Academic literature on the topic 'Theatre history units'

Although the then-called Negro Units of the Federal Theatre Project arguably played a pivotal role in the development of African-American theatre, Rose McClendon (1884–1936) is unarguably one of the most overlooked contributors to its history. This oversight is extremely puzzling, in view of the fact that McClendon co-directed the Harlem Unit with John Houseman when it opened in 1935. Five years later Federal Theatre Project director Hallie Flanagan attributed much of the initial success of the unit, as well as the very idea of creating separate black units, to McClendon. Yet, except for a paragraph in Flanagan's Arena, little else has been recorded about McClendon's participation in the Project. Even the official history of the Negro Units written by the Federal Theatre Project's Department of Information claims that “guiding the destinations of the Negro Theatre at its inception were John Houseman and Orson Welles.” The history makes no reference to McClendon.

The portable theatre embraced and valorised women throughout its 150-year history (from around 1800 to 1950), taking dramatic performances to towns and cities throughout the United Kingdom and Ireland. Mothers, wives and daughters were also actors and managers in these travelling companies, in close family units, and their career paths reflected both their skills and opportunities. Their working lives were physically hard, often organising theatrical licenses and recruiting professionals, as well as performing themselves. Many women combined the leading lady roles with management and caring for their children. Others were forced to relinquish an acting career to concentrate upon business. Mrs Marie Livesey, with six children to care for, fulfilled her late husband’s ambition to build a permanent theatre and did so, in part, with revenue from her portable theatre. Women managers of portable theatres were respected in their business and their achievements challenge the perception that all theatrical women laboured under ‘restricted conditions’.

The topic is dedicated to the joint project between „Nadejda 1869” community Center and Regional Library „P.R.Slaveykov”. The objectives of the project are preservation and popularization of the Bulgarian cultural heritage in the European context of cultural and creative industries, cultural exchange and cultural diversity through: (1) Presentation and popularization of the value of the cultural wealth of the Community centre; Popularization of the theme of the book Treasures of the Community Library and innovative online presentation of the old Printing fund, storing it in electronic form to facilitate access to it and its preservation for future generations; (2)Popularization of the historical cultural hall, connected with statehood and the first inscription „Unity makes Power” by digitization of archival documentation; (3) Stimulating sustainable partnerships, exchanging experience and knowledge, bringing together scientific and practical experience in the preservation of cultural heritage and volunteering. The community Center „Nadezhda 1869” is associated with historical events important for the Bulgarian statehood. Three great folk assemblies were sitting in his theater hall. It starts the library and museum work, the theater, the cinema and the Art Gallery in the city. The library has a fund of 48 787 units, and the old-print collection consists of 446 books, newspapers and magazines from the period 16th -19th century. The oldest is the book „The Work Miney”, printed in Venice in 1588 and containing religious texts in Greek. For digitization is selected the topic „Bulgarian education to Liberation”, consisting of teaching aids in linguistics, natural sciences, mathematics and history – a total of 78 titles. Digitization is carried out in the specialised Digital center „North +” of Regional Library “P.R.Slaveykov", created under the program BG08 „Cultural Heritage and contemporary arts”. The successful realization of the project activities will help to protect and promote knowledge, improve access through digital technologies to the specialized collections of the old Printing fund and popularization of the Historical Theatre Hall -National value, through their inclusion in the cultural treasury „North +”, the rubric „Old print Fund” and the website of the Community Center. Keywords: Preservation of Cultural Heritage, Old-print Fund, Historical Theatre Salon "Nadejda"

<span style="line-height: 200%; font-size: 11pt"><font face="Times New Roman">This study will attempt to examine two significantly different types of mercenaries serving the Byzantine Emperors - the Varangians and the Franks - from the mid-10th to the mid-11th centuries. Not structuring my analysis on a chronological basis but rather on the different enemies that these mercenaries were facing in different geographical conditions, the main objective of my research is to give answers to a series of questions; what evidence do we have about the organisation of the mercenary units of the Rus, the Varangians and the Franks and in what numbers were they descending at Constantinople? What were the political circumstances that led to their employment by the Emperors throughout our period of study? What was their standing in the Byzantine military establishment? Did they pose any threat to the central government? What evidence do we have about their battle and siege tactics and their overall role in each operational theatre?</font></span>

