Journal articles on the topic 'Writer/directors'

As in many fields, the myth of the lone creative genius simply does not hold true for those creating children’s books.While in traditional publishing, the writer and the illustrator of picture books are normally not in contact, both must work collaboratively with their editors and art directors on book projects and often rely on feedback from critique groups of their peers to enrich their creative work.Yet what happens when your partner in life is also a writer or illustrator? Children and Libraries introduces a new series, Couples Who Collaborate, looking at the dynamic duos in children’s publishing. We begin our series with Wisconsin-based husband-and-wife team Baptiste and Miranda Paul.

The article deals with the detailed research of the documentary shootings connected with Leo Tolstoy. Starting with the life chron¬icles up to works of modern documentary film directors. The question of difference between the documentary cinema and documentary files that was made by the operators-contem¬poraries of Tolstoy is set as a main problem. They fixed the last years of writer’s life. Their shootings became the basis to many docu¬mentaries made by the foregoing directors (starting from E. I. Shub to G. M. Evtushenko). The genre of the double portrait that is mostly demanded in nowadays documen¬tary cinema add the dramatic tension to the film and helps to rethink already well observed materials. Numerous aspects are summing into the common and vast review of the writer and cinema relations.

The article deals with the process of comprehension of A.P. Chekhov's works in the Spanish culture. It’s based on Russian and foreign sources. The author of the article demonstrates the most significant moments in the understanding of the Russian writer by Spanish literary critics, theater directors and film directors. The article contains a brief overview of key periodicals and books, plays and film adaptations that illustrate the evolution of comprehension of Chekhov's works. Citations of Spanish culture figures, critics, translators and journalists are given by author's translation from their works and interviews. The article illustrates the period from the first mention of Chekhov's name in the Spanish press in 1894 to the nowadays. The author pays special attention to the first screen versions of the Russian playwright’s plays and the most eccentric experimental staging in the capital and provincial theaters of Spain.

An analysis of the main companies, groups and practitioners producing text-based theatre in the Netherlands in the last few years provides a backdrop for a more detailed examination of the work of writer/director Gerardjan Rijnders. Further, special focus is given to the work of the greatest theatre innovator of the last two decades, Jan Joris Lamers, and two young theatre collectives are presented as representative of a broader movement of playwrights, actors and directors, who perform in smaller black-box theatres.

This paper presents a reading of the political trilogy House of Cards, To Play the King e The Final Cut, by Michael Dobbs, an English writer; and their adaptation by the BBC and Netflix series. I try to demonstrate how novelists, script writers and directors of series celebrate the unparalleled art of Shakespeare by reworking themes, updating contexts and rebuilding personality traits of his unforgettable characters. In short, this text aims to analyze the series and to recover some of the genetic characteristics of Shakespeare’s plays in contemporary artistic/mediatic production.

FQ Columnist Paul Julian Smith reviews the recent work of young writer-directors Javier Ambrossi and Javier Calvo, celebrities universally known in Spain by the diminutive of their shared name, “los Javis.” The backstory to their first feature film, the success of which so mystifies the established film press, is that of the couple's canny and creative appeal to the multiple media of theater, television, and Internet. The Javis work marks the emergence of a new youthful sensibility and a new gay auteurism in Spanish film and television.

International research highlights a paucity of female screenwriters and directors in contemporary cinema. The consequences, in terms of employment equality and on-screen representations, have been well documented. However, few studies interrogate the film industry from the point-of-view of the female practitioners themselves. Certainly, these issues have not been comprehensively explored in an Irish context; something which this paper, as part of a wider study on Irish women screenwriters and writer/directors, sets out to address.
 An analysis of three in-depth, exploratory interviews with produced female writers of film and television is presented here. The purpose of the interviews is to tease out the experiences, work practices, perceived barriers and narrative preoccupations of this underrepresented group. Although generalizations cannot be made on the basis of three interviews, many of the views expressed by these practitioners correspond to theoretical and empirical work emerging in the field. Other insights shed new light on aspects of women’s creative labour in the Irish film industry.

A movie must have a purpose and a message according to the directors’ vision and plans. There are many ways to convey the message to viewers around the world, explicitly or implicitly. Yet, every individual has their own perspective, ideology, opinion, and culture background, and this diffence results in different interpretation of a movie. Nevertheless, viewers can still analyze a movie with theories that has been studied for generations, for instance semiotics theory, feminist film theory, psychoanalysis, etc. We will analyze how Robby Ertanto, as the director, the writer, and the producer of Ave Maryam, conveys messages through symbols, or as we call it the semiotics theory.

- Between 1939 and 1946 Mexico City became one of the most important centers of attraction for European refugees. Many artists, writers, directors, philosophers and anti-fascist militants coming from Spain and Germany took refuge in the capital of Mexico. The author focuses on these two groups, highlighting common elements and main differences and taking the writer Max Aub and Egon Erwin Kish as an example. Using this as a case study, the essay develops a few methodological considerations on the opportunity to develop comparative studies on exile, overcoming the rigid classification and separation of single national cases.Parole chiave:guerra civile spagnola, esilio, Messico, repubblicani, comunisti, comparazione, storia transnazionale Spanish Civil War, exile, Mexico, Republicans, Communists, comparison, transnational History

Abstract Ferris Wheels seem to fascinate film-directors – notably Carol Reed in The Third Man (1949), based on Graham Greene’s story and script. Though Ferris Wheels figure less conspicuously in twentieth-century novels, Malcolm Lowry provides an exception in Under the Volcano (1947), a novel also comparable to The Third Man in other ways. One explanation might be that Greene simply drew on Lowry’s example when developing his film-script (later published as a novella) – work begun very shortly after Under the Volcano had appeared. More plausibly, each writer might be understood to have responded separately, though similarly, to the unique pressures of their age. Identifying how these stresses were represented in their work, through cognate symbologies, may suggest some productive ways of reading historically.

This investigation determined whether certain screenplay features can differentiate films directed toward artistic expression from those aimed at financial gain. The sample consisted of 1436 English-language, narrative films released between 1968 and 2002. The variables included 4 economic indicators, 5 movie award assessments, 2 composite critical evaluations, and 24 screenplay characteristics. A subset of those characteristics distinguished film as art from film as business. In particular, the two types could be distinguished according to the impact of sequels, adaptations (e.g., from plays), writer-directors (or “Auteurs”), genre (viz., dramas), and MPAA ratings (especially Restricted). These contrasts help explain why budget and box office variables fail to correlate with the most important movie awards and are even negatively correlated with critical acclaim.

Spanish theatres are not prolific in the staging of Irish playwrights. However, the Northern Irish writer Brian Friel (1929-2015) has been a curious exception, his plays having been performed in different cities in Spain since William Layton produced Amantes: vencedores y vencidos (Lovers: Winners and Losers) in 1972. The origin of Friel’s popularity in this country may be attributed to what many theatre directors and audiences considered to be a parallel political situation between post-colonial Ireland and the historical peripheral communities with a language other than Spanish: Catalonia, the Basque Country and Galicia; the fact is that the number of Catalan directors who have staged works by Friel exceeds that of any other territory in Spain. However, despite the political identification that can be behind the success of a play like Translations (1980), the staging of others with a subtler political overtone, such as Lovers (1967), Dancing at Lughnasa (1990), Molly Sweeney (1994), Faith Healer (1979) and Afterplay (2001), should prompt us to find the reason for this imbalance of representation elsewhere. By analysing the production of the plays, both through the study of their programmes and interviews with their protagonists, and by scrutinising their reception, I have attempted to discern some common factors to account for the selection of Friel’s dramatic texts.

The famous director Giuseppe Tornatore was born in beautiful Sicily, Italy, and has a high reputation among international film directors as the inheritor of Italian neorealism. His Time Trilogy is the foundation of his position in the film industry, Cinema Paradiso, The Beautiful Legend of Sicily, and The Legend of 1900, all of which have a strong romantic style. With his warm and realistic approach, Tonatore’s romantic yet cruel stories have touched countless audiences. In a sense, every work of a writer or a director has autobiographical overtones in it. Many of his works are strongly biographical, and the documentary style in his films is his way of asserting himself. This article will take his films as an entry point to explore the artistic approach and ideological qualities of Tonatore’s cinema.

Based on archival documents and materials of M. Gorky’s personal library, the article examines the question of the writer’s attitude to German expressionism, the brightest trend in German art of the early twentieth century. The facts of Gorky’s creative and personal contacts with leading German theater directors M. Reinhardt and E. Piscator, with revolutionary expressionist writers I. Becher, E. Toller, etc. Аre considered, the interest of the Russian writer in various types of German expressionist art is revealed: literature, theater, cinema and painting. The analysis of Gorky’s works in the context of the work of the German Expressionists reveals a certain similarity in their ideological and aesthetic views, reveals their common anti-war, protest and humanitarian pathos aimed at protecting the human person suffering in the world deformed by wars and revolutions.

The article deals with the new project — the Internet portal Dostoevsky and the World, launched by the Pushkin House for the 200th anniversary of the writer’s birth. The work offers the basic information on the project. The Internet resource that would host the most representative examples of the reception of Dostoevsky’s personality and work in various epochs and in various countries is a great way to familiarize the modern reader with the wide scope of interest in Dostoevsky in the past and present. The project focuses on the non-academic reception, philosophical and aesthetic interpretations, the attitudes of public fi gures, writers, stage and movie directors, publicists, etc. The collection of case studies of Dostoevsky’s reception by today’s cultural fi gures, as well as the publication of the previously unknown writer-related sources of the past years, are of particular importance.

John Barrymore's Hamlet, first seen in New York during the season of 1922–23, stands as a high-water mark of Shakespearean interpretation during the inter-war period. But although biographical studies of the actor and his family have appeared steadily over the years, little effort has been made to situate Barrymore's distinctive contribution to the acting of the character within the broader context of nineteenth-and twentieth-century Shakespearean production. Here Michael A. Morrison examines the circumstances surrounding Barrymore's visit to London with his Hamlet in 1925, and the far-reaching influence of his achievement on future generations of actors and directors. Michael A. Morrison is a New York-based writer and teacher, who is presently a doctoral candidate in theatre at the City University of New York, where he is preparing a study of Barrymore's work on Shakespeare.

