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Artículos de revistas sobre el tema "Fires in Theaters"

Autor: Grafiati

Publicado: 28 de julio de 2024

Última modificación: 31 de julio de 2025

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1

Lin, Cherng Shing, Ming En Wu, and Hsin Chuan Huang. "Simulating the Spread of Smoke in Hostel Fires." Advanced Materials Research 1044-1045 (October 2014): 417–21. http://dx.doi.org/10.4028/www.scientific.net/amr.1044-1045.417.

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Because public areas in Taiwan such as hostels, movie theaters, supermarkets, stadiums, and large entertainment venues are typically packed with people, when fires occur, the smoke and high heat often lead to human casualties. Therefore, the studies on fire dynamic characteristics are essential. In this paper, we studied a major fire accident occurred in one of Taipei’s major hostels, during which the lodgers awoke and attempted escape. This accident led to eight deaths; the victims either died from the burns they sustained or choked to death in their bedrooms or in the staircase. The fire acc

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2

Garrioch, David. "Playing with Fire: Love of Light and Nocturnal Shadows." Eighteenth-Century Life 48, no. 3 (2024): 82–100. http://dx.doi.org/10.1215/00982601-11309330.

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Work on the material culture of the eighteenth century has shown that light was more than a metaphor. The everyday social practise of the Enlightenment reposed on a contrast between light and dark. There was a growing emphasis on brightness in clothing and furnishings, and elite homes, social venues, fashionable shops, and even the main streets were more brightly lit. Fireworks displays became more frequent and more spectacular. Furthermore, in many Enlightenment practices, such as theater, Freemason lodges, salons, and coffeehouses, light was not simply a practical necessity, but was central

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3

Kim, Dong Hwan, Chi Young Lee, and Duncan Kim. "Prediction of the Fire Curtain Effect through a Numerical Simulation of a Reduced Scale Model for Fires in Theaters." Fire science and engineering 32, no. 3 (2018): 51–59. http://dx.doi.org/10.7731/kifse.2018.32.3.051.

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4

Shchukina, Yuliia. "Oleksandr Ivashutych, a student of Les Kurbas, as a universal figure in the theater of musical comedy." Aspects of Historical Musicology 19, no. 19 (2020): 345–57. http://dx.doi.org/10.34064/khnum2-19.20.

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Background. Analyzing the origins of the school of Kharkiv Academic Theater of Musical Comedy, we cannot ignore its founders. People’s Artist of the UzSSR O. Ivashutych was a director, head of the theatre (during the 1940s), drama actor from the year of its founding (1929) to 1971. Methods and novelty of the research. The research is based on historicalchronological, biographical, typological, and comparative methods with an element of performances and roles reconstruction. Not much is known about O. G. Ivashutych. The only encyclopedic reference about him (from the “Encyclopedia of Modern Ukr

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5

Musailov, V. A., I. G. Buzel, M. A. Evseev, et al. "PATIENT SAFETY: PREVENTION OF OPERATING ROOM FIRES." Bulletin of the Medical Institute of Continuing Education 5, no. 2 (2025): 52–58. https://doi.org/10.36107/2782-1714_2025-5-2-52-58.

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Background. A fire in the operating theatre is a relatively rare event. However, in the event of a fire, the effects can be catastrophic if a patient is burned or injured, with serious legal and economic consequences for both the surgical team and the institution as a whole. The statistics of fires in medical institutions in our country in recent years are quite alarming. According to the Ministry of Emergency Situations, there were 110 fires in healthcare institutions in 2019. Main Content. Fire safety rules in the operating theatre should be strictly adhered to by all members of the surgical

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6

Anderson, Peter. "Breaking All Four Walls: Open-Air Theatre at the Caravan Farm." Canadian Theatre Review 76 (September 1993): 8–12. http://dx.doi.org/10.3138/ctr.76.002.

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Theatre began outdoors, around fires, celebrating important passages, acknowledging the cycles of nature and the changes of seasons, and affirming our sense of community and the essential mystery of life. By recognizing theatre’s roots in ritual – in community celebration – we re-establish connection with things larger than ourselves and are revitalized. It is to these roots that the Caravan Farm Theatre, located on an 80-acre farm five miles northwest of Armstrong in the heart of B.C.’s Okanagan farming district, seeks to return. Since 1983, the Caravan Farm Theatre, formerly the horse-drawn

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7

Hemmings, F. W. J. "Fires and Fire Precautions in the French Theatre." Theatre Research International 16, no. 3 (1991): 237–49. http://dx.doi.org/10.1017/s0307883300015005.