IntroductionThroughout history, diseases and non-battle injuries (DNBI) have threatened deployed forces more than battlefield injuries. During the Dutch involvement in Afghanistan, the amount of DNBI that needed medical evacuation out of theatre (60%) exceeded the number of battle injuries (40%). The aim of this study is to explore the long-term quality of life (QoL) of Dutch service members that acquired a DNBI, warranting repatriation during their deployment to Afghanistan between 2003 and 2014.MethodsObservational cross-sectional cohort study in a selected group of Dutch service members who deployed to Afghanistan 2003–2014 and were repatriated due to DNBI. Using the 36-item Short Form, EuroQol-6D, Symptom Checklist 90 and Post Deployment Reintegration Scale questionnaires, their outcomes were compared with a control group of deployed service members who did not sustain injuries or illnesses.ResultsGroups were comparable in age, rank, number of deployments and social status. There were significant differences found in terms of physical functioning, pain and health perspective. No differences were seen in emotional or psychological outcomes.ConclusionThe amount of military service members who contract a DNBI is significant and imposes a burden on the capacity of the medical support, readiness of deployed units and sustainability of ongoing operations. However, regarding QoL, being forced to leave their units and to be repatriated to their home country due to a DNBI seems to have no significant impact on reported psychological symptoms of distress and reintegration experiences. Future research should focus on more in-depth registration of illnesses and not combat related diseases and injuries and even longer-term outcomes.

Background: Abnormal uterine bleeding is one of the most common problem encountered in gynaecology clinics. Assessment of endometrial pathology is recommended to rule out malignancy and premalignant conditions. Endometrial sampling can be done by Pipelle biopsy in outpatient units as well as by conventional dilatation and curettage in an operation theatre setup. Our study aims to find out the efficacy of office endometrial biopsy in terms of its sample adequacy, diagnostic accuracy and patient acceptability.Methods: 120 women presenting with abnormal uterine bleeding were included. A detailed history along with clinical examination findings are entered in the proforma. Ultrasound scan was done for all of them to identify pelvic pathology and endometrial thickness. Endometrial sampling was then done with Pipelle without anaesthesia. Histopathology reports are collected and sample adequacy and pattern were analysed. Patients are subsequently followed up for a period up to one year. Those who underwent hysterectomy are analysed for the endometrial pathology in hysterectomy specimen which is used as gold standard and compared with Pipelle endometrial sampling histopathology.Results: Sample adequacy for Pipelle biopsy was found to be 96%. Diagnostic accuracy for atypical hyperplasia and adenocarcinoma is 92.5% and 94% respectively. In hysterectomy specimens, carcinoma endometrium coexisted with atypical hyperplasia in 40% of cases with atypical hyperplasia in pipelle biopsy report.Conclusions: Thus, Pipelle endometrial biopsy is a cost-effective method for endometrial sampling except for focal lesions.

