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Статті в журналах з теми "Public Theatre (New York, N.Y.)"

Автор: Grafiati

Опубліковано: 25 липня 2024

Оновлено: 31 липня 2025

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1

HAENNI, SABINE. "‘A Community of Consumers’: Legitimate Hybridity, German American Theatre, and the American Public." Theatre Research International 28, no. 3 (2003): 267–88. http://dx.doi.org/10.1017/s0307883303001135.

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German American theatre in late nineteenth- and early twentieth-century New York City became a model for both a national American theatre and other diasporic theatres in the US. This theatre aspired to an autonomous, class-free, universal culture, which was seen as the legacy of a German Enlightenment tradition epitomized by Schiller's national(izing) theatre. German Americans were thus exceptionally positioned to claim the ideology of a universal culture as a national characteristic. At the same time, however, the theatre was structured by market demands and the need to appeal to a diverse Ge

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2

Kennedy, Jeffery. "“A New Marionette Theatre”: An Introduction." Eugene O'Neill Review 46, no. 1 (2025): 1–7. https://doi.org/10.5325/eugeoneirevi.46.1.0001.

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ABSTRACT This is a short introduction to the incomplete article “A New Marionette Theatre” found in a folder of two articles labeled “James Light Transcripts” in the Billy Rose Theatre Collection at the New York Public Performing Arts Library. The research points to the probability that marionette artist Remo Bufano likely wrote “A New Marionette Theatre” and that both articles were used to apply for Guggenheim Fellowships in 1928, which both Light and Bufano were awarded in 1929; this is likely why they are found together.

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3

Rod, David K. "Trial by Jury: An Alternative Form of Theatrical Censorship in New York, 1921–1925." Theatre Survey 26, no. 1 (1985): 47–61. http://dx.doi.org/10.1017/s0040557400000326.

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Between 1921 and 1925, an experimental form of nongovernmental censorship of the theatre was developed and practiced in New York City. Referred to variously as volunteer juries, citizens' juries, or the play-jury system, the experiment attempted to overcome the shortcomings of existing legal controls on the theatre and to relieve public concerns about the exploitation of sexually suggestive and obscene materials in stage plays. Although the play-jury system was short-lived, a review of its brief career reveals significant accomplishments and can provide a clearer picture of some of the issues

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4

Loney, Glenn. "Talking to Carlos Gimenez, Creator of the Rajatabla in Caracas." New Theatre Quarterly 2, no. 7 (1986): 243–49. http://dx.doi.org/10.1017/s0266464x00002219.

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knowledge of the theatre of South America tends to be shamefully scanty in the English-speaking world: yet the forces of rapid political change, both revolutionary and repressive, often provoke innovative theatrical responses. NTQ intends to pursue the study of theatre in this huge continent. The following interview was conducted by Glenn Loney with the young director Carlos Gimenez – a refugee from Argentina presently working with his Rajatabla troupe in Caracas, Venezuela – whose production of Bolivar was brought to the Public Theatre in New York last summer, with a return visit planned to i

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5

Yi, Su-Jin, and Hye-Won Jang. "Support System For Creators of the Public Theatre in New York City." Journal of the Korea Entertainment Industry Association 10, no. 4 (2016): 1. http://dx.doi.org/10.21184/jkeia.2016.08.10.4.1.

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6

Gudkov, Maxim M. "Valentin Katayev’s Comedy The Path of Flowers on the American Stage of the 1930s." Literature of the Americas, no. 18 (2025): 204–37. https://doi.org/10.22455/2541-7894-2025-18-204-237.

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The study focuses on the problem of the stage existence in the USA of Valentin Katayev’s comedy The Path of Flowers (Doroga tzvetov, 1933). It presents documents confirming Katayev’s planned visit to the United States in the 1930s as well as traces the key milestones of his The Path of Flowers’ American stage productions: at the Workers’ Theatre in Chicago (1934), at the New York Experimental Theatre as part of the Federal Theatre Project (1936), and at the University Theatre of Michigan (1937). The second of these American stage adaptations is analysed in more detail. Documentary material i

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7

Loney, Glenn. "A Theatre of Pre-Depression: Economics and Apathy in New York." New Theatre Quarterly 8, no. 32 (1992): 313–20. http://dx.doi.org/10.1017/s0266464x00007090.

