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Shakespeare's writing responded to ecological problems in his own time. Today, we can adapt his works to speak to the urgent environmental crises facing our communities, as the group Shakespeare in Yosemite does every spring.Based on the final chapter of Katherine Steele Brokaw's Shakespeare and Community Performance (Palgrave Macmillan, 2023) and “Shakespeare and Environmental Justice: Collaborative Eco-Theatre in YosemiteNational Park and the San Joaquin Valley.” In Situating Shakespeare Pedagogy in  US Higher Education: Social Justice and Institutional Contexts. Edited by Marissa Greenberg and Elizabeth Williamson (Edinburgh University Press, 2024). Also based on the work of Shakespeare in Yosemite, https://yosemiteshakes.ucmerced.edu.

This research focuses on and serves as the foundation for the creation of a theatrical world, supporting the play’s structural narrative to raise awareness of a historical event and to spotlight historically silenced and suppressed voices of color. The gasoline baths occurred at the El Paso, Texas border in 1917 when Mexicans were inhumanely disinfected with toxic chemicals as they sought entrance into the U.S. as a result of discriminatory beliefs and practices. Primary research will include published articles and books, focusing on the event that will serve as source material for the play developmental process. Secondary research efforts will include U.S. immigration policies of the time as well as identifying key historical figures. Carmelita Torres, a central figure in the event, will serve as the main protagonist and voice of the play. The narrative will showcase her advocacy for her community as well as demonstrate the gender bias role of women. Ultimately, this play intends to serve as a catalyst for change, creating a space for conversation, empathy, and transformation to awaken an audience towards moral and social action.

In this this article I evaluate how authorship of theatre occurred in the Elizabethan and Jacobean periods. I explore whether individual playwrights such as William Shakespeare were viewed as authors, and thus owners, of plays at this time. I analyse the role of the Stationers' Company as print monopolists, and the role of Elizabethan theatre companies, who took ownership of scripts for performance purposes. I examine the impact of the publication of the First Folio. I note that the publishing syndicate behind the First Folio, led by Shakespeare's friends John Heminges and Henry Condell, had to obtain the print rights for several plays, not from Shakespeare's estate, but from the various Stationers who had acquired publishing rights while Shakespeare was alive. Therefore, the First Folio stands as an early example, even before statutory copyright existed, of a book created via what we now describe as the 'clearing' of copyright licences. A consequence of the First Folio was not just the emergence of Shakespeare as the English author-figure par excellence; the First Folio coincided with a rising legal expectation that authors should be owners of dramatic texts under copyright law. Throughout the seventeenth century and into the early eighteenth century I mark how tensions between the market power of the Stationers' Company and emerging recognition of the author's literary property led to the first British copyright statute: the Statute of Anne in 1710. [ABSTRACT FROM AUTHOR]

Despite its now totemic constitutional status, Magna Carta is not explicitly mentioned in Shakespeare's history play of King John. King John has been interrogated by literary scholars for references to the charter and investigated by historians for potential oversight. Yet, often overlooked are the sporadic references to Magna Carta in nineteenth-century productions of the play. During the nineteenth century, Magna Carta's legal significance waned as clauses were removed from legislation. Its political purchase is well-documented, including its use by the Chartists, and its use in nationalist-based support for wars at the start and end of the century. What is often unheeded in legal scholarship, is the shifting cultural significance of the charter. A performance history of Shakespeare's King John exposes the different treatment of Magna Carta in productions of Shakespeare's play and related theatrical representations of the charter in popular melodrama and pantomimes in the nineteenth century. This paper uses archival material of theatre productions to interrogate the status of Magna Carta through a performance history of Shakespeare's King John in nineteenth-century London. Investigating the representations of Magna Carta in theatre productions offers a complex picture of the charter's place in the history of British constitutionalism. [ABSTRACT FROM AUTHOR]

This essay explores Self-Directed Learning in voice training for the performing arts. It begins with a philosophical discussion of adult learning theory, Self-Directed Learning, and the essay ends with tangible and practical steps for including Self-Directed Learning in the higher education classroom. Ultimately, the author encourages instructors to explore Self-Directed Learning teaching practices and for the field of voice studies to examine Self-Directed Learning further. [ABSTRACT FROM AUTHOR]