Center for Geographic Information Science, Research Center for Humanities and Social Sciences,Academia Sinica (GIS center), Coordinate short-, medium-, and long-term operations of multidisciplinary researches focusing on related topics in the sciences and humanities. Based on the requirements of multi-disciplinary research applications, sustain collection and construction of sustaining and unifying spatial base data and knowledge and building of spatial data infrastructure. <br><br> Since the 1990s, GIS center build geographic information platform: "Time and space infrastructure of Chinese civilization" (Chinese Civilizationin Time and Space, CCTS) and "Taiwan History and Culture Map" (Taiwan History and Culture in Time and Space, THCTS) . the goal of both system is constructing an integrated GIS-based application infrastructure on the spatial extent of China and Taiwan, in the timeframe of Chinese and Taiwanese history, and with the contents of Chinese and Taiwanese civilization. <br><br> Base on THCTS, we began to build Cultural Resources GIS(CRGIS, <a href="http://crgis.rchss.sinica.edu.tw/"target="_blank">http://crgis.rchss.sinica.edu.tw/</a>) in 2006, to collect temples, historic Monuments, historic buildings, old trees, wind lions god and other cultural resource in Taiwan, and provide a platform for the volunteers to make for all types of tangible, intangible cultural resources, add, edit, organize and query data via Content Management System(CMS) . <br><br> CRGIS collected aggregated 13,000 temples, 4,900 churches. On this basis, draw a variety of religious beliefs map-multiple times Temple distributions, different main god distributions, church distribution. Such as Mazu maps, Multiple times temple distributions map (before 1823, 1823-1895,1895-1949,1949-2015 years) at Taijiang inner sea areas in Tainan. <br><br> In Taiwan, there is a religious ritual through folk activities for a period ranging from one day to several days, passing specific geospatial range and passes through some temples or houses. Such an important folk activity somewhat similar to Western parade, called " raojing " , the main spirit is passing through of these ranges in the process, to reach the people within bless range, many scholars and academic experts's folk research are dependent on such spatial information. 2012, GIS center applied WebGIS and GPS to gather raojing activities spatial information in cooperation with multi-units, aggregated seven sessions, 22 days, 442 temples had pass through . The atlas also published named "Atlas of the 2012 Religious Processions in the Tainan Region" in 2014. we also applied national cultural resources data form relevant government authorities, through the metadata design and data processing(geocoding), established cultural geospatial and thematic information ,such as 800 monuments, 1,100 historic buildings and 4,300 old trees data. <br><br> In recent years, based on CRGIS technology and operational concepts, different domain experts or local culture-ahistory research worker/team had to cooperate with us to establish local or thematic material and cultural resources. As in collaboration with local culture-history research worker in Kinmen County in 2012, build Kinmen intangible cultural assets - Wind Lion God ,set metadata and build 122 wind lion god ‘s attribute data and maps through field survey, it is worth mention such fieldwork data integrity is more than the official registration data form Kinmen National Park, the number of is wind lion god more than 40; in 2013,we were in cooperation with academic experts to establish property data and map of the theatre during the Japanese colonial era in Taiwan, a total of 170 theatres ; we were in cooperation with Japanese scholars, used his 44 detaile field survey data of sugar refineries during the Japanese colonial era in Taiwan ,to produce a sugar refineries distribution map and extend to a thematic web(<a href="http://map.net.tw/"target="_blank">http://map.net.tw/</a>) [The Cultural Heritage Maps of Taiwan Suger Factories in a Century]site according to CRGIS independent cultural concept. Deployment and operation of the CRGIS, the meaning is not only build the thematic GIS system ,but also contain these concepts: Open Data, Wikipedia ,Public Participation, and we provide an interactive platform with culture resource data and geospatial technology. <br><br> In addition to providing these reference material for local culture education, local cultural recognition, but to further cooperate with scholars, academic experts , local culture-history research worker / team, accumulated rich record of the past, research results, through the spatial database planning, data processing(ex. geocoding), field survey, geospatial materials overlapping, such as nesting geospatial technology to compile the cultural information and value-added applications.

