy Center, known as the REACH, provides much needed educational and rehearsal space, as well as a pedestrian link to the nearby Memorials.</p><p>The new structure combines practicality, versatility and innovation. Each surface and space created is unique, forming complex geometries and large span to depth ratios. The cast-in-place concrete structure is exposed on the interior or the exterior, including three white concrete pavilions rising out of the landscaped substructure. The pedestrian bridge connects the Kennedy Center to the river with over a 35-to-1 span to depth ratio. The REACH is scheduled to open in the Fall of 2019.</p>
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Ernst, Christian. "Inducing behavioural change in transportation - mobilizing human ressource." In IABSE Congress, New York, New York 2019: The Evolving Metropolis. Zurich, Switzerland: International Association for Bridge and Structural Engineering (IABSE), 2019. http://dx.doi.org/10.2749/newyork.2019.0846.

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<p>According to the UN department of Economy and Social affairs, 68% of the world’s population will be living in urban areas by 2050 [1]. Since urban areas represent the coming together of different transport modes on limited space, it is a transportation environment with an inherent high probability of clashes. These clashes are known to occur between different groups, e.g. pedestrians and cyclists.</p><p>In the Scandinavian countries, cycling is taking on an impressive cut of overall transport volume. Copenhagen has experienced a steady rise in bicycle traffic throughout the past decades –as recent data confirms [2].</p><p>Copenhagen has been the model case for Scandinavian and other cities to look at how to increase bicycle traffic. However, with the e-bike and other battery driven devices such as speed-pedelecs on the rise, the system as we know it is threatened. It is necessary to raise awareness for this change and induce behavioral change with the so-called “soft” traffic users. What are the recent findings in this field and what challenges are identifiable. What can be done in order not to put a positive development under threat?</p>
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Mola, Franco, Antonio Migliacci, Elena Mola, Alejandro Erick Antelo, and Riccardo Soffientini. "New construction ideas for special housing complexes." In IABSE Congress, New York, New York 2019: The Evolving Metropolis. Zurich, Switzerland: International Association for Bridge and Structural Engineering (IABSE), 2019. http://dx.doi.org/10.2749/newyork.2019.0247.

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<p>The problems concerning the design, construction and use of buildings in a city environment or even other, less dense, environments, constitute a complex scenario in which various different disciplines are called to give their contribution: energy efficiency, reduction of the footprint, comfort, affordability and new living standards all play a key role in the design of new housing solutions. In the present paper, a new design idea is presented for the construction of buildings, capable of guaranteeing a high level of comfort for the users while safeguarding the surrounding territory. The proposed system, named GEODE, consists of a 120m diameter spherical steel or concrete structure with internal cores acting as shear-resistant elements. The shell contains five decks supported by mega-beams, on which 5-story high buildings can be erected, following design guidelines that have as a primary objective the preservation of high livability conditions. Among the defining characteristics of the system are its enhanced performance with respect to buildings of equal volume but different shape and the possibility of building the spherical shell using two different structural materials. These are distinctive features, which allow for the construction of small self-sufficient cities that synergically interact with their surrounding environment. In the present paper, an initial feasibility study is presented while the performance of different possible structural solutions, i.e. using R.C. or steel elements, are compared.</p>
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Koch, Renate. "Marcel Prawy und das erste Broadway-Musical im Österreich der Nachkriegszeit." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.57.

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Marcel Prawy, born in Vienna, graduated in law. In 1936, the couple Kiepura/Eggerth engaged him as private assistant. Two years later Jan Kiepura helped him to emigrate to New York. In 1943, after his employment ended, Prawy joined the US Army. Finally he returned as an elite soldier to Vienna and began his pioneering work for ‘Broadway Musicals’. In 1955, he was appointed dramaturge at the ‘Wiener Volksoper’. One year later in February, Kiss Me, Kate was performed in two Austrian theatres. The Viennese version was produced by Prawy himself and staged by Heinz Rosen. In Graz André Diehl directed the orchestration by conductor Rudolf Bibl on the basis of a piano score. Prawy relied on a mixture of Austrian theatre luminaries and American actors. In the Volksoper 183 performances took place – Graz had only 16. The reviews for the Viennese premiere reaffirmed the cheers. The criticism of the Graz production did not receive the same attention as Prawy’s production did.
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Cornell, Alexandra G., Robert B. Mellins, Luis M. Acosta, Andrew G. Rundle, Rachel L. Miller, Patrick L. Kinney, Beizhan Yan, et al. "Exhaled No Is Elevated With Exposure To Black Carbon And Dust Mite Allergen Among 7 And 8-Year-Old Children Living In High And Low Asthma Prevalence Neighborhoods In New York City." In American Thoracic Society 2011 International Conference, May 13-18, 2011 • Denver Colorado. American Thoracic Society, 2011. http://dx.doi.org/10.1164/ajrccm-conference.2011.183.1_meetingabstracts.a4473.