This article provides a much-needed exploration of Irish comedy and its practitioners during the nineteenth century, particularly addressing the lack of scholarly attention that has been given to this period in Irish theatre. While theatre historians have extensively chronicled the development of comedy, pantomime, and burlesque in Victorian Britain, similar studies are scarce for Irish theatre of the same era. The focus of this article is on two prominent figures in the realm of observational comedy in nineteenth-century Irish theatre: Patrick Frederick Gallaher and Denis (Dan) Leonard. Both actors, whose careers spanned from the early 1800s to the late 1870s, played pivotal roles in shaping Irish theatrical comedy during some of Ireland’s most politically and socially turbulent years. Importantly, their work also marked a significant shift in the depiction of the stage Irishman, a character that has been more commonly analysed in the context of American theatre. By examining the careers of Gallaher and Leonard, this article aims to shed light on how these performers helped to transform the stereotypical stage Irishman into a more nuanced and observationally comedic figure. This evolution, often overlooked by scholars, reveals the complexities of Irish identity and humour during this era. [ABSTRACT FROM AUTHOR]

Translation abstract Round timber constructionWith the Globe Theatre, which was completed in 2023, Coburg has a new highlight of a special kind. The new theatre is not only a four‐storey circular building, but also almost a pure timber construction. It serves as a temporary solution during the general renovation of the venerable Landestheater in the historic city centre. The building ensemble is located close to the city centre on the site of the former goods station and consists of a main building and three adjoining buildings in timber construction. The actual theatre building rises strikingly into the air as a circular structure. The three outbuildings adjoin the main building one behind the other and are connected to each other by a glazed corridor. The circular building made of cross‐laminated timber, glulam and floor slabs in timber‐concrete composite dry construction was a challenge for all planners and builders. ZÜBLIN Timber from Aichach was responsible for ensuring that the planning, production, delivery and installation of the timber‐concrete composite ceilings ran smoothly. The new interim venue has been very popular since its opening and will continue to be used for events after the reopening of the state theatre. [ABSTRACT FROM AUTHOR]

We, as friends, feminists, and Early Career Academics, explore the complex interplay between friendships and the Neoliberal University through an experimental genre blending text: a collaborative performance combining duoethnographic theater, poetry and artistic-academic writings. We offer intimate, embodied insights on friendships – between academics, between academics and non-academics, and between writers and readers. Our work exposes the ambiguity of friendships in the Neoliberal University. Friendship as affective relations without a predefined time frame and purpose is depicted as a danger to be contained, reflecting the denial of relationality in knowledge production. An instrumental framing of friendship is promoted and sustains the normative control of workers and the exploitation of care. Despite these challenges, critical, careful friendships are indispensable for academics to navigate the Neoliberal University's physical and mental consequences. To resist collectively and prefigure alternatives, i.e. for the Caring University to emerge, we need to push the boundaries of friendships. [ABSTRACT FROM AUTHOR]

This article argues that anti-theatricality is entrenched in, even a manoeuvre of, anti-Blackness. The article begins by establishing the contexts of the first Black actor known to have played Othello in Britain – Ira Aldridge in the first half of the nineteenth century – and, conflictingly, the repeated efforts in Romantic-era performance and criticism to reject Othello's Blackness. These contexts highlight the default white perspective of Romantic theatrical texts, and the role anti-Blackness had in shaping Romantic dramatic criticism. Having introduced these concepts, I offer a close reading of Charles Lamb's essay 'On the Tragedies of Shakspeare' (1811, rpt. 1818) to demonstrate that Romantic anti-theatricality's desire to transcend embodiment is, specifically, a rejection of marginalised bodies in favour of an idealised imagination coded as white. [ABSTRACT FROM AUTHOR]

The extensive, enigmatic, and singular work of the Portuguese filmmaker Manoel de Oliveira (1908–2015) has been analysed from many perspectives, emphasising the importance of literary adaptations and the historical and cultural contexts in which the main characters are situated, as well as the pictorial or visual references. This research, however focuses on ways of integrating and preserving theater within the language of film, particularly those produced in the 1970s and 1980s. This study selects and analyzes some of the characteristics and features of the theatrical forms identified in Manoel de Oliveira's films, and unravels them. These include the use of spaces and frames to denote narratives, the duality between the static and the dynamic, and the importance of the spoken word in his films. [ABSTRACT FROM AUTHOR]