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In an article in NTQ22 (May 1990), Glenn Loney clarified, with special concern for a British readership, the many ‘Factors in the Broadway Equation’. In NTQ 30 (May 1992), he took a closer look at the productions of the 1990–91 season, with its glut of musicals, from the lavish to the just plain lousy, economic ‘single-person shows’ – and the sometimes more challenging products of the off-Broadway and not-for-profit sectors. Here, he continues to trace the long decline of the ‘fabulous invalid’ through the season of 1991–92 – a season overshadowed by the death of Joe Papp, the mourning for a g

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8

Levenson, Mia. "Epidemic Dramaturgies: Theatre and Public Memory during New York City's 1832 Cholera Outbreak." Theatre Journal 74, no. 4 (2022): 463–84. http://dx.doi.org/10.1353/tj.2022.0093.

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9

Fearnow, Mark. "Theatre for an Angry God Public Burnings and Hangings in Colonial New York, 1741." TDR (1988-) 40, no. 2 (1996): 15. http://dx.doi.org/10.2307/1146527.

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10

Carlson, Marvin. "INHERITING THE WIND: A PERSONAL VIEW OF THE CURRENT CRISIS IN THEATRE HIGHER EDUCATION IN NEW YORK." Theatre Survey 52, no. 1 (2011): 117–23. http://dx.doi.org/10.1017/s0040557411000093.

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It is no secret, unhappily, that the study of theatre in the colleges and universities of this country is a discipline under siege, but the severity of the problems received strong confirmation in New York State this fall when two of the most distinguished and long-established (over a century in both cases) programs in the country were, with little warning, faced with draconian cuts or outright extinction. The fact that one, the state University of Albany, was the flagship school of the public system, and the other, Cornell University, was one of the state's most distinguished private institut

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11

Cox, Jordana. "The Phantom Public, the Living Newspaper: Reanimating the Public in the Federal Theatre Project's1935(New York, 1936)." Theatre Survey 58, no. 3 (2017): 300–325. http://dx.doi.org/10.1017/s0040557417000266.

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Stories of American democracy, whether critical or congratulatory, canonical or popular, feature “the public” as their recurring protagonist. “The public” is a rhetorical fixture of political campaigns and democratic theories, opinion polls and calls to action. Its influence is formidable: the very idea scores political speech, and calls citizens into being. Yet as many scholars have argued, “the public” is a moving target, and possibly even a total fiction. Perhaps the best-known challenge in recent decades has come from literary critic and social theorist Michael Warner. “Publics” he writes

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12

Emeljanow, Victor. "Pleasure Gardens. Performing Arts Resources, vol. 21. Edited by Stephen M. Vallillo and Maryann Chach. New York: Theatre Library Association, 1998; pp. 105. $30 cloth; Their Championship Seasons: Acquiring, Processing, and Using Performing Arts Archives. Performing Arts Resources, vol. 22. Edited by Kevin Winkler. New York: Theatre Library Association, 2001; pp. 142. $30 cloth." Theatre Survey 45, no. 1 (2004): 133–35. http://dx.doi.org/10.1017/s0040557404290081.

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The annual publication of the Theatre Library Association is designed “to gather and disseminate scholarly articles dealing with the location of resource materials” relating to all media as well as popular entertainments, the evaluation of those resources, and to include as well “monographs of previously unpublished original material.” The volumes are slim ones, so we should not expect coverage of the many theatre collections available to scholars and practitioners, but rather a highly selective series of essays reflecting the priorities of the Association or of the individual volume editors.

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13

McPherson, David C. "Alexander Leggatt, Jacobean Public Theatre, Theatre Production Studies, ed. John Russell Brown (London and New York: Routledge, 1992), x + 222 pages." Ben Jonson Journal 2, no. 1 (1995): 281–83. http://dx.doi.org/10.3366/bjj.1995.2.1.24.

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14

van den Berg, Klaus. "The Geometry of Culture: Urban Space and Theatre Buildings in Twentieth-Century Berlin." Theatre Research International 16, no. 1 (1991): 1–17. http://dx.doi.org/10.1017/s0307883300009986.