Although some research suggests that negative judgments might be more complex and more potent than positive judgments, cinematic assessments may offer an instance of a genuine bipolar evaluative dimension. This is shown in an analysis of 877 feature films that received positive (Oscars) or negative (Razzie) recognition in the categories of best/worst picture, director, male and female lead, male and female supporting actor, screenplay, and original song (whether nomination or actual award). These assessments were compared with film critic evaluations, financial and box office data, and several relevant cinematic attributes (e.g., literary adaptations, writer-directors, biopics, sequels, remakes, film genres, runtime, and Motion Picture Association of America ratings). Analyses indicated that negative assessments were largely the inverse of positive assessments, with similar weights being assigned to most cinematic attributes. However, the negative judgments were somewhat less consequential regarding those same attributes.

Maxim Gorky’s person has become a legend already during the writer’s life, and his perception has been ideologized both in Russia and abroad. This is evidenced by the analysis carried out in the article reception Gorky’s drama in Poland, the most important phase of which was determined by the changing political situation. The reception has changed substantially: from the spontaneous popularity of the Russian writer at the turn of the 19th and 20th centuries through ambivalence in the interwar period, forced apotheosis after World War II to marginalization after 1989 and reinterpretation attempts in recent times. As the analysis shows, a significant part of Gorky’s plays has survived the difficult test of time. These literary works, for many directors and spectators, are a carrier of universal values, while the author is considered a classic of Russian dramaturgy.

This paper discus the minimalism elements of scenography in selected plays by five writer/directors of Malay alternative theatre in Stor Teater DBP during 2003 and 2014. The plays selected from difference background of writer/directors in theatre such as Dinsman, Nam Ron, A Wahab Hamzah, Fasyali Fadzly, and Aloy Paradoks. This study uses illustrated case study method which is a descriptive case study that usually uses one or two example events (in the context of this study is Malay alternative theatre) to explain the situation. A study of the play texts was made on five informants, the authors-directors of the ten staged performances at the Stor Teater DBP (Dewan Dewan Bahasa dan Pustaka), Kuala Lumpur from 2003 to 2014. The minimalism concept in the aspect of scenography is seen in line with the physical requirements found in the Stor Teater DBP as a small capacity space (black box). Hence, it makes artistic arrangements such as sets, lighting design and costumes primarily in a distinctive style as a form of Malay alternative theatre. Additionally, this paper also looks at the extent to which their design ideas can articulate artistic values and bring in any new theater elements in contemporary play in space and funding constraints.Keywords: Theatre, Minimalism, Scenography, Malay Alternative Theatre, Performing Arts KONSEP MINIMALISME DALAM ASPEK SINOGRAFI TEATER ALTERNATIF MELAYU DI STOR TEATER DBPAbstrakArtikel ini bertujuan membincangkan mengenai ciri-ciri konsep minimalisme yang dianalisis berdasarkan teater-teater alternatif Melayu terpilih yang dipentaskan di Stor Teater DBP pada tahun 2003 hingga 2013 iaitu di antara kewujudan panggung tersebut sebelum ditutup pada tahun 2014. Pementasan-pementasan teater terpilih diambil dari karya penulis/pengarah yang mempunyai latar belakang daripada pelbagai segi faktor umur, pendidikan dan pengalaman mereka dalam dunia teater seperti Dinsman, Nam Ron, A Wahab Hamzah, Fasyali Fadzly, dan Aloy Paradoks. Kajian ini menggunakan pendekatan kajian kes ilustrasi iaitu kajian kes deskriptif yang biasanya menggunakan satu atau dua contoh peristiwa (dalam konteks kajian ini adalah teater alternatif Melayu) untuk menerangkan keadaan. Kajian terhadap teks persembahan dilakukan terhadap lima orang informan iaitu penulis-pengarah bagi sepuluh pementasan yang pernah dipersembahkan di Stor Teater Dewan Bahasa dan Pustaka, Kuala Lumpur dari tahun 2003 hingga 2014. Hasil penyelidikan yang diperoleh bahawa konsep minimalisme dalam aspek sinografi dilihat sejajar dengan keperluan fizikal yang terdapat di Stor DBP sebagai sebuah panggung berkapasiti kecil yang dipanggil kotak hitam (black box). Justeru, konsep tersebut menjadikan ia sebagai penataan artistik seperti set, pencahayaan dan kostum terutama berada dalam satu gaya yang tersendiri sebagai ciri-ciri sebuah bentuk teater alternatif Melayu. Selain itu, artikel ini juga melihat sejauh mana idea rekaan dalam keterbatasan ruang serta dana keuangan dapat mencetuskan nilai artistik dan sebarang unsur teaterikal baru dalam pementasan kontemporari.Kata kunci: Teater, Minimalisme, Sinografi, Teater Alternatif Melayu, Seni Persembahan

For the past 40 years, Peter Sellars has been one of the most innovative, eclectic and prolific directors in Western theatre. A deeply cultivated and politically committed practitioner whose vision and craft span a multitude of widely divergent theatrical traditions, genres and styles, Sellars has established his international reputation as a polymath in the performing arts. With more than 100 productions to his name, including community-based, transnational and transcontinental work, Sellars is known worldwide for his contemporary interpretations of canonical plays and operas that combine radical imagery, technical virtuosity, structural rigour, intellectual depth, social critique and moral intent. In this interview, he shares details about his collaboration with African American writer Toni Morrison and Malian musician Rokia Traoré in the creation of Desdemona (2012), a cross-cultural adaptation of William Shakespeare’s Othello, talking about theatre as ritual, directorial choices, acting as channelling and intertextuality.

Cai Luong is a unique stage art of Southern Vietnam and original cultural and artistic product of the nation. Over 100 years of existence and development, today’s Cai Luong is a new trend in the era of international integration. Within the scope of this paper, the writer analyses and evaluates this type of art based on data collected and recorded during the field trips in the Southern Vietnam region (since 2014 up to present). This research finding reflects the real life of Cai Luong in the South and proposes the solutions. Specifically, from difficulties and challenges identified by the authors, directors, audiences of Cai Luong, this paper proposes the practical solutions in two aspects: cultural and artistic management and application of interdisciplinary studies into subjects such as Literature, Cultural studies and Arts studies toward preserving and developing the values of cultural heritage of the Cai Luong stage in the contemporary context.

This article provides a short and accessible account of the whole life-span of The Scottish Council for Research in Education (SRCE), an institution that played a key role in developing educational research in Scotland and setting standards for it. It began through the efforts of many voluntary workers and developed into an organisation operated by professional researchers but governed by a Council representing all aspects of education in the country. Accounts are given of its growth and development, of the policies of each of its six successive directors, of some of its more notable projects, and of some of the factors that contributed to its final decline. The article has drawn on not only published matter but the first-hand knowledge of two “insiders”, J G (Ian) Morris at the Scottish Education Department (SED)’s Research and Intelligence Unit and the present writer at SCRE.

Abstract Postwar Italian historiography tended for decades to exclude colonialism from national history, and the country largely forgot its colonial past. The interconnections between the academic schools and anthropological scholarly theories that focused on the Horn of Africa during Italian colonialism and twentieth century Italian literary and cinematic representations of the Horn and the Red Sea have been understudied and underestimated. This article will argue that during Italian colonialism, Italy and the Horn of Africa were interconnected through the Mediterranean and Red Sea by scholarly, literary, cultural religious, and imaginary links that contributed to the construction of a "Mediterranean Africa," based on genetic continuities and the legacies with Latin antiquity and ancient Roman values. Such baggage affected or was affected by the building of Italian-ness after the country’s unification, Italy’s self-representation, the country’s Southern question, and its articulation of "modernity." As this article will show, the construction of "Mediterranean Africa" influenced the Italian literary and cinematic representations of Northeast Africa, throughout the 20th century; from the founder of Futurism—the Egypt born writer Filippo Tommaso Marinetti—in the first four decades of the century, to the leftist writer and filmmaker Pier Paolo Pasolini, in the 1960s and 1970s. The problematic transnational links constructed between Italy, the Horn of Africa, and the Red Sea would also surface in the works of the most prominent film directors during Fascism, Alessandro Blasetti and Mario Camerini, and other important writers, like Giovanni Comisso, Ennio Flaiano and Giorgio Manganelli.

Clara Law (Law Cheuk-yiu) has amassed a substantial body of work as a writer and/or director, with upward of twenty feature credits between 1985 and 2015. Starting with her early Hong Kong–based films addressing sexuality, The Reincarnation of Golden Lotus (Pan Jin Lian zhi qian shi jin sheng, 1989) and Temptation of a Monk (1993), Law embraced transnational cinema through invitations and awards from major international film festivals, as well as participating in Erotique (1994), a compilation film with multinational contributors. Her work insistently interrogates the interconnections among concepts of Asia, transcultural migrations, and filmmaking practice through narratives that exceed “Chineseness” both in terms of culture and ethnicity, and in terms of expectations for Asian women directors. Reconfigurations of sexual and cultural identity, and geopolitical correspondences and differentiations, consistently recur in her filmic narratives, as characters encounter new personal, cultural, racial and ethnic formations in the wake of geopolitical transmigrations.

Post-Soviet era directors have been searching for the new aesthetic footholds in the images of Gogol’s works. Starting from pure satire denouncing the pre-revolutionary system, they have moved on to the absurdist grotesque. This was significantly influenced by the discoveries of Gogol scholars in the 1990s–2000s and the actualization of the interpretations of Gogol’s works created at the turn of the 19th–20th centuries, which were inconceivable for Soviet literary criticism Screen adaptations have been affected both directly—by theatrical productions of Gogol’s oeuvre, and indirectly—by a long tradition of stage appeals and directors’ decisions on his stories. The transfer of Gogol’s dramaturgy into the 21st century gave film directors and screenwriters the opportunity to maximize the relevance and social sensitivity of the plots. In the 21st century, the theme of an inspection as an image of the Last Judgment has been transformed into a semblance of a police detective. Most of the characters are related to the police or special services, to investigations, to real retribution. While for Gogol the idea of judgement lies in the moral plane, in post-Soviet interpretations it is usually associated with earthly requital, and an extremely explicit one, tailored to a crime TV series audience. Against such a background, Grigory Konstantinopolsky’s film adaptation of Dead Souls summarizes a decade of Gogol film interpretations. The story of Chichikov blatantly accumulates and travesties the previous tradition of presenting Gogol’s detective plots. The film actualizes the issue of a positive hero, the problem of memory transformation, and cinema’s responsibility to the society in the period of losing its literature-centeredness. The transformation of the spiritual and intimate life of Gogol’s contemporaries, which was the most important theme for the writer, was also updated in a number of motifs: the lack of foundations for understanding between loving people (Marriage, 2009), the displacement of traditional gender roles (Happy Ending, 2010), the privatization of national memory, and summing up the unformed aesthetics of the new Russian cinema by the “lost generation” of the ‘90s (Dead Souls, 2020).