The article deals with the main aspects of organizational-pedagogical, scientific- research and theatrical-critical activity of the candidate of art studies A. V. Pletniov. Little-known biographical data on the life of the theater scientist and the creative environment, in which his professional formation took place, are presented. It is noted that A. V. Pletniov was one of the first graduates of the State Institute of Theatrical Arts named after A. V. Lunacharsky (now – RUTM). He studied there in 1934–1938, surrounded by highly-qualified students, many of whom subsequently became the pride of Russian theater studies. A. V. Pletniov entered the history of the theatrical culture of Kharkiv as a talented scientist-researcher, a well-known theater critic and teacher. He stood at the origins of theater studies in Kharkiv and for almost 30 years he headed the department of the History of the Theater (now – the Department of Theater Studies) of the higher theater educational institution in the city. However, the value of his activity is much wider. The formation of the Kharkiv State Theater Institute is closely linked with the personality of A. V. Pletniov, since 1963 he wax also connected with the theater department of the Kharkiv Institute of Arts named after I. P. Kotliarevsky, and in general – with the theatrical culture of our city. However, until this time his organizational-pedagogical, scientific-research, and theatrical-critical heritage has not been properly investigated and objectively not covered. The purpose of the research is to analyze the organizational, pedagogical, scientific, research and theatrical-critical activity of A. V. Pletniov, writing it into the socio-political and artistic context of time and, at the same time, into the history of theater studies of Ukraine. A. V. Pletniov started his pedagogical activity in 1938 at the Kharkiv Theater School as a teacher of the history of the theater and the head of the educational department. With the beginning of the war, the school, which merged with the Kyiv State Theater Institute, was evacuated to the city Saratov, where A. Pletniov as a teacher worked until January 1942. From this time until the end of the war he was on the front in the field force. In 1945 he returned to the newly founded Kharkiv State Theater Institute and was immediately appointed Deputy Director of Educational and Scientific Work and a senior lecturer at the Department of History of the Theater. Together with the director of the institute Z. Smoktiy, A. Pletniov was making considerable efforts to organize the educational process in the time of economic trouble, lack of staff with the corresponding education, and provided basic conditions of work and education in the newly created higher education. Existing and new departments were supplemented and opened, the prominent artists from Kharkiv theaters and leading scientists from other universities were invited to work. Among them: D. Antonovych, O. Serdiuk, M. Krushelnytsky, O. Kramov, L. Dubovyk, V. Chystiakova and others. The peculiarity of the organization of research and methodological work was its focus on providing educational process. Several comprehensive topics on the methodology of actor education, stage language teaching, encyclopedic dictionary of theatrical terms, and a study on the history of theater development in Kharkiv were planned. It was at that time that several dissertations were planned, including A. Pletniov’s “Kharkiv Theater of the Second Quarter of the 19th Century”, which he successfully presented in 1952 in his alma mater – State Institute of Theater Art after A. V. Lunacharsky, and he was awarded a degree Doctor of Arts. In 1960, the completed dissertation study was published in the form of a monograph titled “At the Origins of the Kharkiv Theater”, which until now has not lost its relevance and is actively used in the educational process. In 1947, while being the Deputy Director of the Institute, A. Pletniov also headed the Department of Theater History. It was with him as the head of the department, the actual renewal of the department as a theatrical research center and methodological center began, it largely determined the main directions of its activities for the future. Under the direction of A. V. Pletniov, the department trained a lot of talented theatrical scholars who successfully worked and work as teachers of higher educational institutions, heads of literary units of creative groups, heads of leading theaters, heads of cultural management, members of mass media staff, well-known theatrical critics. A. Pletniov headed the department for almost 30 years – until 1976 (with a brief break in 1961–1962), giving a significant impetus to the development of theater studies in Kharkiv, in particular, theatrical criticism. He himself was actively involved in the illumination of the theatrical process in Kharkiv, leaving after himself dozens of highly professional reviews, articles, notes, sometimes controversial, bearing the imprint of time. The article emphasizes that A. Pletniov was one of the most skilled and highly educated teachers. He taught a whole range of theater studies disciplines: the history of Russian theater, the history of foreign theater, the theory of drama, theatrical criticism. Until the last years of his life, A. Pletniov conducted active scientific research, methodological, theatrical-critical and public activity. In 1968–1972, he was the Vice-Rector of the Kharkiv State Institute of Arts named after I. P. Kotliarevsky for the scientific work and theatrical department. In 1975, he finished a doctoral dissertation “From the History of the Establishment of the Soviet Theater in Ukraine”, in which he for the first time thoroughly recreated the extremely complex and multifaceted theatric life of Kharkov in the October decade (1917–1927) in the socio-cultural context, but he did not have time to defense this study. Nowadays this scientific work is striking by its multidimensional and enormous amount of material. Conclusions. As a result of the research was established that with A. Pletniov personality as a well-known teacher, a scientist and theater critic, one of the leaders of the Kharkiv Theater Institute (1945–1953), later the Kharkiv Institute of Arts named after I. P. Kotliarevsky, more than thirty years of theater education in Kharkiv were connected. Particularly remarcable the role of A. Pletniov was in the development of theater studies and theater education in such a significant theatrical center as Kharkiv, where he nearly thirty years was heading the specialized department of the history of theater (now the department of theater studies). It was under his leadership that a methodology for preparing theatrical scholars of a broad profile was formed, based on a high level of general culture and education of future specialists, on the possession of a wide spectrum of theatrical research tools. Despite some contradictions inherent in A. Pletniov’s scientific and theatrical- critical activity and reflected in his heritage, that was typical for most scholars of the humanitarian sphere of the 1930–1970s, he remains one of the decisive figures in the development of theater education and theater researches in Kharkiv. All the above motivates for a further, more profound study of the scientific-pedagogical and theatrical-critical activity of A. Pletniov and, more broadly, the development of theater studies in Kharkiv.