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The ‘notice préliminaire’ to L.-H. Lecomte's unfinished Histoire des théâtres de Paris includes a list of eighteen major fires occurring between 1789 and 1900, each of which resulted in the total destruction of a theatre. The date of each disaster is given, as also the date at which the theatre was rebuilt, either on the same site or in a new location. But beyond these brief particulars, Lecomte gives little information on the circumstances and none at all on the probable causes of each catastrophe and the precautions taken subsequently to avert a recurrence. It is the purpose of this paper to

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8

Wörsdörfer, Anna Isabell. "Theater der Magie – Magie des Theaters. Das Beispiel der Affaire des poisons (1676–1682)." Romanistisches Jahrbuch 70, no. 1 (2019): 218–49. http://dx.doi.org/10.1515/roja-2019-0008.

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Abstract Focusing on the historico-cultural context of the Affair of the Poisons (1676–1682), the following article deals with the complementarity of magic and theatre which manifests itself on the one hand in the spectacular features of magic rituals and on the other in the illusionary effects of the comedy La Devineresse written by Thomas Corneille and Jean Donneau de Visé. Under recourse to New Historicism, the transitions between magical and aesthetic illusion are examined as well as the different conditions of building credibility which are specific for both phenomena: While the theatrica

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9

Iudova-Romanova, Kateryna. "Creative and Organisational Activity of Kyiv Theatres: One Hundred Days in the Reality of Full-Scale Military Aggression." Bulletin of Kyiv National University of Culture and Arts. Series in Stage Art 5, no. 2 (2022): 162–80. https://doi.org/10.31866/2616-759X.5.2.2022.266534.

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The purpose of the research is to study the experience and identify the main trends of Kyiv theatres’ creative and organisational activity in the first days of the full-scale war by the Russian Federation against Ukraine. Research methodology. The author has applied the method of synthesis and analysis of factual information for an integrated study of the Kyiv theatres case in the specified period; the historical method is for retrospective scientific understanding of the practice of modern Ukrainian theatre, and structural and analytical are for systematisation of various vect

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10

Acquavella-Rauch, Stefanie. "Operette und die (Wiener) Theaterzensur - Politik auf der Bühne?" Die Musikforschung 73, no. 2 (2021): 117–32. http://dx.doi.org/10.52412/mf.2020.h2.20.

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The study examines the impact of censorship on Viennese operetta theatres and theatre plays. The Niederösterreichisches Landesarchiv in St Pölten preserves about 15.000 censorship files from the late 1850s until the 1920s, documenting the act of censorship for various theatrical genres. After presenting the institutions and practices of censorship in the Habsburg Empire, three case studies demonstrate how censorship decisions were made according to the expected audience in different theatres and the political climate. Majestät Mimi (Felix Dörmann, Roda-Roda / Bruno Granichstaedten, 1911), Der

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11

Sánchez-Vizcaíno, Elena F. "Eco-Teatro y concienciación medioambiental de la comunidad: La aplicación del teatro para la prevención de incendios forestales // Eco-theatre and Environmental Awareness in the Community: Theatre as a Tool to Prevent Forest Fires." Ecozon@: European Journal of Literature, Culture and Environment 6, no. 1 (2015): 151–66. http://dx.doi.org/10.37536/ecozona.2015.6.1.644.

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En este artículo se estudia el papel del teatro como herramienta de sensibilización y prevención de incendios forestales. Para ello, se analiza el movimiento artístico denominado eco-teatro y se relaciona con la campaña de teatro realizada por el Ministerio de Agricultura, Alimentación y Medio Ambiente (MAGRAMA) durante los años 2009, 2010 y 2011. La campaña se realizó en 161 localidades donde el riesgo de incendios forestales era elevado. Los resultados del análisis y de las encuestas recogidas muestran que, al menos a corto plazo, el público aumentó sus conocimientos acerca de esta problemát

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12

Vandenbroucke, Russell. "Violence Onstage and Off: Drama and Society in Recent American Plays." New Theatre Quarterly 32, no. 2 (2016): 107–20. http://dx.doi.org/10.1017/s0266464x16000026.