In the presented article, the author analyzes the historical stages of development of one of the oldest literary museums in the Republic of Tatarstan, the “Kazan Museum of A. M. Gorky” (now “Museum of A. M. Gorky and F. I. Chaliapin”), in the context of the institution’s directors who were appointed by higher party bodies. Many appointees lacked experience in the museum sphere and did not have the corresponding educational background. This format of selecting candidates for key positions was characteristic of the Soviet period and was a kind of model for managing culture. However, the activities of the leaders of the museum — “appointees”, the intensive development of areas of work and dedication to the chosen profession influenced the formation of a special museum space in the republic, which united representatives of science, art, and outstanding writers of the region. The article emphasizes the special role of one of the first directors of the museum, Maria Nikolaevna Elizarova, who was not only a principled communist, but also a writer who led the museum for almost four decades and laid the foundations for its development strategy for many years. Elizarova’s cultural initiatives, as well as her predecessors’ and followers’, were significant in preserving the historical and cultural heritage of the region. Given the lack of existing facts on the history of the “Kazan Museum of A. M. Gorky”, and the activities of its employees, the material presented in the article is able to fill historical gaps and form a general idea in regard to the outstanding personalities who stood at the helm of the museum.

China is a traditional civil law country which is adopting the continental law system. Many laws, including the general principles of civil law and contract law, are reproduced from European countries, namely Germany. The Chinese Company law is not the exception, the supervisory board system which is originated from Germany has also been incorporated into Chinese Company Law regime. Instead of simply relying on the German system, the Chinese authority has also made reference to the common law jurisdiction to extract some applicable concepts to enhance the corporate governance standard, different kinds of common law corporate governance measures such as the independent director system and the piercing of corporate veil system have been incorporated into the Chinese legal framework. Nevertheless, despite certain measures have been adopted by the authority, the writer is of the opinion that the aforementioned measures are not capable to address the conflict of interest. In particular, board of directors may be influenced, if not controlled, by controlling shareholders, especially when the company was originally a State Owned Enterprise, and also controlled by insider, for instance the key influential person of the company or the Chinese society. Therefore simply adopting the shareholder primacy approach would not be fruitful for development of the corporate governance standard in China. The writer is of the opinion that the stakeholder approach should be considered by the Chinese authority and the relevant rules should be incorporated into the law to facilitate its implementation. This would alleviate the problem of form over substance such as the supervisory organs simply become a decorative organ and would avoid the decision making organ from improper influence.

PT Nakami Kinema Cemerlang is one of Indonesia`s telecommunication infrastructure contractor company. The company business’ process is into BTS (Base Transceiver Station) infrastructures projects, which engaged in the construction and erection of telecommunication towers, BTS CME works and SITAC projects. Currently, the company is faced with the issues in negligence according to account receivable recording and billing processes. these are because the performance on the current system is not maximized in terms of efficiency and effectiveness. Therefore, the writer will conduct an analysis on the existing system and to design a proposed new system. The new Accounting Information Systems on Sales, Receivables, and Cash receipts will cover the process of recording documents on the project contracts, project sales orders, demand for material requirements, the status updates of project development, billing progress for the completed project phases right up to the receipt payments. By the data processing, information will be presented in the form of reports to managers in need of management purposes and board of directors to support decision making.

Pirandello as professional spectatorAbstractLuigio Pirandello’s drama were unfailingly popular with Polish directors between the beginningof the 1960s until the 1970s. Native creators have undertaken dramas from differentperiods of the Nobelist’s output and covering various topics – bourgeois comedy to metatheatricalworks. Most probably those do not include all that were staged then.It appears that an increased interest in the author is to be connected with the 25th anniversaryof his death, as is suggested by Mieczysław Brahmer in the 1961 Tak jest, jak się państwu zdaje(directed by Zofia Wiercińska).The fact that both then and now critics and researchers in the majority of cases assumed, notnecessarily consciously, they are writing about an artist that is mainly a writer and only thena critic of stage productions of his dramas and a stage producer for his own texts is significant.As a consequence they focused mainly on deconstructing the “pirandellism” condemned byBrahmer, in particular on its canonical interpretation by Adrian Tilgher. Therefore, the followingquestion comes to mind: what kind of interpretations are possible when Pirandello’sworks (especially the first part of the so-called trilogy of “theatre in a theatre” which consistsof Six Characters in Search of an Author, Each In His Own Way and Tonight We Improvise) areconsidered from the perspective of purpose, that is individual theatrical activity of Pirandelloas a co-founder, principal and stage producer of Teatro D’Arte in Rome (in operation between1924 and 1928). The present article attempts at showing the possible direction of a search foran answer to said question with the starting point being the 1962 production of Sześć postaciscenicznych w poszukiwaniu autora (Six Characters in Search of an Author) directed by MariaWiercińska in Stefan Jaracz Theatre in Łódź.Keywords: Pirandello in Poland, Maria Wiercińska, first theatre directors in Italy

An international language of interethnic communication emerges from Dostoevsky’s novels published in translations. The signifi cance of the pronouncements by various foreign cultural fi gures concerning the Russian writer is determined by the fact that today they shape the public opinion of tomorrow. They focus on Dostoevsky’s relevance for modern life, the universality and accessibility of his work for various periods and cultures. The multifaceted human nature, as refl ected in the works by Dostoevsky, is particularly obvious in the fact that various cultural fi gures see the writer’s various protagonists as the most compatible ones with the spirit of our time. The stage directors’ and moviemakers’ creative dialogue with Dostoevsky does not negate the fact that the value of his own „mes-sage“ is much greater than the aesthetic impact of the works of art he has inspired. The „dispute“ about Tolstoy and Dostoevsky has not been ignored either. According to the art activists of today, Dostoevsky novels help to shape the picture of Russia and the Russian folk. At the same time, though, they offer a true and profound picture of humanity and human nature in general.

To write of the situation of the dramatic author in present-day France is no easy task, since, inevitably, it involves making a largely negative report. Traditionally, the text in the theatre has been king; in schools and in universities, plays are above all read, and it is often – though perhaps not often enough – a revelation to those who study them to discover that the texts written by, say, Racine or Shakespeare, take on a different kind of existence when they are made flesh in the theatre. One of the qualities of such theatre is, of course, that it can be read and appreciated without any form of mediation, such as that provided, for example, by actors or directors. And it is perhaps odd that we may arguably derive as much from reading the plays of a Giraudoux, for whom the critical collaboration of his director, Louis Jouvet was crucial, as from seeing them performed. Could it be that the partnership of such a self-conscious writer with so committed a practical man of the theatre represents some kind of golden age in the relationship between the author and the director?

During the heyday of the studio system in Japan in the 1950s, Mizuki Yōko (1910–2003) was one of Japan’s most prominent and celebrated screenwriters. Despite screenwriting being a markedly homosocial profession, Mizuki forged a remarkable career as a freelance writer, working both for major studios and independent productions. Her collaboration with directors such as Naruse Mikio and, above all, Imai Tadashi resulted in a string of critically acclaimed films. While Imai’s films were lauded by contemporary critics, his approach to directing has subsequently been regarded, especially by western scholars, as somewhat impersonal and his sympathies too leftist. Conversely, these social issue (shakaiha) films, often based on original screenplays by Mizuki, scrupulously displayed the anxieties and ambiguities of the post-war era when the social fabric of Japan was radically reconfigured as its people embraced the newly imported values of democracy and consumerism. In this article, I examine the contributions of Mizuki to the oft-neglected oeuvre of Imai and social issue film in particular. I argue that besides pointing at the capacity and bounds of narrative cinema to engage with timely and sensitive social topics, Mizuki’s working methods underline a screenwriter’s awareness of her own agency in filmmaking.

Abstract This article engages the metaphor of showrunner as auteur to examine freedom of expression in television. News articles offer the metaphor of showrunner as auteur, with Hollywood journalists discussing the writer-producers of the new Golden Age of Television. Media convergence, including cable and digital technologies, has disrupted traditional TV organisations and power brokers, bringing about a renaissance. Jenkins (2006) challenges scholars to see media convergence in terms of voice and participation, rather than technology. Following Jenkins, this study engages auteur theory, and Marshall McLuhan’s analysis of the medium and the message, to better understand TV showrunners. Critical insights from Marx and Bourdieu are considered with regard to the interplay of cultural and economic forces. The analysis compares earlier film directors-Jim Jarmusch and the Coen Brothers-with showrunners of the cable and digital era, including David Chase, the Wachowskis, David Benioff, and Diablo Cody. Because of disruptive technologies, TV showrunners are able to break free from media restraints and bridge the culture/economy binary that structures TV as a field of production. No longer bound by broadcast censorship and scheduled programming, TV showrunners are producing shows that express their signature messages, transforming TV into a cinematic experience.

In order to locate and contextualise the space women filmmakers occupy in what I refer to as New Pakistani Cinema (NPC), this article highlights the eight women directors of NPC, whose films were released between 2013 and 2018: Afia Nathaniel, Iram Parveen Bilal, Meenu Gaur, Mehreen Jabbar, Momina Duraid, Sabiha Sumar, Sharmeen Obaid-Chinoy and Shazia Ali Khan. In doing so, this article also touches upon women working behind the scenes as producers and writers (often in multiple roles on the same film as director, producer and/or writer) to illustrate how women filmmakers have played a key role in establishing NPC in its early years. Starting with initial releases in 2013, NPC functions within a complex terrain, informed in part by new industry players, the crossing of borders in the production of films, the role of foreign content in Pakistani cinemas and an engagement with regional and global themes situated within a local context. Therefore, NPC and the evolving cinema culture that surrounds it demand unique and innovative forms and avenues of production, distribution and exhibition, along with distinct emerging imaginaries that are an amalgamation of the local, national, regional and global. It is within the temporal and spatial intersections of these different processes that we can begin to situate these women filmmakers.