One of Berlin's most prominent streets, named after the East German workers' uprising of 1953 (in which Brecht was controversially implicated), serves as the performative location for Nicolas Whybrow's topographical interrogation of the politics of German nationhood. Particular attention is given to the new parliament building, the Reichstag, which has been out of action for the majority of its troubled history. The article considers attempts to perform democracy and unity since the fall of the Wall through various mediations, including Norman Foster's refunctioning of the Reichstag, Christo's facilitation of its rebirth, and a permanent installation by Hans Haacke which rewrites the building's prominent inscription of 1916, ‘For the German People’. Finally, Whybrow places the annual ‘Love Parade’ in the context of the long history of mass marches and demonstrations on this particular street, and analyzes its claims to be a unifying political event. Based loosely on the Benjaminian flâneur figure's practice of a first-hand experience of the street, incorporating both subjective immersion and detached observation of the revealing ‘detritus of modern urban life’, various tensions and superimpositions are rendered visible as the city undergoes transformation since reunification. Nicolas Whybrow, whose book Street Scenes: Brecht, Benjamin, and Berlin is forthcoming, is Senior Lecturer in Theatre at De Montfort University, Leicester.

Current Utah State Core Standards for Theatre require that theatre history be taught at levels II (Standard 3 Objective C), III (Standard 4 Objective D), and IV (Standard 4 Objectives A and D) of high school drama classes. However, a 2011 survey of Utah high school theatre teachers indicates that only 54% include theatre history as an "important" or "very important" part of their curriculum, while another 36% say they "touch on it." This thesis is designed to be a resource for secondary drama teachers in integrating theatre history pedagogy into their drama classes, in an engaging and performance-based manner that builds on activities that are usually already present in the curriculum. It also suggests methods for crossing the curricular divide and using theatre history projects to enrich students' experiences in other core and elective classes. As continued funding for the arts in our secondary schools is threatened in the current economic climate, it unfortunately becomes increasingly important for theatre programs to demonstrate the ability to collaborate with and enhance other disciplines, as we focus on producing graduates with high-level cognitive skills.

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

Les théâtres afro-descendants contemporains de France, du Brésil et des États-Unis partagent des enjeux esthétiques qui participent d'une poétique commune : la truculence. Les dramaturgies de Koffi Kwahulé, de Suzan-Lori Parks et de Marcio Meirelles (Bando de Teatro Olodum) permettent tout particulièrement de poser les jalons esthétiques et philosophiques de cette poétique contemporaine des corps. La traversée, l'excès (esthétique de la subversion : grotesque, carnavalesque), le salut (philosophie du marronnage) et le bouillonnement (la vibration-jazz qui en résulte), les quatre sèmes qui définissent la truculence, structurent cette poétique qui met en jeu les relations humaines et les mécanismes de domination en interrogeant profondément les violences associées au corps diasporique et contemporain. La poétique de la truculence représente une nouvelle catégorie esthétique de l'altérité se faisant opérateur anthropologique de la conscience diasporique à l'oeuvre
Contemporary afro-descendant theater plays in France, Brazil and in the US all share the same aesthetic stakes which are part of a common poetics: the truculence. The plays by Koffi Kwahulé, Suzan-Lori Parks and Marcio Meirelles (Bando de Teatro Olodum) make it possible to set the aesthetic and philosophical milestones of this poetics of the contemporary bodies. The crossing, the excess (aesthetic of subversion: grotesque, carnival), the salvation (philosophy of the marronnage) and the boilover (with the jazz-vibration which derives thereof), these four semes which define the truculence, give its shape to this poetics. So as to give way to human relationships and domination mechanisms while deeply questioning the violence associated with the contemporary and diasporic body. The poetics of truculence stands as a new aesthetic category of otherness, set as an anthropological operator of the diasporic consciousness at work
Os teatros afro-descendentes contemporâneos da França, do Brasil e dos Estados Unidos possuem implicações estéticas que participam de uma poética comum : a truculência. As dramaturgias de Koffi Kwahulé, de Suzan-Lori Parks et de Marcio Meirelles (Bando de Teatro Olodum) permitem, em particular, ancorar as bases estéticas e filosóficas desta poética contemporânea do corpo. A travessia, o excesso (estética da subversão : grotesco, carnavalesco), a salavação (filosofia do marronnage) e a efervescência (a vibração-jazz resultante), os quatro semas que definem a truculência, estruturam esta poética que põe em xeque as relações humanas e os mecanismos de dominação, interrogando profundamente as violências associadas ao corpo diaspórico e contemporâneo. A poética da truculência representa uma nova categoria de alteridade, ao se constituir enquanto operador antropológico da consciência diaspórica em obra