Copyright of Folklor / Edebiyat is the property of Cyprus International University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

While ‘trauma' has become a buzzword encompassing any distressing event, its definition as an unassimilated psychological wound, unresolved and recurrent, also means that it cannot ever be completely known. Trauma therapy seeks to reintegrate experiences, breaking the cycle of perpetual suffering through fragmentary recollection. Drama and performance art offer a platform for this reintegration, potentially facilitating healing. However, the fine line between therapeutic confrontation and re-traumatization necessitates careful navigation, avoiding triggering negative emotions. Crucially, not all traumatic events lead to PTSD; resilience and communal support can mitigate the effects of distressing experiences, as seen in instances of shared acceptance and forgiveness. Theatre's role in addressing trauma lies in its ability to bear witness, creating spaces for communal acknowledgment and shared grieving. While contemporary performances often revel in discomfort, embracing unresolved narratives, they prompt reflection on the limitations of representation. Art's transformative potential lies not in explicit curative intent but in its expression of unresolved complexities of human experience. Through patience, acceptance, and a refusal to impose meaning, creative arts can serve as a site for healing, fostering empathy and connection amidst the fragmentary experience of what Freud called ‘traumatic neurosis,’ what has since come to be called Post Traumatic Stress Disorder. [ABSTRACT FROM AUTHOR]

The general philosophy of the Enlightenment period and its effects on playwriting of the period The general characteristics of the Enlightenment period and the effects of these characteristics on playwriting were examined. The period between 1700 and 1800 was targeted as the Enlightenment period. It focused on what Enlightenment, a philosophical term, was and how it changed the world cultural structure. Enlightenment is a philosophical term and its real definition was made with Kant. It is defined as the traditional structure in which the Western world has lived for centuries has not been broken. The thinkers of this period put forward ideas in order to get rid of traditions and exist in a period dominated by reason. Putting the human mind first has changed the entire structure in this sense. The impact of this period on theater does not seem positive at first. Because this period prepared the end of Classical tragedy, which is called the period of 'star writers'. Since the 1700s, star writers are no longer on the stage. In this sense, the Enlightenment Period could not produce a 'genius writer'. It is commented that even Goldoni, the most powerful playwright of the period, did not have a masterpiece. A period dominated by reason naturally evaluated emotions in the background. This does not mean that feelings are completely rejected. The movement in which emotions were directly rejected in art would be Romanticism (1800s), which came after the Enlightenment. The theater of the Enlightenment period remains in memories as a period that did not reject emotions, but intensely conveyed them to the audience. It is called the period when there was a lot of applause and a high number of crying spectators. This is less likely to happen in tragedy. Because the tragic hero is idealized. It is very difficult for the audience to identify with him. That's why the drama genre emerged in this period. It is easier for the audience to identify with the drama genre. This has led to the emergence of the drama genre as an intermediate genre. Despite the audience mobility that filled the halls, the Enlightenment Era could not produce strong writers. Theoretical discussions about theater have remained weak in this sense. However, the drama genre, which is one of the most important points in the history of world theater, has emerged and this new genre has been adopted by a very large audience. [ABSTRACT FROM AUTHOR]

Theatre for Development (TfD) is a type of community-based or interactive theatre practice that aims to promote civic dialogue and engagement that uses performances as a participatory tool to help individuals and groups share their experiences with the intent of social transformation and empowerment. But the policy has failed to involve or include the people in the rural areas in development that concerns their lives. This observe therefore addresses the hassle of under improvement and disempowerment among Nigerian population especially in some selected Ekiti communities with the aid of exploring the validity of Theatre for Development Methodology. The demanding situations of human empowerment, transformation, emancipation and rural development remain critical issues in Ekiti State. The paper adopts qualitative studies technique, incorporating development communication via cybernetic pedagogy, participant commentary in its facts gathering and content analysis at the same time, ethnographic research layout method of records collection is used in the BOUESTI/ selected communities in Ekiti. Theatre for Development projects. The projects x-rayed the low-level of development in these clusters which includes, the urban drift of youths the neglect and lack of support of the widows from within and without, lack of health centre and convenient facilities (i.e. toilets) which toll the death rate of the people on the increase. The look hence unearths that Theatre for Development possesses the potency for facilitating human improvement in all ramifications if correctly carried out. This paper therefore recommends that the usage of the theatre for Development alternative which encompasses the conventional nuance of conversation, performance-oriented approach to promote dialogue, create attention and inspire participation would decorate sustainable development in the communities and the nation at large. [ABSTRACT FROM AUTHOR]