Edwin (Eddie) Ellis is President of the Community Justice Center, Inc., an anti-crime research, education, and advocacy organization located on 125th Street in Harlem, New York. A target of the FBI's Counter Intelligence Program (COINTELPRO) for his Black Panther Party activities, Ellis served 25 years in various New York State prisons. While he was in prison, he earned a Masters degree from New York Theological Seminary, a Bachelor's from Marist College and a paralegal degree from Sullivan County Community College. Widely recognized as a writer, lecturer, and community activist, Ellis is credited with the successful public dissemination of the research findings of the Think Tank, a group of prisoners from Greenhaven Correction Facility which established that 75% of the prisoners in New York State come from seven neighborhoods in New York City. Eddie Ellis is a fellow of the Bunche Dubois Institute for Public Policy at Medgar Evers College/CUNY, serves on the Board of Directors of Center for Law and Justice in Albany, NY, is a member of the Drug Policy Task Force, The Vera Institute IRB, and the National Criminal Justice Commission. This interview took place in the offices of the Community Justice Center on August 6, 1997.

In this article I focus my attention on the archetype of women in Sardinian cinema. First of all, I explain the definition of the cinematographic movement which dominates Sardinia and I try to find the answer if Sardinian cinema cinema sardo exists. The next part of this paper shows the division of the cinema in Sardinia into two categories: seen from an external perspective by authors originating off the island and its culture, defined as hetero-representation, and seen from an internal point of view, developed by directors born and culturally raised in Sardinia, defined as self-representation.In the second part of the paper, I write about the term il deleddismo, which means the picture of Sardinia seen by the writer Grazia Deledda. Gianni Olla uses this term with reference to the cinema, il deleddismo cinematografico, as a way to enter the Sardinian world from the cinematic point of view. In early Sardinian cinema, stereotypes aimed at educating society and in the case of women by the merits of 20th-century ideology — to show them how they should behave. In recent decades this has not changed completely, but the figure of the modern woman is more often shown as the main character, who possesses far more power than her predecessors.

Teachers are people who educate, guide and take responsibility in forming a Muslim student personality in this case is morality. The teacher is not only someone who stands in front of the class to transfer knowledge, but the teacher is also an example in everyday life both in the community and in the family. While the role is the overall behavior that must be done by the teacher in carrying out his duties as a teacher.
 This study aims to find out what the roles of Islamic religious teachers are in shaping the Muslim personality of MI Manarul Huda Sukoanyar Wajak student. This research is a field research with a qualitative approach implemented at MI Manarul Huda Sukoanyar Wajak. Aspects in this study are the role of Islamic religious teachers in shaping the Muslim personality of MI Manarul Huda Sukoanyar Wajak students and the behavior of students in the school environment both towards teachers and peers.
 The author uses data collection techniques by means of observation, interviews, and documentation. In describing the results of the interview, the writer used observation and documentation as reinforcement of the data obtained from the interview results on the role of religious teachers in forming a good Muslim student personality according to shari'ah in this case morals close.
 The findings in this study are that in educational institutions the role of Islamic religious teachers as motivators, directors, controllers, and guides. In realizing students who have good Muslim personalities, MI Manarul Huda's teacher is very good at carrying out his role. They all become motivators, directors, controllers and guides in the school environment. For example, the teacher leads students to behave respectfully and belonging good manners to the entire existing academic community. Students who violate will be subject to sanctions as a form of preventing the same thing from happening.
 Keywords: Role of Teacher, Muslim Person