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Direct and bloody violence has a long history on stage. In recent years, a different mode of violence can be distinguished in the work of prominent American playwrights – less direct than indirect, more covert than overt, and likely to affect a group rather than individuals. In this article Russell Vandenbroucke applies concepts from Norwegian sociologist and Peace Studies scholar Johan Galtung to examine structural and cultural violence in Suzan-Lori Parks's Father Comes Home from the Wars (Parts 1, 2, & 3) and traces similar representations of violence in Anna Deavere Smith's Fires in th

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13

Wilson, Ann. "Boards of Directors and Artistic Directors: Who’s in Charge?" Canadian Theatre Review 123 (June 2005): 19–24. http://dx.doi.org/10.3138/ctr.123.005.

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On Saturday, January 15, 2005, Ian Prinsloo, the artistic director of Theatre Calgary, was invited to meet the chair of the theatre’s board, Maggie Schofield, in a coffee shop in the Epcor Centre for the Performing Arts, where Theatre Calgary is resident. There he was given the news that every artistic director must fear: His contract, which expires on October 1, 2005, would not be “renewed,” the euphemism in the theatre community for what is now Donald Trump’s famous edict — “you’re fired.’’ There had been, as Prinsloo relates in a letter to Alberta Playwrights ‘Network s Quarterly Bulletin,

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14

Gordeev, Petr N. "“I consider you a very close person to me…”: E.K. Malinovskaya, V.I. Nemirovich-Danchenko and others in 1935–1942." ТЕАТР. ЖИВОПИСЬ. КИНО. МУЗЫКА, no. 1 (2023): 87–103. http://dx.doi.org/10.35852/2588-0144-2023-1-87-103.

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Elena Konstantinovna Malinovskaya (1875–1942) left a noticeable mark in the history of the Russian theatre of the late 1910s — 1930s. After managing Moscow academic theatres after the revolution, in 1924 she was forced to resign, and in 1930 she returned to the theatrical world, by leading the Bolshoi Theatre. After her final resignation in 1935, the figure of Malinovskaya drops out of view for theatre scholars. Meanwhile, after having outlived the repression of her children and having lost all administrative positions, she had by no means lost touch with the world of performing arts. In this

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15

Gadelkareem, Rabea A. "Experience of a Tertiary-Level Urology Center in the Clinical Urological Events of Rare and Very Rare Incidence. I. Surgical Never Events: 3. Urological Electrosurgical Never Events." Current Urology 12, no. 1 (2018): 33–38. http://dx.doi.org/10.1159/000447228.

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Introduction: Surgical fires are unique topics that belong to surgical never events and deserve urological attention. Materials and Methods: A retrospective search of our hospital records was done for the states of electrosurgical never events in the period from July 2001 to June 2016. The included events were classified according to the site of occurrence in relation to the patient's body and possibilities of human involvement. The events were studied for the type, extent, damages, personnel involvements, complications, and management. Results: Of more than 82,000 urological interventions, 18

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16

Balme, Christopher, and Astrid Carstensen. "Home Fires: Creating a Pacific Theatre in the Diaspora." Theatre Research International 26, no. 1 (2001): 35–46. http://dx.doi.org/10.1017/s0307883301000049.

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Theatre created by Pacific Islanders is perhaps the most recent significant development in New Zealand theatre of the 1990s. Exploring this new phenomenon within a concept of diaspora, productions, producers and themes are linked to notions of displacement, home, and disruption on several levels. Three recent plays and productions are examined: Think of a Garden by the Samoan-American John Kneubuhl, which explores memory as the basis of diasporic identity; Home Fires, a collaborative production between Pacific Island and Ma°ori artists in which a new kind of syncretic theatrical style transcen

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17

Ivanova-Brashinskaya, Anna. "The Axe-Files." Maska 31, no. 179 (2016): 80–91. http://dx.doi.org/10.1386/maska.31.179-180.80_1.

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The St. Petersburg-based AXE was founded in 1989 and describes itself as “Russian Engineering Theatre”. Their productions are not a ready-made stage performances but rather an interactive building process between actor and pace. Instead of the polished result of their work, AXE shares their raw and unfinished process with the audience. Due to the absence of an adequate vocabulary which would allow the author to describe and analyze their work, we present a lexicon, consisting of professional terms and images, thus enabling a discourse on this 27-year-old theatre phenomenon.

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18

Abdullah Almaaroof, Ansam Riyadh, and Shurouq Gheny Atew. "Captivating Verbatim Account of Historical Events in Ana Deaver Smith’s Fires in The Mirror." JOURNAL OF LANGUAGE STUDIES 8, no. 8 (2024): 269–83. http://dx.doi.org/10.25130/lang.8.8.15.