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In her 1983 book, Semiotik des Theaters, Erika Fischer-Lichte referred to theatre as part of ‘die Geometrie der Kultur’, a network of relationships materialized in space that symbolizes cultural experience. The concept of the geometry of culture may enable us to show how, in an urban space, different strands of human activities find their expression in the outline of urban space. Lewis Mumford demonstrates in The City in History that political programmes, economic interests, and cultural concepts influence the city's organization as well as the functions which individual buildings take in the

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15

Turton, Benjamin Mark, Sion Williams, Christopher R. Burton, and Lynne Williams. "59 Arts-based palliative care training, education and staff development: a scoping review." BMJ Supportive & Palliative Care 7, no. 3 (2017): A369.2—A371. http://dx.doi.org/10.1136/bmjspcare-2017-001407.59.

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BackgroundThe experience of art offers an emerging field in healthcare staff development, much of which is appropriate to the practice of palliative care. The workings of aesthetic learning interventions such as interactive theatre in relation to palliative and end of-life care staff development programmes are widely uncharted.AimTo investigate the use of aesthetic learning interventions used in palliative and end-of-life care staff development programmes.DesignScoping review.Data sourcesPublished literature from 1997 to 2015, MEDLINE, CINAHL and Applied Social Sciences Index and Abstracts, ke

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16

Cowhig, Ruth M. "Ira Aldridge in Manchester." Theatre Research International 11, no. 3 (1986): 239–46. http://dx.doi.org/10.1017/s0307883300012372.

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On Saturday, 10 February, 1827, the Manchester Guardian announced the coming appearance of ‘the African Roscius’ at the Theatre Royal, Manchester. After referring to ‘his success in New York and in all the principal theatres in the United States’ and to his performances ‘in the Theatres Royal, Bath, Bristol, Brighton, Plymouth, Exeter, and upwards of fifty nights at the Royal Coburg Theatre, London, with universal approbation’, the notice states that he will spend one night in Manchester on his way to Edinburgh and Glasgow. A note in the Manchester Courier the following week (17.2.1827) emphas

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17

Cox, Jane. "Encountering Road Show." Studies in Musical Theatre 17, no. 3 (2023): 229–35. http://dx.doi.org/10.1386/smt_00135_1.

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The author considers her experience as the lighting designer for John Doyle’s production of the Stephen Sondheim and John Weidman’s musical Road Show at the Public Theater in New York City in 2008. She reflects on the experience of her life and career as an immigrant designer in the American theatre in relationship to the story of the musical, and relates her experience of the rehearsal and technical process of the production. The author considers her relationship to the American musical through the experience of designing this one particular Sondheim musical and explores various relationships

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18

Gudkov, Maxim M. "“A Man of Soviet Orientation” — American Impresario Sidney Ross." ТЕАТР. ЖИВОПИСЬ. КИНО. МУЗЫКА 3 (September 2024): 106–27. http://dx.doi.org/10.35852/2588-0144-2024-3-106-127.

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This study focuses on the activities of the American impresario Sidney Ross, whose work has been little studied in both the USA and Russia. During the interwar period, Ross sym- pathized with the USSR and dedicated himself to organizing overseas tours for leading Soviet directors and theatres, including Vsevolod Meyerhold and his Moscow State Theatre, Constantin Stanislavsky and the Moscow Art Theatre, Alexander Tairov and the Moscow Kamerny Theatre, Vladimir Nemirovich-Danchenko and Music Studio at the Moscow Art Theatre). For the first time in Russian and American theatre studies, a brief cr

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19

Bain, David. "The Greek Theatre - Peter D. Arnott: Public and Performance in the Greek Theatre. Pp. viii + 203. London and New York: Routledge, 1989. £25." Classical Review 40, no. 2 (1990): 298–300. http://dx.doi.org/10.1017/s0009840x0025378x.

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20

Burchill, Antoinette. "Conflictual sociability? A paradoxical approach to politicized street theatre." Art & the Public Sphere 10, no. 2 (2021): 165–73. http://dx.doi.org/10.1386/aps_00056_1.

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In Agonistics (2013), Chantal Mouffe highlights sociability and notes its potential for artists in devising agonistic counter-hegemonic performances. However, sociability as an isolated factor is unlikely to produce politicized dissent. Instead, therefore, a politicized form of conflictual sociability is created by applying Mouffe’s notion of a ‘conflictual consensus’ (an agreement between opponents to disagree) to art practice. By applying paradoxical thinking to the performance of dissent in the public realm, the article argues for sociability in service of politicized critique. The potentia

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21

Murphy, Michael. "Crying Fire in a Theatre: Auden's Harlequinades." Miscelánea: A Journal of English and American Studies 20 (December 31, 1999): 303–28. https://doi.org/10.26754/ojs_misc/mj.199911256.