Introduction Historically, nearly all relapses in classical Hodgkin lymphoma (cHL) occur within the first 5 years (Radford et al, BMJ 1997). In the phase 3 ECHELON-1 study (NCT01712490), treatment with brentuximab vedotin, doxorubicin, vinblastine, and dacarbazine (A+AVD) significantly improved modified progression-free survival (PFS) in patients (pts) with newly-diagnosed Stage III/IV cHL compared with doxorubicin, bleomycin, vinblastine, and dacarbazine (ABVD) (Connors et al, NEJM 2018). 3- and 4-year follow-up (Straus et al, Blood 2020; Bartlett et al, Blood 2019) reported durable PFS benefit with A+AVD vs ABVD in the intent-to-treat (ITT) population that was consistent across most key pt subgroups, irrespective of interim positron emission tomography (PET) scan status, disease stage, and baseline disease risk factor score. We report updated efficacy and safety results for pts in the ECHELON-1 study after a median follow-up of 55.6 months. Methods In this evaluation of longer follow-up, an exploratory analysis of PFS (time from randomization to relapse, progression, or death from any cause) per investigator (INV) was conducted, with a cutoff date of May 18, 2020. Pts with previously untreated Stage III or IV cHL were randomized 1:1 to receive up to six cycles of A+AVD (n=664) or ABVD (n=670) intravenously on days 1 and 15 of a 28-day cycle. An interim PET scan after cycle 2 (PET2) was required. Resolution and improvement (defined as improvement by ≥1 grade from worst grade as of the latest assessment) of peripheral neuropathy (PN) in pts with ongoing symptoms at the end of treatment (EoT) were monitored during the extended follow-up period. The rate of secondary malignancies, and the incidence and outcomes of pregnancies among pts and their partners were also assessed. Results With extended follow-up (median 55.6 months; 95% CI 55.2-56.7) estimated 5-year PFS rates were 82.0% (95% CI 78.7-84.8) for A+AVD and 75.2% (95% CI 71.5-78.4) for ABVD. Overall, PFS per INV favored A+AVD over ABVD (HR 0.691; 95% CI 0.543-0.880; p=0.003) (Table). Exploratory subgroup analyses by PET2 status and age demonstrated PFS benefits regardless of PET2 status (Table); estimated 5-year PFS per INV with A+AVD vs ABVD in the ITT population was 84.7% vs 78.8% in PET2-negative pts (HR 0.676; 95% CI 0.512-0.892; p=0.005), and 60.6% vs 45.9% in PET2-positive pts (HR 0.703; 95% CI 0.393-1.256; p=0.230). PFS benefit with A+AVD over ABVD was also independent of the number of International Prognostic Factors Project (IPFP) risk factors (Figure). After a median follow-up of almost 5-years, 84% (370/442) and 86% (245/286) of pts with treatment-emergent PN reported complete resolution or improvement of symptoms in the A+AVD and ABVD arms, respectively. Median time to complete resolution of PN events that were ongoing at EoT was 30 weeks (range 0-262) in the A+AVD arm and 16 weeks (range 0-267) in the ABVD arm; median time to improvement was 49 weeks (range 8-270) and 12 weeks (range 2-70) , respectively. Of the 132 (30%) pts with ongoing PN in the A+AVD arm, 77 (17%), 39 (9%), 15 (3%) and 1 (<1%) experienced a maximum severity of grade 1, 2, 3 or 4, respectively. In the ABVD arm, PN was ongoing in 61 pts (21%); maximum severity was grade 1, 2, 3 or 4 in 40 (14%), 17 (6%), 4 (1%) and 0 pts, respectively. A total of 124 pregnancies were reported among pts and their partners (40 female and 30 male pts in the A+AVD arm; 26 female and 28 male pts in the ABVD arm). The proportion of live births was similar between arms for female pts (26/40 in the A+AVD arm and 17/26 in the ABVD arm, 65% in each arm) and for male pts' partners (19/30 [63%] in the A+AVD arm and 20/28 [71%] in the ABVD arm). No stillbirths were recorded. Additional follow-up at an estimated median of ~5 years and secondary malignancy data will be presented. Conclusions After a median follow-up of 55.6 months, A+AVD continues to demonstrate a robust and durable treatment benefit independent of disease stage, risk factor score, and PET2 status. In addition, compared with ABVD, treatment adaptation by interim PET2 status is not required and bleomycin exposure is avoided. The sustained PFS benefit with A+AVD is coupled with a manageable safety profile with symptoms of PN improving or resolving over time and similar pregnancy rates in both treatment arms. The benefits observed with A+AVD at this important milestone suggest that A+AVD is an attractive treatment option for all pts with previously untreated Stage III or IV cHL. Disclosures Straus: Karyopharm Therapeutics: Membership on an entity's Board of Directors or advisory committees; Imedex, Inc.: Speakers Bureau; Targeted Oncology: Consultancy, Speakers Bureau; NY Lymphoma Rounds: Consultancy; Takeda Pharmaceuticals: Research Funding, Speakers Bureau; OncLive: Speakers Bureau; Elsevier: Membership on an entity's Board of Directors or advisory committees, Other: CME writer; ASH: Other: Conference in December 2019 on HL to other physicians during ASH; Seattle Genetics: Consultancy, Membership on an entity's Board of Directors or advisory committees. Connors:Seattle Genetics: Other: Sponsorship to educational presentations; Takeda: Other: Sponsorship to educational presentations. Illés:Takeda, Seattle Genetics: Research Funding; Novartis, Janssen, Pfizer, Roche;: Other: Travel, Accommodations, Expenses; Janssen, Celgene, Takeda, Novartis Pharma SAS, Pfizer Pharmaceuticals Israel, Roche;: Consultancy, Honoraria; Celgene, Janssen, Novartis,Roche, Takeda: Consultancy. Lech-Marańda:Roche, Novartis, Takeda, Janssen-Cilag, Amgen, Gilead, AbbVie, Sanofi: Consultancy; Roche, Amgen, Gilead: Speakers Bureau. Feldman:KITE: Honoraria, Speakers Bureau; Abbvie: Honoraria, Speakers Bureau; Morphosis: Other: Ad board; AstraZeneca: Other: Ad board; BMS/Celgene: Consultancy, Honoraria, Speakers Bureau; Seattle Genetics: Consultancy, Speakers Bureau; Janssen: Honoraria, Speakers Bureau; Pharmacyclics: Honoraria, Speakers Bureau; Takeda: Honoraria, Speakers Bureau. Smolewski:Roche Poland: Consultancy, Honoraria; Takeda: Consultancy, Honoraria; Sandoz: Honoraria; Morphosis: Honoraria. Savage:Roche (institutional): Research Funding; Merck, BMS, Seattle Genetics, Gilead, AstraZeneca, AbbVie, Servier: Consultancy; BeiGene: Other: Steering Committee; Merck, BMS, Seattle Genetics, Gilead, AstraZeneca, AbbVie: Honoraria. Bartlett:Pfizer: Consultancy, Membership on an entity's Board of Directors or advisory committees, Research Funding; Pharmacyclics: Research Funding; Seattle Genetics: Consultancy, Research Funding; Roche/Genentech: Consultancy, Research Funding; Seattle Genetics: Membership on an entity's Board of Directors or advisory committees, Research Funding; BTG: Consultancy; Acerta: Consultancy; Affimed Therapeutics: Research Funding; ADC Therapeutics: Consultancy; Autolus: Research Funding; BMS/Celgene: Research Funding; Forty Seven: Research Funding; Immune Design: Research Funding; Janssen: Research Funding; Kite, a Gilead Company: Research Funding; Merck: Research Funding; Millennium: Research Funding. Walewski:Gilead: Consultancy, Honoraria; Servier: Consultancy, Honoraria; BMS: Consultancy, Honoraria; Celgene: Consultancy, Honoraria; Amgen: Consultancy, Honoraria; Abbvie: Consultancy, Honoraria; Takeda: Consultancy, Honoraria, Research Funding; Roche: Consultancy, Honoraria, Other: Travel Support, Research Funding; Novartis: Consultancy, Honoraria, Research Funding; Janssen: Consultancy, Honoraria, Research Funding; GSK: Research Funding. Ramchandren:Janssen: Research Funding; Pharmacyclics LLC, an AbbVie Company: Consultancy, Research Funding. Zinzani:Eusapharma: Consultancy, Speakers Bureau; Gilead: Consultancy, Honoraria, Membership on an entity's Board of Directors or advisory committees, Speakers Bureau; Portola: Consultancy, Membership on an entity's Board of Directors or advisory committees, Research Funding, Speakers Bureau; Immune Design: Consultancy, Membership on an entity's Board of Directors or advisory committees, Speakers Bureau; Celgene: Consultancy, Membership on an entity's Board of Directors or advisory committees, Speakers Bureau; Kyowa Kirin: Consultancy, Speakers Bureau; MSD: Consultancy, Membership on an entity's Board of Directors or advisory committees, Speakers Bureau; Servier: Consultancy, Honoraria, Membership on an entity's Board of Directors or advisory committees, Speakers Bureau; AbbVie: Honoraria, Membership on an entity's Board of Directors or advisory committees, Speakers Bureau; BMS: Consultancy, Honoraria, Membership on an entity's Board of Directors or advisory committees, Speakers Bureau; Takeda: Honoraria, Membership on an entity's Board of Directors or advisory committees, Speakers Bureau; Immune Design: Membership on an entity's Board of Directors or advisory committees, Speakers Bureau; TG Therapeutics, Inc.: Honoraria, Speakers Bureau; Janssen: Consultancy, Honoraria, Speakers Bureau; EUSA Pharma: Consultancy, Honoraria, Membership on an entity's Board of Directors or advisory committees, Speakers Bureau; Kirin Kyowa: Honoraria, Membership on an entity's Board of Directors or advisory committees, Speakers Bureau; ADC Therapeutics: Honoraria, Membership on an entity's Board of Directors or advisory committees, Speakers Bureau; Verastem: Consultancy, Honoraria, Membership on an entity's Board of Directors or advisory committees, Speakers Bureau; Celltrion: Consultancy, Membership on an entity's Board of Directors or advisory committees, Speakers Bureau; Janssen-Cilag: Consultancy, Membership on an entity's Board of Directors or advisory committees, Speakers Bureau; Sandoz: Consultancy, Membership on an entity's Board of Directors or advisory committees, Speakers Bureau; Merck: Honoraria, Membership on an entity's Board of Directors or advisory committees, Speakers Bureau; Sanofi: Consultancy, Membership on an entity's Board of Directors or advisory committees; Incyte: Honoraria, Membership on an entity's Board of Directors or advisory committees, Speakers Bureau; Roche: Consultancy, Honoraria, Membership on an entity's Board of Directors or advisory committees, Speakers Bureau. Hutchings:Celgene, Genmab, Janssen, Novartis, F. Hoffmann-La Roche, Takeda: Research Funding; Genmab, F. Hoffmann-La Roche, Takeda: Consultancy, Honoraria, Membership on an entity's Board of Directors or advisory committees. Munoz:Juno/Celgene/BMS: Consultancy, Research Funding, Speakers Bureau; Alexion: Consultancy; Beigene: Consultancy, Speakers Bureau; Fosunkite: Consultancy; Innovent: Consultancy; Acrotech/Aurobindo: Speakers Bureau; Verastem: Speakers Bureau; AstraZeneca: Speakers Bureau; Kyowa: Consultancy, Honoraria, Speakers Bureau; Janssen: Consultancy, Research Funding, Speakers Bureau; Seattle Genetics: Consultancy, Honoraria, Research Funding, Speakers Bureau; Genentech/Roche: Research Funding, Speakers Bureau; AbbVie: Consultancy, Speakers Bureau; Merck: Research Funding; Portola: Research Funding; Incyte: Research Funding; Millenium: Research Funding; Pfizer: Consultancy; Kite, a Gilead Company: Consultancy, Research Funding, Speakers Bureau; Pharmacyclics: Consultancy, Research Funding, Speakers Bureau; Bayer: Consultancy, Research Funding, Speakers Bureau. Kim:JJ: Research Funding; Celltrion: Research Funding; Kyowa Kirn: Research Funding; Donga: Research Funding; Mundipharma: Research Funding; Pfizer: Research Funding; F. Hoffmann-La Roche: Research Funding. Advani:Astra Zeneca, Bayer Healthcare Pharmaceuticals, Cell Medica, Celgene, Genentech/Roche, Gilead, KitePharma, Kyowa, Portola Pharmaceuticals, Sanofi, Seattle Genetics, Takeda: Consultancy; Celgene, Forty Seven, Inc., Genentech/Roche, Janssen Pharmaceutical, Kura, Merck, Millenium, Pharmacyclics, Regeneron, Seattle Genetics: Research Funding. Ansell:Bristol Myers Squibb: Research Funding; Takeda: Research Funding; ADC Therapeutics: Research Funding; AI Therapeutics: Research Funding; Trillium: Research Funding; Affimed: Research Funding; Regeneron: Research Funding; Seattle Genetics: Research Funding. Younes:HCM: Consultancy; Daiichi Sankyo: Consultancy; Curis: Consultancy; BMS: Consultancy; Novartis: Consultancy; Epizyme: Consultancy; BioPath: Consultancy; AstraZeneca: Current Employment; Janssen: Consultancy; Takeda: Consultancy. Gallamini:Takeda: Other: Speaker. Liu:Takeda Pharmaceuticals: Current Employment. Little:Takeda: Current Employment, Current equity holder in publicly-traded company. Fenton:Seattle Genetics: Current Employment, Current equity holder in publicly-traded company. Fanale:Seattle Genetics: Current Employment, Current equity holder in publicly-traded company. Radford:GlaxoSmithKline: Current equity holder in publicly-traded company, Other: Spouse; AstraZeneca: Current equity holder in publicly-traded company, Other: Spouse; Takeda: Consultancy, Honoraria, Membership on an entity's Board of Directors or advisory committees, Research Funding, Speakers Bureau; Pfizer: Research Funding; ADCT: Consultancy, Membership on an entity's Board of Directors or advisory committees, Research Funding; BMS: Consultancy, Honoraria, Speakers Bureau; Novartis: Consultancy, Honoraria; Seattle Genetics: Honoraria, Membership on an entity's Board of Directors or advisory committees, Speakers Bureau.

American playwright, novelist, story and biography writer Gertrude Stein, with her avant-garde perception destructing the theatre conventions, became one of the inspiring playwrights for the experimental theater in the twentieth century. Stein's plays were interpreted by directors and performance artists from various disciplines such as painting, music, plastic arts and literature. When we look at her theoretical texts alongside her literary works, the concept of "continuous present" emerges as a strategy developed by Stein against the "tension" she feels due to the “syncopation” between the time of the audience and the time of the play in the conventional theater. The "nervousness" she felt towards the conventional theater also led Gertrude Stein to introduce a new definition of play. Gertrude Stein, whose literary activities can be examined under three periods, describes her plays written in the first period as "the essence of what happened". Contrary to the texts in the conventional theater, Stein gave works that could solve the time conflict in the theater through the "subversive" language she used in these early plays. She wrote without focusing on a story. Within the scope of this article, the use of “continuous present” is to be examined through Stein's play What Happened (1913) and the literary strategy developed by her is to be interpreted as a dramaturgical method that will help us understand the avant-garde plays.

This paper adopts a relevance theoretic approach to meaning making in theatrical texts and performances. Text-based theatrical performances are collaborative creative events, many of whose participants may never engage directly with an audience member, but all of whom are engaged in making and conveying meaning. Such texts communicate immediately to multiple audiences: readers, actors, directors, producers, and designers. They communicate less directly to the writer’s ultimate audience – the playgoer or spectator – through the medium of performance. But playgoers are not passive receptacles for interpretations distilled in rehearsal, enacted through performance, or developed in study and reflection. Rather, in the framework of communication postulated by relevance theory, the audience is an active participant in making meaning. I will briefly review a range of approaches to meaning making in theatre, and then outline my view of a relevance theoretic account of theatre texts and performances as related but distinct communicative acts. For Weimann (1992), discussing the German playwright, Heiner Müller, “language is first and foremost material with which the audience is expected to work so as to make and explore their own ‘experiences’” (p. 958). By contrast, T. S. Eliot characterised performances as ‘interruptions’ of the relationship between writer and audience; in ‘a true acting play’, he asserted, the actor added nothing (Eliot, 1924, p. 96). Campbell (1981) argues that “the theatre cannot gear its production to actual audiences”, as only the “finest and most appreciative of abstract audiences for that play” (p. 152) can properly grasp its meaning. For him, the disparate capacities, views, and expectations of a given audience present a profound challenge to theatre as communication. Connor (1999) addresses the same issue, pointing out that if readers can disagree about the meaning of a text, then spectators are even less likely to agree on what a given performance means (p. 417). Unlike Campbell, however, she regards this diversity as enriching, concluding that meanings “develop from co-production with spectators as subjects” (p. 426). Relevance theory provides a framework in which to begin to disentangle the overlapping and interacting, but equally vital, contributions of writer, company, and audience in making meanings.