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Fires in the Mirror is a play by Anna Deavere Smith that uses verbatim theatre to explore the 1991 Crown Heights riot in Brooklyn, New York. The play consists of a series of monologues in which she embodies the personas of various people involved in or impacted by the riot. Each monologue is a verbatim transcript of what the interviewee said during an interview with her. By performing these verbatim monologues, Smith authentically portrays the voices and emotions of the people she interviewed. It offers her a multi-faceted and profoundly human perspective on the Crown Heights riot. It highligh

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19

Partola, Y. V. "Problems of Teaching Theater Criticism in the First Years of the Kharkiv Theater Institute." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 51, no. 51 (2018): 41–69. http://dx.doi.org/10.34064/khnum1-51.02.

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Background. The history of theater criticism in Ukraine is a poorly understood science area. The process of formation and development of Theater Studies education is even less learned page of our theatrical process. Currently we have mainly short background history descriptions of the single theatrical departments than the reproduction of the whole process. Kharkiv Theater Institute (now the Kharkiv National University of Arts named after I. P. Kotlyarevsky) is highlighted in several publications that date back to the jubilee dates of the educational institution (the articles by N. Logvinova (

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20

Spigelman, Allan D., and Judith R. Swan. "Skin antiseptics and the risk of operating theatre fires." ANZ Journal of Surgery 75, no. 7 (2005): 556–58. http://dx.doi.org/10.1111/j.1445-2197.2005.03429.x.

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21

Maiwald, Matthias, Chris J. M. Farmer, David G. Lance, et al. "Surgical antisepsis and the risk of operating theatre fires." ANZ Journal of Surgery 76, no. 5 (2006): 422–23. http://dx.doi.org/10.1111/j.1445-2197.2006.03736.x.

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22

Greenland, Keith B., Murray J. Stokan, and Martin D. Culwick. "Operating theatre fires: Adding more oxygen to the mix." Anaesthesia and Intensive Care 47, no. 4 (2019): 399–400. http://dx.doi.org/10.1177/0310057x19860976.

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23

Davis, Jim. "Disrupting the Quotidian: Hoaxes, Fires, and Non-theatrical Performance in Nineteenth-century London." New Theatre Quarterly 29, no. 1 (2013): 3–12. http://dx.doi.org/10.1017/s0266464x13000018.

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In this essay Jim Davis considers two examples of everyday non-theatrical performance in nineteenth-century London: hoaxes and fires. Whereas an element of hoaxing can be perceived in some contemporary performance events and in the practice of ‘invisible theatre’, usually with some ethical intention, hoaxes in early nineteenth-century London were perpetrated for the sake of creating disruption and making dupes of unsuspecting witnesses. A more visible form of disruption and spectacle was created by fires and firefighting itself, which, at least after Captain Eyre Massie Shaw took control of th

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24

Caddoo, Cara. "THE BIRTH OF A NATION, POLICE BRUTALITY, AND BLACK PROTEST." Journal of the Gilded Age and Progressive Era 14, no. 4 (2015): 608–11. http://dx.doi.org/10.1017/s1537781415000420.

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On September 21, 1915, shortly before 10 p.m., a brick crashed through the glass window above the entrance of Philadelphia's Forrest Theatre. Instantly, the streets erupted into a “bloody scene” of the “wildest disorder.” Police charged with batons and revolvers. The crowd, which consisted mostly of black demonstrators, scattered. A few dashed for the building's main entrance. Hundreds more fled up Broad and Walnut Streets, the police at their heels. “Those who could not run fast enough to dodge clubs received them upon their heads.” Two protesters threw milk bottles at the patrolmen pursing t

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25

Robson, Karen, Leyland Pitt, and Pierre R. Berthon. "“Yes, and...”: What improv theater can teach service firms." Business Horizons 58, no. 4 (2015): 357–62. http://dx.doi.org/10.1016/j.bushor.2015.02.002.

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26

Schcolnicov, Eugenio. "AZAR E INTUICIÓN: EL TEATRO DE ESTADOS EN LA PRÁCTICA ACTORAL RIOPLATENSE." Acotaciones. Revista de Investigación y Creación Teatral 44 (June 10, 2020): 95–115. http://dx.doi.org/10.32621/acotaciones.2020.44.02.