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This essay examines Auden's growing disillusionment with England during the 1930s, culminating in his leaving for New York in early 1939. Focussing on those poems which were to be published in Another Time (1941), Auden's first collection as an "American" poet, the essay charts Auden's analysis of the poet's responsibility for the creation of a "Just City" through such exemplary figures as Rimbaud, Edward Lear, Matthew Arnold and, most importantly, W. B. Yeats. If sailing for' America saw Auden attempting to escape a certain kind of limiting and parochial Englishness, then it also, this essay

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22

Granshaw, Michelle. "The Mysterious Victory of the Newsboys: The Grand Duke Theatre's 1874 Challenge to the Theatre Licensing Law." Theatre Survey 55, no. 1 (2013): 48–80. http://dx.doi.org/10.1017/s0040557413000537.

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In 1874, a group of newsboys took on some of the wealthiest, most respected, and most powerful New Yorkers and emerged victorious. The Society for the Reformation of Juvenile Delinquents, a philanthropic organization that worked to guard public morals and championed Christian values, faced two challenges that year over the city's theatre licensing fee. Its prominent members and their financial power made the organization a formidable force in local city matters. As a result of the 1872 Act to Regulate Places of Public Amusement in the City of New York, theatre managers were required to pay $50

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23

Chinery, Mary. "“I believe my play is really ‘going through’”: Edith Wharton’s The Shadow of a Doubt: A Play in Three Acts in Performance." Edith Wharton Review 39, no. 2 (2023): 143–65. http://dx.doi.org/10.5325/editwharrevi.39.2.0143.

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Abstract Edith Wharton’s The Shadow of a Doubt, a play in three acts, has generated extensive publicity as well as interest in staged readings. Now, The Shadow of a Doubt has been completely professionally staged for the first time at the 2023 Shaw Festival’s Royal George Theatre in Niagara-on-the-Lake, Ontario. Director Peter Hinton-Davis sought to preserve Wharton’s original intentions as well as offer a new interpretation of this now modern classic. In early 1901, the play was already in rehearsal for a matinee with the Empire Theatre Acting Company, directed by Charles Frohman and starring

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24

Warner, M. "A Soliloquy "Lately Spoken at the African Theatre": Race and the Public Sphere in New York City, 1821." American Literature 73, no. 1 (2001): 1–46. http://dx.doi.org/10.1215/00029831-73-1-1.

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25

Chun, Tarryn Li-Min. "Wang Chong and the Theatre of Immediacy: Technology, Performance, and Intimacy in Crisis." Theatre Survey 62, no. 3 (2021): 295–321. http://dx.doi.org/10.1017/s0040557421000211.

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In early January 2020, when Chinese theatre director Wang Chong (b. 1982) arrived in New York to remount his production of Nick Payne's Constellations for the Public Theater's Under the Radar Festival, he couldn't have predicted that this would be the last time for months that he would watch his actors from the middle of a full house. By the time his work-in-progress solo show, Made in China 2.0, opened at the Asia TOPA Festival in Melbourne, Australia, at the end of that February, it was clear that there would be no live theatre in Wang's hometown of Beijing for some time. All of China was on

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26

Gudkov, Maxim M. "Leonid Snegoff as Vakhtangov’s follower in the USA and his Broadway production of Dmitry Scheglov’s play “The Blizzard”." ТЕАТР. ЖИВОПИСЬ. КИНО. МУЗЫКА, no. 2 (2022): 10–33. http://dx.doi.org/10.35852/2588-0144-2022-2-10-33.

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The study focuses on the export of Eugene Vakhtangov’s theatrical methodology to American stage practices. The problem is specifically discussed based on the the acting and directing activities of Vakhtangov’s follower Leonid Snegoff. He staged the play by the Soviet playwright Dmitry Scheglov “The Blizzard” (“Purga”) on Broadway in 1929. The deep interest in Russian theatrical ideas and systems (Konstantin Stanislavsky, Eugene Vakhtangov, Vsevolod Meyerhold and Michael Chekhov) of the US practitioners in the interwar period are explained. The main two reasons are the absence of national actin

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27

Henderson, Diana E. "‘Hard hearts’ resounding now: anatomising race, resistance, and community in The Merchant in Venice (2016) and Julius Caesar (2017)." Cahiers Élisabéthains: A Journal of English Renaissance Studies 99, no. 1 (2019): 173–92. http://dx.doi.org/10.1177/0184767819851076.