This paper adopts a relevance theoretic approach to meaning making in theatrical texts and performances. Text-based theatrical performances are collaborative creative events, many of whose participants may never engage directly with an audience member, but all of whom are engaged in making and conveying meaning. Such texts communicate immediately to multiple audiences: readers, actors, directors, producers, and designers. They communicate less directly to the writer’s ultimate audience – the playgoer or spectator – through the medium of performance. But playgoers are not passive receptacles for interpretations distilled in rehearsal, enacted through performance, or developed in study and reflection. Rather, in the framework of communication postulated by relevance theory, the audience is an active participant in making meaning. I will briefly review a range of approaches to meaning making in theatre, and then outline my view of a relevance theoretic account of theatre texts and performances as related but distinct communicative acts. For Weimann (1992), discussing the German playwright, Heiner Müller, “language is first and foremost material with which the audience is expected to work so as to make and explore their own ‘experiences’” (p. 958). By contrast, T. S. Eliot characterised performances as ‘interruptions’ of the relationship between writer and audience; in ‘a true acting play’, he asserted, the actor added nothing (Eliot, 1924, p. 96). Campbell (1981) argues that “the theatre cannot gear its production to actual audiences”, as only the “finest and most appreciative of abstract audiences for that play” (p. 152) can properly grasp its meaning. For him, the disparate capacities, views, and expectations of a given audience present a profound challenge to theatre as communication. Connor (1999) addresses the same issue, pointing out that if readers can disagree about the meaning of a text, then spectators are even less likely to agree on what a given performance means (p. 417). Unlike Campbell, however, she regards this diversity as enriching, concluding that meanings “develop from co-production with spectators as subjects” (p. 426). Relevance theory provides a framework in which to begin to disentangle the overlapping and interacting, but equally vital, contributions of writer, company, and audience in making meanings.

The paper starts off from the prehistoric role of the face and the dominant significance of the question of the face in the humanities. Author will address the above questions in the context of his own teaching of such subjects as Philosophy, History of Philosophy, Aesthetics, and Philosophy of Medicine. He draws attention to the role of works of art he uses in the teaching process, e.g. the tale Beautiful Face from the book 13 Tales from the Kingdom of Lailonia by the eminent philosopher Leszek Kołakowski. As the person instrumental for the film adaptation of this book and the script writer, the author will share his experience of making use of films from the series 14 Tales from the Kingdom of Lailonia by Leszek Kołakowski, begun in the late 1990s. Contributing to the making of individual films in the TV Studio of Animated Films in Poznań were distinguished directors, outstanding actors, e.g. Zbigniew Zapasiewicz and Andrzej Seweryn and expert stage designers. Of special importance for the teaching process in the context of these films is the intersemiotic translation, related to the questions of the face. Author will moreover reference in his teaching practice ideas put forth by philosophers such as Plato, Emanuel Levinas and Jan Payne and works by such eminent artists as Tadeusz Kantor and Zbigniew Libera. Individual issues discussed in the paper will be illustrated with ample iconography related to the face, including images unpublished earlier, such as those from the films from the above series, currently under production.

This article is devoted to the consideration of a number of stage projects by Chinese directors, in which the work of the writer Anton Pavlovich Chekhov is reinterpreted. Analysis of such productions and projects as the international drama festival "Chekhov Forever" in 2004, a hybrid work based on Chekhov's story "Three Sisters" and Beckett's novel "Waiting for Godot" by Lin Zhaohua in 1998 and 2018, a double performance by Stan Lai based on the works "I take You by the Hand" by Carol Rocamora and "The Seagull" Chekhov 2014 , etc . It allows us to trace innovative approaches to reading Chekhov's works in the context of the life of modern Chinese society. These works cause a great resonance not only in the professional environment, but also among the mass audience, who invariably penetrates the depth of Chekhov's images, the subtlest shades of emotional experiences; the Chinese audience finds themselves close to the problems, hopes and aspirations of the heroes, brilliantly transferred to the actual socio-cultural environment of China, always topical and recognizable. The scientific novelty of the article is connected with the fact that the nature of mastering the creativity of the Russian playwright in the theater of the East is a fairly new and at the same time promising topic for research. The conclusions and results of the study can become the basis for further studies of the specifics of the adaptation of foreign dramaturgy in the national theatrical tradition on the example of other countries and regions.

Abstract RNA splicing dysregulation is a hallmark of chronic lymphocytic leukemia (CLL). Although somatic mutations in SF3B1 or U1 snRNA present in >20% of CLL patients, general splicing defects cannot be fully explained by genetic alterations of spliceosome alone. We reported that splicing factors are upregulated at protein, but not RNA, level in CLL compared to normal B cells by an integrated transcriptomic and proteomic analysis. This highlights a post-transcriptional layer of regulation that controls the abundance of splicing factors and contributes to RNA splicing dysregulation in CLL, with mechanism that has yet to be elucidated. To discover these regulators, we performed weighted correlation network analysis and found expression of many splicing factors strongly correlated with the abundance of METTL3. METTL3 is an RNA methyltransferase that modifies N 6-methyladenosine (m 6A) on mRNA and regulates the translation of m 6A-installed transcripts. Primary CLL cells have consistent upregulated protein expression of METTL3 and exhibit an increased m 6A level on mRNA. To identify m 6A modification sites in normal and CLL B cells, we performed m 6A sensitive RNase sequencing and found transcripts with differential m 6A modification are highly enriched in the RNA splicing pathway (q=1.8E-4). Consistent with this, these transcripts appear to have a higher m 6A density. These results raised up a possibility that METTL3 translationally controls the expression of splicing factors through m 6A modification. To examine whether METTL3 impacts splicing factor expression, we performed an integrated ribosome profiling (Ribo-seq) and RNA sequencing using CLL cell line HG3 with or without METTL3. Knockout (KO) of METTL3 decreased overall translation efficiency with RNA splicing as the most significantly affected pathway (q=2.1E-52). We further confirmed that KO of METTL3 or treatment with METTL3 inhibitor STM2457 decreases the expression of many splicing factors in HG3 cells. However, we detected no protein changes in known METTL3 targets (BCL2, MYC), highlighting splicing factors as the preferred targets of METTL3 in CLL. Moreover, overexpression of wildtype but not catalytic mutant METTL3 restored splicing factor expression defects in METTL3 KO cells, demonstrating that the regulation of splicing factor expression is methyltransferase activity dependent. To dissect the mechanism of how METTL3 preferentially influences the expression of splicing factors via m 6A modification, we mapped out METTL3 responding m 6A sites using methylated RNA immunoprecipitation sequencing (MeRIP-seq). Consistent with its role as an methyltransferase, we detected 5875 hypomethylated and 1409 hypermethylated sites upon METTL3 KO. Most downregulated splicing factors harbored hypomethylation around the stop codon region, including SF3B1, SF3A2 and SR proteins, indicating they are direct targets of METTL3. To validate this association, we utilized m 6A editing platform dCasRx-METTL3 to install m 6A at the stop codon region of endogenous SF3B1 transcripts, leading to increased SF3B1 protein expression. These results provided evidence that METTL3 directly regulates splicing factor protein expression via m 6A mediated translational control. Unexpectedly, we also discovered that hypermethylated transcripts are highly enriched in RNA splicing with most affected sites localized at the CDS regions. The hypermethylation of these transcripts can be caused by a combined upregulation of m 6A writer (METTL16) and eraser (ALKBH5) protein upon KO of METTL3. To determine how hypermethylation affects expression of splicing factors, we conducted an integrated MeRIP-seq and Ribo-seq analysis and observed a convergence of increased ribosomal density and hypermethylated adenosines. Harnessing dCasRx-METTL3 platform, we installed m 6A at the CDS region of SF3A3 and confirmed the downregulation of protein by immunoblot. This implicates that, as an alternative mechanism, METTL3 regulates the translation of splicing factors via m 6A mediated decoding process. Altogether, our results uncovered a novel regulatory axis of METTL3 as a regulator for splicing dysregulation in CLL. We propose that METTL3 regulates splicing factor expression through m 6A-mediated translational control. Our study highlights a post-transcriptional layer of m 6A modification as a major contributor to genetic lesion-independent splicing defects in CLL. Disclosures Brown: Gilead, Loxo/Lilly, SecuraBio, Sun, TG Therapeutics: Research Funding; Invectys: Other: Data Safety Monitoring Committee Service; Abbvie, Acerta/Astra-Zeneca, Beigene, Bristol-Myers Squibb/Juno/Celgene, Catapult, Eli Lilly, Genentech/Roche, Janssen, MEI Pharma, Morphosys AG, Nextcea, Novartis, Pfizer, Rigel: Consultancy. Danilov: Abbvie: Consultancy, Honoraria; Takeda Oncology: Research Funding; TG Therapeutics: Consultancy, Research Funding; Beigene: Consultancy, Honoraria; Pharmacyclics: Consultancy, Honoraria; Gilead Sciences: Research Funding; Rigel Pharm: Honoraria; Genentech: Consultancy, Honoraria, Research Funding; Bayer Oncology: Consultancy, Honoraria, Research Funding; SecuraBio: Research Funding; Astra Zeneca: Consultancy, Honoraria, Research Funding; Bristol-Meyers-Squibb: Honoraria, Research Funding. Siddiqi: Celgene: Membership on an entity's Board of Directors or advisory committees; Janssen: Speakers Bureau; Kite Pharma: Membership on an entity's Board of Directors or advisory committees, Research Funding; BMS: Membership on an entity's Board of Directors or advisory committees, Research Funding, Speakers Bureau; AstraZeneca: Membership on an entity's Board of Directors or advisory committees, Speakers Bureau; BeiGene: Membership on an entity's Board of Directors or advisory committees, Research Funding, Speakers Bureau; Juno Therapeutics: Membership on an entity's Board of Directors or advisory committees, Research Funding; Pharmacyclics LLC, an AbbVie Company: Membership on an entity's Board of Directors or advisory committees, Research Funding, Speakers Bureau; Oncternal: Research Funding; TG Therapeutics: Research Funding.