Dans l’œuvre de John Cassavetes et de Martin Scorsese, la folie s’incarne selon deux modalités opposées: affectivité débordante chez l’un, enfermement mental et pulsion destructrice chez l’autre. La représentation de la folie implante dans l’image cinématographique une théâtralité spécifique, dont cette thèse explore les dimensions. La théâtralité d’un film peut d’abord être engendrée par le travail sur l’espace. Il est alors reconfiguré aux dimensions de la scène de théâtre, et affranchi du réalisme traditionnellement rattaché au cinéma. La représentation se resserre sur l’acteur qui incarne des personnages hystériques (chez Cassavetes) ou histrioniques (chez Scorsese). La mise en scène de ces troubles de la personnalité intimement liés au regard de l’autre et à la surexpressivité injecte une forte théâtralité dans l’image filmique. Or, cette intensité, voire cette violence, font de la folie un objet de représentation problématique. Lorsque l’image est fascinante, elle aliène le regard du spectateur qui n’est plus en mesure de penser la représentation. Intervient alors une autredimension de la théâtralité, envisagée comme dispositif permettant d’affranchir le regard du spectateur. Chacun à leur manière, Cassavetes ouvrant la voie, les deux cinéastes ont tenté d’investir le cinéma indépendant américain d’un pouvoir d’émancipation face à un medium dont ils savaient pleinement la puissance
In their films, John Cassavetes and Martin Scorsese portray madness in opposite ways: exuberant affectivity for the former, and mental isolation and destructive impulse for the latter. The representation of madness embeds in the filmic image a specific theatricality, which this thesis explores more in depth.One can produce theatricality in a film firstly by working on the space itself, whose dimensions are reconfigured to match those of a stage and is freed of the elements of realism traditionally associated with cinema. The focus is turned fully on the actor who embodies characters that are hysterical (Cassavetes) or histrionic (Scorsese). The staging (or mise en scene) of these personality disorders, intimately linked to the gaze of the other and to superexpressivity, injects theatricality into the filmic image. However, this intensity, or even violence, makes madness a problematic object of representation. When the image is fascinating, it alienates the gaze of the viewer who can no longer think (reflect on?) about the performance. That’s when another dimension of theatricality intervenes, as a way to free the viewer’s gaze. Both filmmakers, with Cassavetes paving the way, have in their own specific ways, attempted to invest independent American cinema with a capacity for emancipation in the face of a medium whose power they only knew too well

AbstractThis chapter focuses on Harrison’s life prior to writing Animal Machines. Together with her siblings, Harrison was brought up in close contact to Britain’s cultural elite. After attending schools in London, Harrison commenced her university studies in 1939. The outbreak of war had a transformative impact on her life. Harrison was evacuated to Cambridge where she likely came into contact with ethologist William Homan Thorpe. She converted to Quakerism and subsequently enrolled in the Friends’ Ambulance Unit. The Quaker principles of non-violence, humanitarianism, and bearing witness to injustice would serve as important reference points throughout Harrison’s campaigning. After the war, she completed her studies in the dramatic arts but abandoned a potential career as a theatre producer. In 1954, she married architect Dexter Harrison. Similar to many Quakers, Harrison’s humanitarian concerns motivated her to become involved in the Campaign for Nuclear Disarmament and protest perceived technological, moral, and environmental threats to society.

This chapter examines early film culture prior to the 1920s in order to offer a detailed historical background for the book’s exploration of the major advancement of Joseon cinema since the late 1910s. The first half of the chapter critically scrutinizes socio-political and cultural conditions that influenced the formation of early film culture in pre-colonial and colonial Korea. Equal attention is given to the collective efforts of early film entrepreneurs and exhibitors in creating film exhibition sites, including movie theatres, defining social and cultural functions of theatre space for a society devoid of theatrical tradition, and cultivating film audiences. The second half traces the activities of the first film production entity of colonial Korea: the Moving Picture Unit (MPU) of the colonial government. The author’s attempt to uncover the forgotten history of the MUP ultimately reveals the problematic of Japanese and Korean film historiographies that have pushed this crucial film unit of the empire onto the margin of film history.