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Placing two innovative, high-profile stagings of Shakespeare in dialogue, this essay emphasises the power of re-citations, both as aural echoes and as tableaux, across dramatic genres. Building on Martin Luther King’s self-quotation within his anti-Vietnam address, it reveals how the Compagnia de’ Colombari’s site-specific The Merchant of Venice, performed in the originary Jewish Ghetto, and the New York Public Theater’s Julius Caesar, which created a national furore, each employed non-traditional casting and Shakespeare’s Act 4 emphasis on threatened yet suspended male-on-male violence to cre

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28

Ives, L. Patricia. "A Few Broad Statements Notes on The First International Women Playwrights Conference." Canadian Theatre Review 59 (June 1989): 15–17. http://dx.doi.org/10.3138/ctr.59.004.

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In October, the State University of New York at Buffalo launched the first International Women Playwrights Conference, bringing together over 300 women playwrights, theatre practitioners, and academics from all over the world. A hugely ambitious project, it was held over six days and combined workshops, staged readings, scholarly papers and panel discussions. Numerous Buffalo theatres mounted productions of plays written by women dramatists which ran throughout the conference. Although the first half of the conference was restricted to playwrights, the second half was open to the public. Given

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29

Jones, Richard. "Public Performance in the Greek Theatre. By Peter D. Arnott. London & New York: Routledge, 1989; pp. viii + 203. $42.50." Theatre Survey 32, no. 2 (1991): 240–42. http://dx.doi.org/10.1017/s0040557400001137.

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Fullwood, Dottington, Carrie Cameron, Sydney Means, et al. "Prevalence of violent advertisements in New York City subways." Health Promotion Perspectives 11, no. 2 (2021): 219–29. http://dx.doi.org/10.34172/hpp.2021.27.

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Background: Media advertisements displaying aggression and violence in public transit spaces represent a public health concern. The high visibility of ads likely contributes to increased levels of aggression among New York City (NYC) youths traveling across boroughs. Given the importance of the physical, psychological and social environment in shaping the lives of youth, additional attention is warranted regarding how media advertisements are promoted within public transit spaces across America. The aim of this study was to document quantity and placement of advertisements illustrating aggress

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31

Gredley, Bernard. "(P. D.) Arnott Public and performance in the ancient Greek theatre. London and New York: Routledge, 1989. Pp. viii + 203. £25.00." Journal of Hellenic Studies 112 (November 1992): 180–81. http://dx.doi.org/10.2307/632172.

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Roxworthy, Emily. "Frankenmom: Theatre as History in Deconstructing American Celebrity Motherhood." Theatre Survey 57, no. 1 (2015): 63–87. http://dx.doi.org/10.1017/s0040557415000563.

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When Paper magazine attempted in 2014 to “break the Internet” (as its cover declared) by publishing French artist Jean-Paul Goude's photos of reality star Kim Kardashian brazenly displaying her infamous derriere, the public reprimands to Kardashian from fellow celebrities quickly zeroed in on an even more essentializing aspect of her identity. As actress Naya Rivera posted, “You're someone's mother.” Singer Lorde articulated Kardashian's transgression even more simply, retweeting the photos along with a single word that served as a hex: “mom.” The judgment of her female peers seemed to be that

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33

Nichols, Richard. "Zeami and the N?? Theatre in the World. Edited by Benito Ortolani and Samuel E. Leiter. New York: Center for Advanced Studies in Theatre Arts, 1998; pp. 177. Paperback." Theatre Survey 42, no. 1 (2001): 98–100. http://dx.doi.org/10.1017/s0040557401253861.

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34

Kurti, Marin, Klaus von Lampe, Yi He, Cristine Delnevo, and Da Qin. "Innovations in counterfeiting tax stamps: a study of ultraviolet watermarks in a sample of discarded New York City packs." Tobacco Control 28, no. 4 (2018): 469–71. http://dx.doi.org/10.1136/tobaccocontrol-2018-054501.