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El siguiente trabajo se propone estudiar el nacimiento y el desarrollo del teatro de estados, uno de los paradigmas más productivos en la historia teatral de Argentina. Desde nuestra perspectiva, la prác- tica actoral del teatro de estados define una categoría teórica que permite pensar de forma simultánea una modalidad de producción escénica, una poética de actuación y un sistema organizativo del trabajo en la direc- ción teatral. A nivel geográfico y territorial, las formas de producción presentes en el teatro de estados nacen de las exploraciones escénicas desa- rrolladas por un conjunto de

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27

Gil, Ricard, and Justin Marion. "Why Did Firms Practice Segregation? Evidence from Movie Theaters during Jim Crow." Journal of Law and Economics 65, no. 4 (2022): 635–63. http://dx.doi.org/10.1086/720904.

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28

Guardenti, Renzo. "L’Archive Dionysos: une approche méthodologique à l’iconographie théâtrale." Studia Universitatis Babeş-Bolyai Dramatica 66, no. 2 (2021): 29–46. http://dx.doi.org/10.24193/subbdrama.2021.2.03.

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"The Dionysos Archive: a Methodological Approach to Theatre Iconography. The article illustrates the Dionysos Digital Archive of Theatrical Iconography, created by the research team of the University of Florence directed by Renzo Guardenti. The Dionysos Archive collects more than 22,000 images accompanied by cataloguing files, relating to the history of Performing Arts from Greek theatre to the first decades of the 20th century. The cataloguing of the images contained in the archive is based on criteria aimed at highlighting their theatrical specificity and responds to a historiographic perspe

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29

Herbert, Ian. "Computer Databases for Theatre Studies." New Theatre Quarterly 2, no. 6 (1986): 175–80. http://dx.doi.org/10.1017/s0266464x00002049.

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Slowly the theatre is coming to terms with the computer – not only in practical matters ranging from lighting control to ticket sales, but also in the collection and collation of the material which is the concern of the theatre student and scholar. Ian Herbert, whose own editorial work on Who's Who in the Theatre was largely assisted by lots of box-files and strong coffee, has converted the production of his invaluable London Theatre Record, now into its fifth year, to a computer-based system, and has recently been appointed to a fellowship at the City University to investigate the use of comp

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30

Kang, HanYi, Hyung-Deok Shin, and Jihyon Park. "Corporate Social Responsibility Activities in Arts: Focusing on Performing Production Firms in South Korea." Organizations and Markets in Emerging Economies 14, no. 3 (2023): 583–99. http://dx.doi.org/10.15388/omee.2023.14.6.

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The purpose of this study was to investigate CSR activities in the field of arts and culture in South Korea. This study focused on government-driven CSR activities in performing arts production companies. The study collected 425 theater performance data samples from the 2015 Daehak-ro Culture Map Directory published by the Seoul Theater Center to examine which characteristics of performing arts production companies influence participation in the Nanum Ticket Program. Logistic regression analyses were performed with this data to test the hypotheses. After controlling several conditions, we foun

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31

Čiripová, Dáša. "Greek Drama in the Hellenistic Period." Slovenske divadlo /The Slovak Theatre 65, no. 4 (2017): 373–82. http://dx.doi.org/10.1515/sd-2017-0022.

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Abstract This study deals with a period of the Greeco-Roman history related to theatre. Hellenism is a period which is often overlooked by theatre scholars although it is an immensely important and rich transformatory and revolutionary period from a historical point of view. Hellenism is not only marked with the encounter of two worlds, but also with their mutual enrichment. In the world of diverse peoples, theatre and drama turn to lighter themes (comedy is more popular than tragedy), show preference for entertaining theatre forms, gradually divert their attention from serious textual levels

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McKinnie, Michael. "The State of the Nation." Canadian Theatre Review 125 (January 2006): 5–8. http://dx.doi.org/10.3138/ctr.125.001.

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Well, maybe. As I write this from Birmingham, the British city where I live and work, Judith Thompson’s My Pyramids! Or: How I Got Fired from the Dairy Queen and Ended Up in Abu Ghraib, by Pvt. Lynndie England is playing at the Edinburgh Festival Fringe. The production, by Toronto’s Volcano Theatre, has received strong reviews in the British press. This even-handed treatment in the national newspapers makes a welcome change from the way that Canadian theatre is often covered here, when it is covered at all — more commonly, the British media treat Canadian theatre with a mixture of condescensio

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CIOBOTARU, Anca-Doina. "Lessons Regarding Liberty." Theatrical Colloquia 14, no. 1 (2024): 23–34. http://dx.doi.org/10.35218/tco.2024.14.1.02.