In any post-conflict society, the work of creating an effective framework for truth and reconciliation is fraught with challenges that those in power will often seek to manage and manipulate. In this article we explore the critical role of the arts within the discourse of political reconciliation in contemporary Northern Ireland. Taking contemporary theatre and screen culture as our case-studies, we assess the extent to which these modes of cultural production create alternative spaces for dialogue and reconciliation in a dysfunctional post-conflict democracy, where the responsibility of political institutions and elites is failing to adequately address the rights of victims and survivors. [ABSTRACT FROM AUTHOR]

The theatre looks out from both directions. On the one hand, the artist's (director's) gaze determines our (spectator's) gaze, and on the other hand, there is the question of whether the artist's gaze is able to see through our eyes and, of course, whose eyes they are. Are they created by the theatre itself – in the name of all its direct creators and thus in its own image and according to its own wishes, or is 'their studio' also open to those who come to the theatre from the substance itself – from the living substance of the dramatic texts? So also to those who find it difficult to afford a theatre ticket. Is a theatre that does not look backwards, then, still credible as a universal or legitimate representation of the world and its social relations? [ABSTRACT FROM AUTHOR]

This editorial introduces a collection of articles exploring themes of care, ethics and public engagement in theatre and performance. Drawing on Rebecca Tadman's positioning of care as a practical and strategic response to systemic inequalities, the editorial frames the featured articles as examinations of how care and ethics operate across diverse academic, national and cultural settings. The pieces discuss topics such as witnessing in refugee theatre, gender performance in Nigerian theatre, bodily resistance in theatrical activism, emotional labour strategies for actors and the cultural genesis of children's musicals in Ukraine. The editorial highlights how these works consider the relationship between private experience and public discourse, and the implications for how we think about the ethics of theatre and performance. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Cultural Studies / Kültür Araştırmaları Dergisi is the property of Journal of Cultural Studies / Kultur Arastirmalari Dergisi and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Bu makale, Kartezyen ikilik ve semiyolojinin tiyatro uygulamalarını etkileyen bakış açılarını, oyuncuların ve seyircilerin deneyimlerini tanımlayan fenomenolojik boyutları, süreç ve performansın bedenleşmiş doğasını, somatik yaklaşımların dönüştürücü potansiyelini, aynı zamanda nörobilimsel temellerle zihin ve bedenin birbirine bağlılığını araştırmaktadır. Nörobilimsel temellerin oyunculuk eğitim süreçlerindeki potansiyel dönüştürücü gücüne odaklanan bu çalışma; nörobilimsel temellerin oyuncu eğitimi pedagojisi ve metodolojilerine yönelik pratik uygulamalar önermektedir. Bu araştırmanın konusu olan Nörosomatik Oyunculuk Yaklaşımı; insanın zihinsel ve fiziksel varlığı arasındaki karmaşık ilişkiye odaklanarak, oyunculuk sanatının ilkelerini nörobilimsel bir bakış açısıyla yeniden değerlendirir ve geleneksel oyunculuk disiplinlerinin sınırlarını aşarak kapsamlı bir uygulama pratiği geliştirmeyi amaçlar. Bu yaklaşımın merkezinde, fenomenolojik bir deneyim, yüksek mevcudiyet farkındalığı ve somatik uygulamalarla oluşturulmuş nörobilimsel oyunculuk tekniklerinin teatral ifadeyi nasıl şekillendirdiği yer alır. Nörosomatik oyunculuk yaklaşımı bu merkezden hareket ederek, oyunculara bütüncül ve disiplinlerarası bir bakış açısı kazandırmayı amaçlar. Özgün bir değer olarak bu makale, çağdaş tiyatro ve performans çalışmaları bağlamında Nörosomatik Oyunculuk Yaklaşımının teorik temellerinin, pratik uygulama önerilerinin ve potansiyel sonuçlarının kapsamlı bir araştırması niteliğindedir.