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King, Amanda, Cleopatra Altenor, Catherine Brown, and Ian Hambleton. "LL-01 Social determinants of treatment adherence and disease severity among people living with lupus in a small island developing state: a report from St. Lucia." In LUPUS 21ST CENTURY 2018 CONFERENCE, Abstracts of the Fourth Biannual Scientific Meeting of the North and South American and Caribbean Lupus Community, Armonk, New York, USA, September 13 – 15, 2018. Lupus Foundation of America, 2018. http://dx.doi.org/10.1136/lupus-2018-lsm.111.

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Schrock, Peter J., M. Elisa McQueen, Kathryn J. De Laurentis, Merry L. Morris, and Rajiv V. Dubey. "Wheelchair Modification for Hands-Free Motion for Dancers With Disabilities." In ASME 2008 Summer Bioengineering Conference. American Society of Mechanical Engineers, 2008. http://dx.doi.org/10.1115/sbc2008-193178.

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Functional modifications to power and manual chairs are currently advancing in the areas of rehabilitation, sports and recreation and in the activities of daily living; however, these modification have yet to be directly applied in the field of performing arts. An assistive device was developed at the University of South Florida (USF) during collaboration between the Department of Mechanical Engineering and the School of Theatre and Dance. The project was initiated by Professor Merry Lynn Morris who identified a need for new conceptions of mobility; her work with dancers, with and without disabilities established the research framework in which choreographic vision could be supported with technological applications. Therefore, a device was designed to alleviate the constraints of current wheelchair designs which inhibit the user’s upper-body artistic movement range and capacity for interaction. The main purpose of the design was to create hands-free motion through the modification of a power wheelchair, which make it useful in the performing arts, but also as an assistive device for persons with disabilities. This device is in its first research phase of development as a prototype and is patent pending.
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Reports on the topic "Living Theatre, New York"

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Neumark, David, Matthew Thompson, Francesco Brindisi, Leslie Koyle, and Clayton Reck. Estimating the Economic Impacts of Living Wage Mandates Using Ex Ante Simulations, Longitudinal Estimates, and New Public and Administrative Data: Evidence for New York City. Cambridge, MA: National Bureau of Economic Research, May 2012. http://dx.doi.org/10.3386/w18055.

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Sheridan, Anne. Annual report on migration and asylum 2016: Ireland. ESRI, November 2017. http://dx.doi.org/10.26504/sustat65.

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The Annual Report on Migration and Asylum 2016 provides an overview of trends, policy developments and significant debates in the area of asylum and migration during 2016 in Ireland. Some important developments in 2016 included: The International Protection Act 2015 was commenced throughout 2016. The single application procedure under the Act came into operation from 31 December 2016. The International Protection Office (IPO) replaced the Office of the Refugee Applications Commissioner (ORAC) from 31 December 2016. The first instance appeals body, the International Protection Appeals Tribunal (IPAT), replacing the Refugee Appeals Tribunal (RAT), was established on 31 December 2016. An online appointments system for all registrations at the Registration Office in Dublin was introduced. An electronic Employment Permits Online System (EPOS) was introduced. The Irish Short Stay Visa Waiver Programme was extended for a further five years to October 2021. The Second National Action Plan to Prevent and Combat Human Trafficking was published. 2016 was the first full year of implementation of the Irish Refugee Protection Programme (IRPP). A total of 240 persons were relocated to Ireland from Greece under the relocation strand of the programme and 356 persons were resettled to Ireland. Following an Oireachtas motion, the Government agreed to allocate up to 200 places to unaccompanied minors who had been living in the former migrant camp in Calais and who expressed a wish to come to Ireland. This figure is included in the overall total under the IRPP. Ireland and Jordan were appointed as co-facilitators in February 2016 to conduct preparatory negotiations for the UN high level Summit for Refugees and Migrants. The New York Declaration, of September 2016, sets out plans to start negotiations for a global compact for safe, orderly and regular migration and a global compact for refugees to be adopted in 2018. Key figures for 2016: There were approximately 115,000 non-EEA nationals with permission to remain in Ireland in 2016 compared to 114,000 at the end of 2015. Net inward migration for non-EU nationals is estimated to be 15,700. The number of newly arriving immigrants increased year-on-year to 84,600 at April 2017 from 82,300 at end April 2016. Non-EU nationals represented 34.8 per cent of this total at end April 2017. A total of 104,572 visas, both long stay and short stay, were issued in 2016. Approximately 4,127 persons were refused entry to Ireland at the external borders. Of these, 396 were subsequently admitted to pursue a protection application. 428 persons were returned from Ireland as part of forced return measures, with 187 availing of voluntary return, of which 143 were assisted by the International Organization for Migration Assisted Voluntary Return Programme. There were 532 permissions of leave to remain granted under section 3 of the Immigration Act 1999 during 2016. A total of 2,244 applications for refugee status were received in 2016, a drop of 32 per cent from 2015 (3,276). 641 subsidiary protection cases were processed and 431 new applications for subsidiary protection were submitted. 358 applications for family reunification in respect of recognised refugees were received. A total of 95 alleged trafficking victims were identified, compared with 78 in 2015.
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