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Research represents a form of expression of the need for exploration from which questions and reformulations arise, but also a way of assimilating fundamental "lessons", about the profession, about life; and – thus –, the story goes on. Thus, exploring the "Horia Barbu Oprișan" fund, within the archive of the "Romanian Peasant Museum" (MTR), in Bucharest, has implicitly allowed me to approach the labor behind the books about the history of popular theater (with or without puppets). In my mind, questions sprout through which I return to his most well-known works, Teatru fără scenă [Theater with

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Khalil-Butucioc, Dorina. "The war on the Dniester in 1992 in the contemporary drama of Moldova." Arta 32, no. 2(AAV) (2023): 52–59. http://dx.doi.org/10.52603/arta.2023.32-2.08.

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Bessarabian playwrights, at the turn of the centuries, addressed several taboo subjects, such as it was and still is the Dniester War of 1992. However, the evocation of this event that has already become history served as the pre/subtext of the following dramatic texts: Saxofonul cu frunze roşii/Saxophone with red leaves by Val Butnaru, staged at ”Luceafărul” Theater (1998); the plays by C. Cheianu Noi/We, staged at ”Luceafărul” Theater (1994), and Ţara asta a uitat de Noi…/This country has forgotten us…, at the National Theater ”Satiricus I. L. Caragiale” (2011); Fata cea mută a început să vo

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Scholtemeijer, J. "Die proloë van Terentius - ’n teatercredo." Literator 12, no. 1 (1991): 43–50. http://dx.doi.org/10.4102/lit.v12i1.743.

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In his prologues Terence replies to criticism on his work and criticizes the comic convention, but also expounds his own theory of theatre. The theatrical event is contained in three elements: text, actor and audience. Only when these three elements meet and work together in the theatre do we have living drama. The playwright entrusts his text (studium) to the guardianship (tutela) of the actor who has the authority (auctoritas) of a guardian (tutor) to act in the interest of the author and his work. The text is also entrusted to the good faith (fides) of the audience who has the moral duty (f

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Kippola, Karl M. "Women's Contribution to Nineteenth-Century American Theatre." Theatre Survey 47, no. 1 (2006): 136–38. http://dx.doi.org/10.1017/s0040557406330098.

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Most scholars of American drama and theatre acknowledge that women's contributions to the field, especially those prior to the twentieth century, have been underrepresented. Over the past twenty-five years, scholars have begun to address a number of those glaring omissions. Women in American Theatre (New York: Crown, 1981; rev, and exp,, New York: TCG, 1987), edited by Helen Krich Chinoy and Linda Walsh Jenkins, fired the first resounding salvo, addressing an enormous range of material. Faye Dudden's outstanding Women in the American Theatre: Actresses & Audiences, 1790–1870 (New Haven: Ya

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Bracht, Kathryn. "Wild Theatre:The History of One Yellow Rabbit." Canadian Theatre Review 117 (January 2004): 74–75. http://dx.doi.org/10.3138/ctr.117.018.

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Freelance journalist and theatre critic Martin Morrow is clearly excited about rabbits – not just any rabbit of course – specifically those crazy, creative Rabbits who are the subject of his first book, Wild Theatre: The History of One Yellow Rabbit. Well travelled nationally and internationally, this eclectic and dynamic theatre company from Calgary, Alberta has been one of Western Canada’s best-kept secrets, and as Morrow says in his acknowledgements, it was high time someone wrote a book about them. Written with a fresh, journalistic eye, Wild Theatre chronicles the twenty-year history of O

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Hahn, Daniela. "Performing Public Spaces, Staging Collective Memory: 50 Kilometres of Files by Rimini Protokoll." TDR/The Drama Review 58, no. 3 (2014): 27–38. http://dx.doi.org/10.1162/dram_a_00371.

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Since the 1960s, walking through urban spaces as an explorative artistic practice has become a manifestation of the blurring boundaries between theatre and what is called “public space.” Rimini Protokoll’s 50 Kilometres of Files turns an urban environment into a sonic space in which the city’s past and present converge, resonating with each walker’s step.