The text known in English as The Tibetan Book of the Dead is arguably the principle source for popular understandings of Tibetan Buddhist conceptions of death. First translated into English in 1927, subsequent translations have read it according to a number of interpretive frameworks. This paper examines two recent films that take The Tibetan Book of the Dead as their inspiration: Bruce Joel Rubin’s Jacob’s Ladder (1990) and Gaspar Noé’s Enter the Void (2009). Neither of these films overtly claim to be depicting The Tibetan Book of the Dead, but the directors of both have acknowledged that the text was an influence on their films, and both are undeniably about the moment of death and what follows. The analysis begins with the question of how, and to what degree, each of the films departs from the meaning and purpose of The Tibetan Book of the Dead, before moving on to examine the reasons, both practical and ideological, for these changes. Buddhist writer Bruce Joel Rubin wrote a film that sought to depict the death experience from a Tibetan Buddhist perspective, but ultimately audience expectation and studio pressure transformed the film into a story at odds with Tibetan Buddhism. Gaspar Noé wrote and directed a film that is based on a secular worldview, yet can be seen to be largely consistent with a Tibetan Buddhist reading. Finally, I consider if, and to what extent, these films function to express or cultivate an experiential engagement with Tibetan Buddhist truths and realization, concluding that Jacob’s Ladder does not, while Enter the Void largely succeeds, despite the intention of its creator.

Introduction. The satirical legacy of Kalmyk writer Basang B. Dordzhiev (1918–1969) includes both separate fables and one fable cycle created in 1961. The poet’s addresses to the genre of fable were not that often and never regular, the former witnessed mainly by the 1960s. The fables were published both in periodicals and in author’s editions. None of the fables have been translated into Russian. Neither have those become objects of research — except for our articles. Materials and methods. The study examines the fable cycle titled ‘To Agricultural Executives with No Practical Skills of Their Own’ (Kalm. Edär ed kedgo edl-akhun γardachnrt) by B. Dordzhiev and his sociallyoriented fables of the 1960s published in journals. The historical literary and comparative methods prove instrumental in defining genre differentiations within B. Dordzhiev’s satirical heritage ― fables, fable cycle, poetic feuilleton, and their characteristics. Goals. The article attempts insights into the fable cycle containing social criticism over incompetent directors of state-owned agricultural enterprises, revisits a number of other social fables dated to the 1960s. Results. To Agricultural Executives with No Practical Skills of Their Own comprises four fables, their titles clearly identifying themes and motifs, satirical types, and relations to folklore. The social orientation of the works coexists with moralities typical for other fables of this period. Conclusions. Despite that B. Dordzhiev, as a rule, mentioned no genre differentiations for his satirical works, this cycle can be identified as fable. This is indicated by both contents and form of the works, obligatory moralities at the end of each narrative, didactic aspect, and style. Some of the poet’s poetic feuilletons also draw satirical portraits of his contemporary rural officials.

The work of the French playwright Bernard-Marie Koltès, although phenomenally successful in continental Europe, has been staged less frequently in Anglo-American theatres; and a major feature on his work in NTQ49 in February 1997, and the publication by Methuen later in the same year of a collection of three of his plays in English translation, brought him only belated recognition in print. In this paper, first presented at a recent gathering in France to mark the tenth anniversary of Koltès's death, Maria Delgado and David Fancy trace the trajectory of a number of his plays through the space of translation, including Roberto Zucco, Dans la solitude des champs de coton (In the Solitude of the Cottonfields), Quai Ouest (Quay West), and Combat de nègre et de chiens (Black Battles with Dogs). Koltès asserted in 1986 that ‘I have always somewhat disliked the theatre because theatre is the opposite of life; but I always come back to it and love it because it is the one place where you can say: this is not life’; and the poetic specificity of his work has posed significant challenges for an Anglo-American theatre culture imbued with actors' identification with character. Relying on testimonials from a variety of directors, translators, and actors, as well as evidence from productions in the UK, Ireland, and the US, the authors, who are both Koltès translators, trace the challenges that have faced English-speaking artists wishing to stage this demanding writer. Maria Delgado is Senior Lecturer in Drama at Queen Mary, University of London, and David Fancy is a freelance director based in Canada who is currently completing a PhD on Koltès's work.

This paper will focus on the translators as their situation has proved to be more and more difficult in France. With examples, we want to consider how one’s position has evolved in the publishing world from the 16th century to the present. Looking at the 16th century, we can observe a real fever for translations of ancient texts. In the Netherlands, Italy and France, printers were translators and signed their translations with their proper name. Playwrights did the same with Latin and Greek works. For example, we know Oedipo tyranno by Giustiniani who translated Sophocles. The name of the Greek or Latin writer was eclipsed by the translator’s name such as Plantin and the Biblia Polyglotta, or Belleforest with his translation of The War of the Jews written by Flavius Josephus. The translation of the title gave the work a new specificity and was considered as the genuine work of the translator even though the name of the original author was still given. During the 16th century in France, Literary Property Laws were called “Privilège” and were attached to the author of the printed text. Later on, this law changed. We know that playwrights used translations and never mentioned the authors as they had actually never done before. Indeed, this particular type of literature often evaded the law. The publishers became more and more important and could thus decide what would be announced on the book’s cover. The author is to be mentioned for legal reasons, but translators are rarely mentioned. Today, you have to search for their name inside the book despite the fact that as our world is becoming more and more global we need them more and more. To some extent, on stage, some directors plunder translations done by specialists and attribute them to themselves. Two avenues of enquiry should help us understand the French translator’s paradox, which consist in the fact that the translator’s status evolves from a finder and producer to an intellectual whose name is today nearly ignored – despite his/her legal status.

Problem statement. In this study, attention is focused on the Kharkiv theatre development in the 1940–1960’s, the activities of the theatrical entrepreneur Liudvih Mlotkovskyi and the directors of the Kharkov Theatre: Hendrikov, Alferaki, Petrovskyi, Lvov and Shcherbyna. The theatre directors served as intermediaries between the entrepreneur and the Provincial Offices authorities, while addressing issues of organization and contract negotiation with actors, maintenance of theatre premises. They played an important role on repertoire policies controlled with the censorship committee of the Tsar Russia. Research and publications. The subject of Kharkiv theatre as a part of Ukrainian theatre history development in noted period was highlighted in XIX century by the famous writer, literary critic, culture and public activist Hrigoriy Kvitka-Osnovianenko and by Mykola Cherniaiev – a journalist, literary and theatre critic, reviewer of the newspaper “Yuzhnyi krai” (one of the largest provincial newspapers of the XIX century), where his articles about history of theatre organization in Kharkiv was published. In the XX century this period is covered by famous theatre critics: Alexander Klinchin (in the monographs about the Ukrainian theatre prominent figures Mykhailo Shchepkin, Mykola Rybakov, Liubov Mlotkovska), Arkadii Pletniov (in the study “At the origin of the Kharkiv theatre”), Rostyslav Pylypchuk (in “Materials about the Ukrainian theatre history. From the foundation to the beginning of the twentieth century”), Yu. Polyakova (in numerous publications and the preface to M. Cherniaiev’s book “From Kharkiv’s theatrical antiquity”); ethnographers Andrii Paramonov, Volodymyr Titar (in “The materials for the Kharkiv Theatre history of 1780–1934”). The objective of this study is to attempt to supplement the scientific research of famous theatrical scholars (primarily A. Pletnov and M. Cherniaiev) with materials that were found in the Kharkiv region State Archives. The main material. Entrepreneur Liudvig Mlotkovskyi, who headed the Kharkiv theatre from the autumn of 1834 to the spring of 1843, played a significant role in the theatre history of above mentioned period. In 1839 Mlotkovskyi was allocated a piece of land in Kharkiv free of charge to build a theatre. The first stone building of the theater for 1020 seats was opened in 1841. Furthermore, the land was allocated to Mlotkovskyi’s ownership, he was obliged to comply with some terms among which was compulsory that the theatre director was appointed by the governor. As the first director of the new theatre the Count Hendrikov Oleksandr Ivanovych (1806–1881) was elected and approved. Unfortunately, no materials or documents about Hendrikov’s activity in the theatre were found. However, it is known that during the time of his directorship, due to difficulties and debts, the entrepreneur Mlotkovskyi left Kharkiv. The theatre’s premises were first leased to touring troupes (companies), and in 1853, Mlotkovsky donated it to his daughter, the dramatic actress Vera Liudvygovna Mlotkovska-Diukova. Thus, further theatrical activities in Kharkiv were connected with the Diukov’s entrepreneurial family and the managers of the theatre: Alferaki, Petrovskyi, Lviv and Shcherbyna. They faced the difficult task of theatre revival and getting back its fame. Mykola Dmytrovych Alferaki (1815–1860), Collegia Advisor, a nobleman, held the post from 1845 to 1849. As the director, he paid the debts and additionally invested his own money for the theatre development and improvement. From 1849 to 1856 Engineer-Lieutenant Colonel Petrovskyi was the director of the theater. Archival materials describing Petrovskyi’s directorship were located. He tried to save the situation by means of more democratic drama repertoire that was interesting for general public. Mykhailo PavlovychLvov (1819–1867) was the next theatre director appointed. He was an architect, the member of St. Petersburg Academy of Arts, the professor of Kharkiv University. Lvov purchased costumes, scenery, and library; he spent some money to restore the theatre premises. In addition to being in charge of the Kharkiv Theatre, Lvov rented Poltava Theatre and the railway station for 8 years. What his administration was like is not definitely known, but he served as the director to 1857. At the end of 1850’s and beginning of 1860’s the post of the theatre director was taken up by an experienced entrepreneur Ivan Oleksandrovych Shcherbyna (1821–1869). He had the theatre boxes reconstructed, started a permanent ballet company that worked in the theater for 3 years, alternating ballet performances with spectacles of touring companies and the permanent drama troupe stage enters. The time of Shcherbyna directorship at the Kharkiv Drama Theatre appeared to be the most favourable for the Ukrainian repertoire, when along with Russian drama products the plays by Ukrainian authors were staged, such as I. P. Kotliarevskyi, H. F. Kvitka-Osnovianenko, D. Dmytrenko etc. Conclusions. Basing on previously published studies of famous theatre critics and ethnographers and attempting to combine the results of their research with the materials found in Kharkiv State regional archive we conclude: Kharkiv was one of the provincial theatre art centers in the XIX century. Not only theatrical entrepreneurs, but also provincial authorities took part in theatre formation and development. The latters tried to control the repertoire policy through the theatre directors appointed by them. Despite the discouraging conditions connected with the difficulties and censorship oppression some progressive theatre directors, such as Petrovskyi and Shcherbyna, ignored the bans and staged prohibited by censorship dramas. It happened not only for the sake of commercial benefits, but also because the banned drama pieces were the most interesting for the general population, it were modern, democratic and satisfied the needs of the audience. This study does not claim to be complete. Its objectives are to combine some historical finds with modern researches about Kharkiv theatre development, and partly fill in the gaps relating to the activity of the entrepreneurs and directors who headed the Kharkiv theatre in 1840–1860s; the work in this direction will continued.