The evolving relationship between Black performers, and white and Black spectators, is central to the story of Black federal theatre. Chapter 2 examines what happens when Black performance and white spectatorship become the focus of the drama itself. It examines Abram Hill and John Silvera’s Liberty Deferred, alongside Stars and Bars, a satirical newspaper developed by the Hartford Negro Unit but usually credited solely to the white dramatist Ward Courtney. Both newspapers position white and Black spectators as objects of the Black gaze and both mock the pretensions to radical innovation by white Living Newspapers such as One Third of a Nation. Scholarship on the Federal Theatre’s Living Newspaper relies almost entirely on Living Newspapers developed and staged by white theatre practitioners. This chapter argues that Black Living Newspapers developed a variety of techniques to unmask the performative devices used within white Living Newspapers that consolidate even as they critique the racial discourses which enforce Black subordination. In so doing, they compelled white FTP administrators to engage with the history and practice of Black performance and white spectatorship.

This chapter examines how Black performance communities in New York City and Seattle transformed the political narrative of Stevedore from an interracial labor drama into a play of Black self-determination. First staged by the Theatre Union in New York in 1934, this white-authored labor drama explores interracial relations between Black and white dockworkers. The Black hero who stands up for fellow dockworkers is framed on a rape charge. When the white mob arrives to lynch the Black hero, Black dock workers fight back with the help of white union men. Two years later Stevedore was staged by the Seattle Negro Unit. On the federal theatre the interracial ending was downplayed, and possibly dropped altogether: Black men appear to resist the white mob alone. Black self-determination, rather than interracial unionism wins the day. Stevedore’s fascinating production history offers insight into the practices and theoretical debates which framed political theatre in the 1930s. It suggests that Black performance communities moved beyond the realist-anti-realist binaries that consumed white leftist theatre and instead developed a Black realism with radical potential.

This reflective case history illustrates the change process in a USA sports and entertainment's theatre organization led by its leader in consultation with a human resource development and organizational change professional. Evidence-based organizational change and development informed by the theoretical perspectives on shop floor management and action learning guided the change process conceptualized on the belief that frontline employees should play a major role in driving change in organizations, and their learning and reflection is crucial in this process.

This chapter explores the entangled relations of a contemporary and post- traditional festival with a much older festive substrate associated with Holy Week and Carnival. In this sense it is not intended as a systematic study of the Iberoamerican Theater Festival of Bogotá (ITFB), much less as a summary of its more than two decade long history. My more modest goal is to read this festival as a material and rhetorical dispositif arising in response to a social crisis (Castro Gómez, 2011), closely related to what I have called elsewhere regimes of festive alteration (Vignolo, 2015: 138-159): 1 The fiesta-bonanza, distinguished by excess and associated with human, territorial, and resource exploitation on the frontier of capitalist expansion (Braudel, 2002; Taussig, 1980: xii). 2 the fiesta-revolution, dominated by the trope of inversion and aiming to undermine the status quo, disrupt the social order, and scramble established dichotomies (Bakhtin, 1984; Eco, 1984). 3 The fiesta-passion, where the ritual sacrifice of a savior figure provides the community with a chance to separate from the conflicts that threaten its unity, through the trope of transfiguration. (Girard 1977; Esposito, 2003). Intertwined, superimposed, and interarticulated, they encompass practically all the festive events of the last 30 years in Colombia, it would be possible to trace their genealogy back to colonial times (Vignolo, 2015: 139).

This chapter proposes a new theorization of André Bazin’s realism in two directions in which the medium-specific notion of photographic indexicality can be deconstructed and reframed in view of Bazin’s own work and post-Bazinian film history. First, aesthetically, iconic index as full representation: it is more accurate that his ontology of the image is less about indexicality per se than about the indexical effect which can also be created in hyperreal or surreal iconicity. The Bazinian total cinema has evolved in this regard, enhancing the spatiotemporal unity in long-take/deep-focus, and even eliminating the boundary between screen and theater spaces through digital/3D technology. Second, philosophically, imperfect index as partial revelation: Bazin’s realism in a more documentary mode often leads us from actual reality to the virtual Real, the unrepresentable abyss of ontological otherness that is only indirectly, impossibly indicated. This underworld of his realism is a fertile theoretical ground of (French) revelationism that has evolved from Epstein to Daney, from Deleuze to Nancy, Derrida, and Žižek. This chapter explores these two contradictory trends of Bazin’s persistent inspiration, and will also analyze relevant films, including post-Bazinian world cinema and contemporary digital cinema.