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Rasyid, Innadiyah, and Ramdhan Muhaimin. "Unraveling Islamophobia: A Content Analysis of Propaganda in 'The Kashmir Files' 2022 in India." Al-MUNZIR 16, no. 2 (2023): 151. https://doi.org/10.31332/am.v16i2.7104.

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This research analyzes the narrative of Islamophobic propaganda in the film "The Kashmir Files 2022" using a qualitative approach, employing the concepts of propaganda and content analysis theory. The study identifies parts of the film falling into the category of Islamophobic propaganda into three aspects: name-calling, transfer, and bandwagon techniques. The findings reveal a narrative of Islamophobic propaganda, including depictions of intolerance towards women, other religions, and violence against children. Additionally, the research indicates political support through tax exemptions and

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Parremore, Rose. "Introduction of the Surgical Site Fire Risk Assessment at The Lister Hospital, part of HCA Healthcare UK." Journal of Perioperative Practice 29, no. 5 (2018): 122–28. http://dx.doi.org/10.1177/1750458918813080.

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Introduction A surgical site fire within the operating theatres is a continuous risk in modern surgery. When such an event does happen, clinical personnel can feel stunned, because such events are rare, and often happen rapidly. At The Lister Hospital, part of HCA Healthcare UK, a Fire Risk Assessment Tool and Protocol was developed to reduce such risks. Method Reviewing the scholarly literature and case studies relating to surgical site fires provides information and recommendations to highlight and improve such dangerous incidents from occurring in the future. Conclusion From the review of l

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Zhang, Tao, Wei Cai, Min Hu, and Gaohan Xiong. "Research on Passenger Evacuation in Cruise Ship Theatres under the Dynamic Influence of Fire Products." Fire 7, no. 9 (2024): 297. http://dx.doi.org/10.3390/fire7090297.

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The study of fire simulation and emergency evacuation in cruise ships is a challenging aspect of cruise safety research. Investigating the impact of fire byproducts on passenger evacuation is a critical issue that urgently needs to be addressed. This paper utilizes PyroSim 2022 software to establish five fire cases, analysing the fire products concentration under each case. The influence of fire products on passenger evacuation was analysed using PathFinder. The results showed that when the fire source is in the stage area, the impact of fire byproducts on passenger evacuation is relatively mi

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Burzyńska, Anna R. "“Observe, Decrypt, Inform” – Working on a Walking Performance." Konteksty Kultury 21, no. 3 (2024): 352–67. https://doi.org/10.4467/23531991kk.24.031.20866.

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The article deals with the creative process of creating a so-called walking performance. The analysed case study is the performance Skrót. Krakau Files [Short Cut. The Krakau Files, 2003] produced by Goethe-Institut in Kraków and created by the Swiss theatre director, Stefan Kaegi. The work on the performance is described from two perspectives. The first is internal (creative) – the author co-created the dramaturgy of the project and supervised its proper exploitation. The second is external (critical, exploratory, research-related). It includes references not only to existing theories of walk

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Shin, Dongmin. "The Operational Focus of US INDOPACOM : Enhancing of Logistical Capability, Mobility·Survivability and Precision-Strike Fires." Korea Research Institute for Strategy 31, no. 2 (2024): 383–400. https://doi.org/10.46226/jss.2024.7.31.2.383.

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This paper analyzes the operational focus of US Indo-Pacific Command(US INDOPACOM) as index studying the US Indo-Pacific Strategy which is now in the state of action plan. Pointing out People’s Republic of China as one of the key challenges, US INDOPACOM takes into account of so-called ‘tyranny of distance’ as the distinctive feature of Indo-Pacific theater. Facing with the challenges, US INDOPACOM develops its forces with the following operational focus: enhancing its logistical capability, mobility of its forces and precision-strike fires. First, while focusing on Guam/CNMI, Japan, Philippin

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Hennessey, Christine. "JOSEPH CORNELL'S THEATER OF THE MIND: SELECTED DIARIES, LETTERS AND FILES. Mary Ann Caws." Art Documentation: Journal of the Art Libraries Society of North America 13, no. 3 (1994): 153. http://dx.doi.org/10.1086/adx.13.3.27948671.

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Nkeshimana, M., R. Wong, J. Bikoroti, S. Jayaraman, J. C. Byiringiro, and Z. El-Khatib. "Assessing the waiting time for emergency orthopedic surgery for open fractures – A 6-month review of records at one of the largest referral public hospitals in Rwanda." Rwanda Medical Journal 79, no. 1 (2022): 26–35. http://dx.doi.org/10.4314/rmj.v79i1.4.