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ObjectiveDocument the use of ultraviolet watermark in counterfeit joint New York City/New York State cigarette tax stamps to assess the scale at which distributors of illegal cigarettes adapt to measures protecting the integrity of the system of tobacco tax collection.MethodsIn 2016, we collected 2357 empty discarded cigarette packs along a stratified random sample of block groups in New York City (n=114) and analysed 449 joint New York City/New York State tax stamps using long wave ultraviolet irradiation, light microscopy and taggant testers developed by the tax stamp manufacturer, Meyercord

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35

Cox, Jordana. "The Loudspeaker and the Little Man: Mass Media and Democratic Participation in the Federal Theatre Project’s One-Third of a Nation." Journal for the History of Rhetoric 23, no. 2 (2020): 121–47. http://dx.doi.org/10.5325/jhistrhetoric.23.2.0121.

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ABSTRACT In a 1938 hearing with the House Un-American Activities Committee (HUAC), director Hallie Flanagan claimed that the U.S. Federal Theatre Project (FTP) (1935-9), which she led, disseminated “propaganda for democracy.” In this paper, I explore the possibilities of propaganda for democracy to describe FTP rhetoric. My focus is a body of work that greatly concerned HUAC. Living Newspapers were full-length, documentary plays about hot-button issues. At the New York Living Newspaper Unit (NYLNU), where journalists and theatre-makers worked side-by-side, Living Newspapers wove original repor

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36

Burt, Philippa. "From the Western Front to the East Coast: Barker's The Trojan Women in the USA." New Theatre Quarterly 34, no. 4 (2018): 326–38. http://dx.doi.org/10.1017/s0266464x18000404.

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When Harley Granville Barker was invited to stage a theatre season in New York following the outbreak of the First World War, senior figures within British politics seized on it as an opportunity to promote the British war effort in the United States. It was, however, Barker's impromptu decision to extend his stay and tour Euripides’ The Trojan Women to major colleges on the East Coast that saw him come close to realizing this goal. Through an examination of the production, the discourse that surrounded it, and the changing diplomatic relations between Britain and the USA, Philippa Burt explor

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Williams, Olajide, Ellyn Leighton-Herrmann Quinn, Anna Colello, et al. "Community stroke education practices in New York State designated stroke centres." Health Education Journal 78, no. 8 (2019): 1012–19. http://dx.doi.org/10.1177/0017896919850213.

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Objective: Community stroke education is a regulated, integral component of stroke systems of care. However, little is known about the types of activities conducted by hospitals. This study was designed to examine the annual requirement for community stroke education among New York State’s 119 designated Primary Stroke Centres and identify areas for improvement that may have an implication on stroke outcomes. Design: Cross-sectional survey design Setting: All 119 New York State designated Primary Stroke Centres were invited to participate. Methods: Participating hospitals completed a 29-item o

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McDermott, Douglas. "Theatre In America: 200 Years of Plays, Players and Productions. By Mary C. Henderson. New York: Harry N. Abrams, 1986. Pp. 327." Theatre Research International 14, no. 3 (1989): 307–8. http://dx.doi.org/10.1017/s0307883300009111.

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Bennett, Susan, and Alexandria Patience. "Bad Girls Looking for Money - Maenad Making Feminist Theatre in Alberta." Canadian Theatre Review 82 (March 1995): 10–13. http://dx.doi.org/10.3138/ctr.82.002.

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It’s not as if we hadn’t always been bad girls; it was just that nobody really noticed until we brought an American bad girl in to play ... After two shows by New York lesbian performance artist Holly Hughes (6 and 7 June 1994), Kelley Charlebois, executive assistant to the Minister for Alberta Community Development, said: “I don’t think that’s something the Government wants to be funding” (Calgary Sun, 26 June 1994: 12). Charlebois’s comment came after several enraged Tory MLAs suggested that the provincial government pulled the $16 million annual arts budget if controversial shows continued

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Safitra, Febriartha Dwi Wahyu, Ni Kadek Yuni Utami, and Ni Wayan Ardiarani Utami. "REDESAIN INTERIOR NEW STAR CINEPLEX TIMBUL JAYA PLAZA DI KOTA MADIUN." Jurnal Patra 2, no. 1 (2020): 19–26. http://dx.doi.org/10.35886/patra.v2i1.83.