Background: Diffuse large B-cell lymphoma (DLBCL) is frequently curable after frontline therapy, however, relapses can occur after achievement of a PET-negative complete remission (CR). Early detection of relapse may be associated with improved outcomes with second-line curative intent therapy or novel therapies. Controversy exists regarding the utility of post-therapy surveillance imaging which is associated with patient (pt) anxiety, radiation exposure, false-positive results, and cost. A retrospective study found that serial minimal residual disease (MRD) monitoring during DLBCL surveillance could identify pts at risk of relapse before clinical evidence of disease (Roschewski, Lancet Oncol, 2015). In this multicenter prospective study, we assessed whether a next-generation sequencing (NGS)-based MRD assay could be used for early detection of molecular relapse in DLBCL. Methods: Eligible pts with DLBCL or high-grade B-cell lymphoma (HGBCL) who received anthracycline-containing chemotherapy were enrolled across five cancer centers. In pts who achieved a PET-negative CR, serial peripheral blood samples were obtained every 3 months (mos) and CT scans every 6 mos for 2 years (yrs) post-treatment. The clonoSEQ® next generation sequencing (NGS) MRD assay (Adaptive Biotechnologies, Seattle, WA) that leverages multiplex PCR followed by NGS to identify and track rearrangements of IgH, V-J, D-J and IgK/L loci and translocations in Bcl1/2-IgH was used. MRD positive was defined as any detectable rearrangement and MRD negative as no evidence of rearrangement. We also reported MRD positivity above the limit of detection (LOD) (observations required to have 95% reproducibility). Interim futility analysis was performed after approximately 50% of anticipated relapses occurred to assess the preliminary sensitivity of the assay. Progression-free survival (PFS) was defined as time from treatment start date to relapse or death. Results: 501 pts were enrolled and 401 were evaluable (pre-treatment tumor pathology available, completed frontline treatment, and achieved PET-negative CR at end-of-treatment). Baseline characteristics were median age of 62 yrs (range 19-95), male sex 58%, advanced stage 61%, and poor-risk by R-IPI 40% (Table 1). Histologies included DLBCL, NOS (86%), primary mediastinal B-cell lymphoma (6%), HGBCL (5%), T-cell rich B-cell lymphoma (1%), and other (1%). Pts received regimens including RCHOP x 6 cycles (36%), REPOCH x 6 cycles (20%), clinical trial (15%), combined modality therapy (RCHOP+RT) (10%), and other RCHOP variations (19%). Among the 401 evaluable pts, 44 relapses have occurred as of June 1, 2020. In 47% of pts (18/38), clinical relapse was detected using surveillance imaging alone (typically CT CAP with IV contrast) in an otherwise asymptomatic pt with a normal physical exam and laboratory evaluation. Clinical relapse was detected by clinical symptoms alone in 11% (4/28), by the evaluation of an oncologist alone in 0%, and by imaging and clinical symptoms and/or evaluation by an oncologist in 42% (16/38) (missing data in 6 pts). With a median follow-up of 2.2 yrs, the 2-yr PFS was 88.1% (84.8, 91.4) (Figure 1). Advanced age, advanced stage, and poor-risk R-IPI were associated with inferior PFS. Of the 44 relapses, 43 pts were included in the interim analysis and tumor-specific clonotypes were identified in 39 pts (91%). In 56% (22/39), the MRD assay was positive at or before clinical relapse. In 38% (15/39), the MRD assay was positive above the limit of detection at or prior to clinical relapse, with only 10 relapses detected more than 3 mos prior to relapse, reflecting the poor clinical sensitivity of the assay. The NGS-MRD assay was more sensitive in the acellular (plasma cell-free DNA) than in the cellular (circulating leukocytes) compartment. Results: Overall outcomes are excellent for DLBCL and HGBCL pts who achieve PET-negative complete remission. In interim analysis, surveillance MRD assessment using the clonoSEQ® assay fails to consistently identify pts at risk of recurrence before clinical evidence of relapse in DLBCL. In a prospective analysis, a substantial proportion (47%) of clinical relapses are detected by imaging in asymptomatic pts, supporting the value of CT surveillance imaging in DLBCL, particularly for pts with advanced stage or high-risk disease. Additional analyses are forthcoming for MRD assessment in all pts, including those in remission. Disclosures Kumar: Celgene: Research Funding; Pharmacyclics: Research Funding; Adaptive Biotechnologies,: Research Funding; AbbVie: Research Funding; Seattle Genetics: Research Funding; Celgene: Honoraria, Other: Honoraria for Advisory Board; Astra Zeneca: Honoraria, Other: Honoraria for Advisory Board; Kite Pharmaceuticals: Honoraria, Other: Honoraria for Advisory Board. Westin:Kite: Consultancy, Research Funding; Curis: Consultancy, Research Funding; Genentech: Consultancy, Research Funding; Novartis: Consultancy, Research Funding; Amgen: Consultancy; Astra Zeneca: Consultancy, Research Funding; Morphosys: Consultancy, Research Funding; 47: Research Funding; Janssen: Consultancy, Research Funding; BMS: Consultancy, Research Funding. Nowakowski:Curis: Consultancy; Seattle Genetics: Consultancy; Nanostrings: Research Funding; MorphoSys: Consultancy, Research Funding; Roche: Consultancy, Research Funding; Celgene/BMS: Consultancy, Research Funding; Kite: Consultancy; Denovo: Consultancy; Kymera: Consultancy; Ryvu: Consultancy, Membership on an entity's Board of Directors or advisory committees, Other. Lossos:Verastem: Consultancy, Honoraria; Seattle Genetics: Consultancy, Other; NCI: Research Funding; Stanford University: Patents & Royalties; Janssen Biotech: Honoraria; Janssen Scientific: Consultancy, Other. Batlevi:Life Sci, GLG, Juno/Celgene, Seattle Genetics, Kite: Consultancy; Janssen, Novartis, Epizyme, Xynomics, Bayer, Autolus, Roche/Genentech: Research Funding. Drullinsky:Roche: Research Funding; Novartis: Research Funding. Gerecitano:Janssen: Current Employment. Hamlin:Celgene: Consultancy; Karyopharm: Consultancy; Juno Therapeutics: Consultancy; Portola: Research Funding; Molecular Templates: Research Funding; Incyte: Research Funding; J&J Pharmaceuticals: Research Funding; Portola Pharmaceutics: Consultancy. Horwitz:ASTEX: Consultancy; Affirmed: Consultancy; Vividion Therapeutics: Consultancy; Verastem: Consultancy, Research Funding; Myeloid Therapeutics: Consultancy; Miragen: Consultancy; Kura Oncology: Consultancy; Janssen: Consultancy; GlaxoSmithKline: Consultancy; Daiichi Sankyo: Research Funding; C4 Therapeutics: Consultancy; Beigene: Consultancy; Portola: Consultancy, Research Funding; Mundipharma: Consultancy; Innate Pharma: Consultancy; Corvus: Consultancy; Trillium: Consultancy, Research Funding; Seattle Genetics: Consultancy, Research Funding; Millenium/Takeda: Consultancy, Research Funding; Kyowa Hakka Kirin: Consultancy, Research Funding; Infinity/Verastem: Research Funding; Forty Seven: Consultancy, Research Funding; Celgene: Consultancy, Research Funding; Aileron: Consultancy, Research Funding; ADCT Therapeutics: Consultancy, Research Funding. Jacob:Adaptive Biotechnologies: Current Employment, Current equity holder in publicly-traded company. Joffe:AstraZeneca: Membership on an entity's Board of Directors or advisory committees; Epizyme: Membership on an entity's Board of Directors or advisory committees. von Keudell:Bayer: Research Funding; Pharmacyclics: Research Funding; Genentech: Research Funding. Lahoud:MorphoSys: Other: Advisory Board. Matasar:Bayer: Consultancy, Honoraria, Research Funding; Seattle Genetics: Consultancy, Honoraria, Research Funding; Rocket Medical: Consultancy, Research Funding; Teva: Consultancy; F. Hoffmann-La Roche Ltd: Consultancy, Honoraria, Research Funding; GlaxoSmithKline: Honoraria, Research Funding; Takeda: Consultancy, Honoraria; Daiichi Sankyo: Consultancy; IGM Biosciences: Research Funding; Janssen: Honoraria, Research Funding; Pharmacyclics: Honoraria, Research Funding; Immunovaccine Technologies: Honoraria, Research Funding; Merck: Consultancy; Juno Therapeutics: Consultancy; Genentech, Inc.: Consultancy, Honoraria, Research Funding. Mullins:Adaptive Biotechnologies: Current Employment, Other: shareholder. Noy:Pharmacyclics: Research Funding; NIH: Research Funding; Rafael Pharma: Research Funding; Janssen: Consultancy; Pharmacyclics: Consultancy; Medscape: Consultancy; Targeted Oncology: Consultancy; Morphosys: Consultancy. Straus:Seattle Genetics: Consultancy, Membership on an entity's Board of Directors or advisory committees; ASH: Other: Conference in December 2019 on HL to other physicians during ASH; Elsevier: Membership on an entity's Board of Directors or advisory committees, Other: CME writer; OncLive: Speakers Bureau; Takeda Pharmaceuticals: Research Funding, Speakers Bureau; NY Lymphoma Rounds: Consultancy; Targeted Oncology: Consultancy, Speakers Bureau; Imedex, Inc.: Speakers Bureau; Karyopharm Therapeutics: Membership on an entity's Board of Directors or advisory committees. Younes:Takeda: Consultancy; HCM: Consultancy; AstraZeneca: Current Employment; Novartis: Consultancy; Daiichi Sankyo: Consultancy; Janssen: Consultancy; Epizyme: Consultancy; BMS: Consultancy; BioPath: Consultancy; Curis: Consultancy. Zelenetz:MEI Pharma: Research Funding; MorphoSys: Research Funding; Sandoz: Research Funding; Celgene: Research Funding; Roche: Research Funding; Gilead: Research Funding; Genentech/Roche: Consultancy; Gilead: Consultancy; Celgene: Consultancy; Janssen: Consultancy; Amgen: Consultancy; Novartis: Consultancy; Adaptive Biotechnology: Consultancy; BeiGene: Membership on an entity's Board of Directors or advisory committees.