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INTRODUCTION: The delay in surgical intervention for open fractures can have severe negative consequences. However, the delay for patients with open fractures presenting at Centre Hospitalier Universitaire de Kigali (CHUK), one of the largest public hospitals in Kigali, Rwanda, had not been studied. This study assessed the waiting time for surgery and compared it against the 6-hour (ideal time) and 24-hours (acceptable time) standards.METHODS: A review of the postoperative register and patients’ records was conducted. All medical charts of open fracture cases between April and September 2018 w

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SĂVULESCU, ALEXANDRU-FLORIN, CRISTIAN CÎRLAN, FLORIN-CRISTIAN BLĂJUȚ, et al. "Classic suturing materials overview." Industria Textila 73, no. 05 (2022): 574–79. http://dx.doi.org/10.35530/it.073.05.202211.

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Sutures are used in surgery to approximate wounds for the healing purpose after injury or elective interventions or for hemostasis ligation. During the millennial evolution of sutures, natural fibres have been almost completely replaced by synthetic materials. Experience from the last years has shown that silk and catgut chromium threads are natural fibres still used in surgical theatres, but they might have registered a decrease in preferences due to inflammatory response. Despite the continuous improvement in this field, there is not a perfect universal suture affordable and right for every

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Díaz, Silvina Alejandra. "La huella de Jerzy Grotowski en la escena argentina." Investigación Teatral. Revista de artes escénicas y performatividad 10, no. 16 (2019): 27–53. http://dx.doi.org/10.25009/it.v10i16.2604.

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La figura de Jerzy Grotowski y su libro Hacia un teatro pobre despertaron en Argentina el interés de las corrientes teatrales innovadoras del legendario Instituto Di Tella a fines de la década de los años sesenta. Sin embargo, tanto en los espectáculos neovanguardistas como en el discurso crítico, podía observarse una comprensión superficial y estereotipada de su poética. Sus concepciones filosóficas y prácticas alcanzaron, en cambio, una mayor organicidad en las tendencias vinculadas con la antropología teatral surgidas a comienzos de la democracia, que redescubrieron el fundamento del teatro

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Krucker, Fides. "In PLACE OF SHOUTING." Canadian Theatre Review 196 (February 1, 2024): 44–48. http://dx.doi.org/10.3138/ctr.196.009.

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Fides Krucker is a singer of contemporary opera who specializes in extended vocal sound. For three decades, her passion has been interdisciplinary co-creation. Extended, or ‘expanded,’ voice is an effective mode of expression and communication. It can marry with theatrical forms in multiple ways. This article dips into (1) the work of the music-driven feminist collective URGE, (2) Krucker’s history in electroacoustic opera, (3) ‘vocalography’ for choreographer Jessica Runge, and (4) devised theatre at Humber College Theatre Performance. There is practicality, purpose, and economy to non-verbal

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CASTRO, Daniel, and Julie HOLLEDGE. "Auditory time travel: Acoustic notes on the virtual reality reconstruction of the Queen's theatre (Adelaide, 1841)." INTER-NOISE and NOISE-CON Congress and Conference Proceedings 270, no. 10 (2024): 1164–75. http://dx.doi.org/10.3397/in_2024_2792.

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This paper presents the results of an international interdisciplinary effort to reconstruct the Queen's Theatre in Adelaide as it stood on its inaugural debut in 1841. Our collaborative approach brings together real actors, set and costume designers, architects, virtual reality (VR) developers, motion capture specialists, and acoustic engineers in order to reproduce, as realistically as possible, the opening night monologue by Mr Gustavus Arabin. By combining the modelled ambisonics room impulse responses with a proprietary algorithm, we achieved an authentic representation of the historical e

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Braun, Edward. "Meyerhold: the Final Act." New Theatre Quarterly 9, no. 33 (1993): 3–15. http://dx.doi.org/10.1017/s0266464x00007429.

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The process of rehabilitating the reputation of the great Soviet director Vsevolod Meyerhold began soon after Krushchev's repudiation of Stalinism in 1955. However, it was only with the recent opening of the KGB files on ‘Case No. 537’ that the mystery surrounding the circumstances of his trial and presumed execution was finally resolved. The full story, which combines the horrific torture of an old, sick man with the petty niceties of bureaucratic form-filling, has been gradually unfolding in Russian-language journals over the past three years: and here Edward Braun provides the first detaile

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