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Febriartha Dwi Wahyu Safitra1, Ni Kadek Yuni Utami 2, Ni Wayan Ardiarani Utami3  1,2,2Sekolah Tinggi Desain Bali, Denpasar,Bali - Indonesia  e-mail: febrisafitra97@gmail.com1 A B S T R A C T Movie theater is one of public entertainment designed to give a good quality audio-visual and services to people who would like to spend their time to watch a movie. The purpose of this redesign is to increasing the quality of services provided into movie theater, also to attracting public interest of Indonesian movie world by serving a good facilities and accommodation

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Watson, Kimberly A., Doris G. Gammon, Brett R. Loomis, Harlan R. Juster, and Elizabeth Anker. "Trends in Cigarette Advertising, Price-Reducing Promotions, and Policy Compliance in New York State Licensed Tobacco Retailers, 2004 to 2015." American Journal of Health Promotion 32, no. 8 (2018): 1679–87. http://dx.doi.org/10.1177/0890117118764852.

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Purpose: To describe the presence of licensed tobacco retailers (LTRs), cigarette advertisements, price-reducing promotions, and compliance with tobacco control policies in New York State from 2004 to 2015 and to discuss implications and lessons learned from 11 years of experience conducting LTR surveys. Design: Annual surveys of tobacco advertising from cross-sectional, stratified random samples of LTRs in New York State from 2004 to 2015 were conducted by professional data collectors. Data for 2013 were unavailable as the survey was not fielded in that year. Setting: New York State. Particip

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Stein, T. B., and A. Vasan. "Public Health’s Role in a Post-Dobbs World—The New York City Abortion Access Hub." Obstetric Anesthesia Digest 44, no. 1 (2024): 10. http://dx.doi.org/10.1097/01.aoa.0001005292.74993.be.

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(N Engl J Med. 388;21. doi: 10.1056/NEJMp2301278) The US court case Dobbs v. Jackson Women’s Health Organization removed the constitutional right to abortion. Currently, 13 states ban abortion with few exceptions, while other states have enacted certain restrictions around abortion. This, coupled with new legislation frequently being introduced that further restricts access to abortions, has made it very difficult for people searching for abortion information or services.

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Maroko, Andrew R., Kim Hopper, Caitlin Gruer, Maayan Jaffe, Erica Zhen, and Marni Sommer. "Public restrooms, periods, and people experiencing homelessness: An assessment of public toilets in high needs areas of Manhattan, New York." PLOS ONE 16, no. 6 (2021): e0252946. http://dx.doi.org/10.1371/journal.pone.0252946.

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Access to safe, clean water and sanitation is globally recognized as essential for public health. Public toilets should be accessible to all members of a society, without social or physical barriers preventing usage. A public toilet facility’s design and upkeep should offer privacy and safety, ensure cleanliness, provide required sanitation-related resources, and be gender equitable, including enabling comfortable and safe management of menstruation. Menstrual hygiene management (MHM) refers to the need to ensure that girls, women and all people who menstruate have access to clean menstrual pr

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Koski, Pirkko. "Challenging the Centre: Asylum Seekers Encounter Native Citizens." Nordic Theatre Studies 27, no. 1 (2015): 42. http://dx.doi.org/10.7146/nts.v27i1.24238.

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In Paper Anchor (Paperiankkuri) at the Small Stage of the Finnish National Theatre in 2011 a group of actors, dancers, asylum seekers and eventually also stage technicians (re-)enacted the asylum seekers’ stories: how they had fled their home countries, feared for their lives and faced problems in their country of destination, Finland. It brought the spotlight on asylum seekers, who occupy a marginal position in society and made them visible on many levels: they were present in the stories that were told on stage, in the encounter between performers and spectators and in an art institution tha

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Zhegulskaya, Yu V. "CULTURAL AND LEISURE EVENTS OF UNIVERSAL SCIENTIFIC LIBRARIES IN SIBERIA." Proceedings of SPSTL SB RAS, no. 4 (January 24, 2021): 92–99. http://dx.doi.org/10.20913/2618-7575-2020-4-92-99.

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The decree of the President of the Russian Federation declared 2019 as the Year of Theatre. Libraries traditionally participate in promotion of theatre art, provide their places for plays, hold art meetings, organize theatre clubs, and use theatrical tools in club activities to hold public events. The article objective is to identify and characterize types, forms, orientation, and specifics of cultural, educational, and leisure activities implemented by the central universal scientific libraries of the Siberian Federal district (SFD) as part of the Year of Theater. 10 central libraries were ch

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Ridder, Alyssa. "Ethics of homeless representation in costume design." Performing Ethos: An International Journal of Ethics in Theatre & Performance 10, no. 1 (2020): 117–21. http://dx.doi.org/10.1386/peet_00026_7.

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Marisol, set in 1993 New York City, depicts the end of the world from the perspective of a twenty-something Puerto Rican white collar woman who loses her guardian angel. In approaching the costume design for this play I encountered a deeply concerning question: how can I design costumes for homeless characters without appropriating the physical appearance of people who experience homelessness in real life? Homeless characters are represented in many iconic plays in English language theatre, from Angels in America to Oliver!, and costume designers are frequently asked to address the ethics of r

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Bennett, Susan. "Godard and Lear: Trashing the Can(n)on." Theatre Survey 39, no. 1 (1998): 7–19. http://dx.doi.org/10.1017/s0040557400002994.

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In the late 1990s, the endlessly reinvented Shakespeare has apparently become a popular and successful screenwriter. The recent release of Richard III, William Shakespeare's Romeo + Juliet, Twelfth Night and Hamlet have brought an enthusiastic movie-going public to see, among other things, the Capulets and the Montagues on the beach and Hamlet striding through a cast of thousands at Elsinore. But this is not to suggest that this particular genre success is either new or inappropriate; the collection of artifacts known as Shakespeare (including but not limited to the plays themselves) has long

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Curry, Laurel E., Ashley L. Feld, Todd Rogers, et al. "Changes in Reported Secondhand Smoke Incursions and Smoking Behavior after Implementation of a Federal Smoke-Free Rule in New York State Federally Subsidized Public Housing." International Journal of Environmental Research and Public Health 19, no. 6 (2022): 3513. http://dx.doi.org/10.3390/ijerph19063513.

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This study assessed changes in smoking behavior and secondhand smoke (SHS) exposure after implementation of the U.S. Department of Housing and Urban Development (HUD) rule prohibiting the use of cigarettes, cigars, pipes, and waterpipes in all federally subsidized public housing, including within residential units (apartments). Using quantitative data from a repeated cross-sectional mail survey of New York State residents of five public housing authorities (N = 761 at Wave 1, N = 649 at Wave 2), we found evidence of policy compliance (99% decrease in odds of self-reported smoking in units, OR

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Farley, Shannon M., Julia Sisti, John Jasek, and Kevin R. J. Schroth. "Flavored Tobacco Sales Prohibition (2009) and Noncigarette Tobacco Products in Retail Stores (2017), New York City." American Journal of Public Health 110, no. 5 (2020): 725–30. http://dx.doi.org/10.2105/ajph.2019.305561.

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Objectives. To assess explicit- (products clearly labeled flavored) and emergent concept- (products implying flavoring but not clearly labeled) flavored tobacco product availability following New York City’s flavor restriction. Methods. We examined explicit- and concept-flavored tobacco product availability, with 2017 New York City Retailer Advertising of Tobacco Survey data (n = 1557 retailers). We assessed associations between block group–level demographic characteristics and product availability by using logistic regression. Results. Most retailers sold explicit-flavored (70.9%) or concept-

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Bloch, Rebecca A., Grace Faulkner, Elizabeth D. Hilborn, Tina Wismer, Nicole Martin, and Sarah Rhea. "Geographic Variability, Seasonality, and Increase in ASPCA Animal Poison Control Center Harmful Blue-Green Algae Calls—United States and Canada, 2010–2022." Toxins 15, no. 8 (2023): 505. http://dx.doi.org/10.3390/toxins15080505.

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Harmful cyanobacteria (blue-green algae) exposures can cause illness or death in humans and animals. We characterized American Society for the Prevention of Cruelty to Animals (ASPCA) Animal Poison Control Center (APCC) harmful blue-green algae (HBGA) call data, compared it to a measure of harmful algal bloom public awareness, and considered its suitability as a public health information source. ASPCA APCC dog and cat “HBGA exposure” calls made 1 January 2010–31 December 2022 were included. We calculated annual HBGA call percentages and described calls (species, month, origin, exposure route).

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