This paper examines the relationship between theatre and podcasts in Italy, to provide an overview of the different configurations of audio drama in relation to the characteristics of the new medium. It focuses on the period between 2020 and the present, when podcasting began to be widely used as an ‘autonomous’ and ‘independent’ medium. The examples presented refer to different productions, intending to analyze various forms and highlight those that deviate from the radio tradition to align themselves with the logic of the podcast and contemporary storytelling.

The article deals with the role of cultural reporting in the Tirnauer Wochenblatt weekly, which was first published in German and later in Hungarian (as Nagyszombati Hetilap) in the Slovak town of Trnava between 1869 and 1918. For this purpose, the article analyses its 13th volume published in 1881 as an example. In analysing the content, four thematic areas of focus in the cultural coverage can be identified: theatre, music, literature, and other aspects of cultural life. The newspaper lacked a separate section devoted to culture and a closer examination of the German-language section of the newspaper reveals that the relevant texts largely focused on the local area. The high importance of theatrical performances is evident from the frequent reports. The same applies to musical events. Literature – apart from the publication of serialised novels in the Illustriertes Sonntagsblatt supplement – receives little attention. Superregional themes only appear in the case of special events or events somehow connected with the region. The newspaper provides a lot of information on the important role of the associations in the cultural life of the city.

Tiyatro görsel, işitsel ve bedensel ögeleri bir araya getiren, seyirci ile oyun arasında güçlü bir bağ kurabilen bir sanattır. Bu sinestetik sanat, seyirci ile oyun arasında bir bağlantı kurarak, tüm duyuları içeren estetik bir dil kullanır. Koku, ses ve görüntü gibi duyuların birleşimi, seyirciye eşsiz bir deneyim sunar. İzleyici, oyunları bütünleşik bir bedensel deneyim olarak yaşar ve bu sayede aktif bir katılım sağlanır. Tiyatroda, koku genellikle göz ardı edilen bir duyu olarak ortaya çıkar. Ancak son yıllarda tiyatroda yapılan deneysel, yenilikçi ve avangart çalışmalar, sahnede koku kullanımına yeni olanaklar sunmuştur. Tiyatroda koku kullanımı aslında Antik döneme kadar uzanan bir geçmişe sahiptir. Bu çalışma, tiyatroda koku duyusunun tarihini, kökenini ve kullanımını incelemeyi amaçlar. Aynı zamanda, kokunun tiyatro deneyimini nasıl etkilediğini ve nasıl temel bir unsur haline geldiğinin izini Antik dönemden erken modern döneme değin sürer.

Dorfman’s La muerte y la doncella illustrates a Chilean socio-political problem, that of a country in the process of rebuilding after the dictatorship, but whose testimonies are missing or prevented. Dorfman highlights the need to remember through the portrayal of three characters who disagree about the need for testimony, whether to share it or not. He underlines the ghostly state of the victim, and hence of the country, by justifying his malaise by the impossibility of communicating and testifying about his traumas. He thus questions the indefectible link between memory and identity, between speaking out and self-existence.

The captions are the author’s indications in a dramatic text. We set out to investigate this particular aspect of dramaturgy, with application to several plays by Dumitru Crudu, in order to reveal how they contribute to the overall message of a play and to record their evolution over time. This component of the dramatic work is of particular interest to us because for a certain period of time, captions were neglected even by literary critics. However, they play their part in the construction of the text. Then, there are several types of captions, classifications that deserve to be analysed and that will allow us to understand how we catalogue and interpret the captions used by Dumitru Crudu.

Poor clinical waste management and its effect on the environment is an increasingly recognised concern for global healthcare systems. Approximately two thirds of waste produced in healthcare is from the operating theatre. In the Republic of Ireland, an estimated 580,977 tonnes of hazardous waste was produced in 2019. The cost of incineration of this hazardous waste is approximately €2,125 per tonne and €935 per tonne for sterilisation. Pollution from incineration is substantial and harmful. A literature review was performed on the topic of hospital waste management, specifically looking at the Republic of Ireland. A comparison could then be drawn between Ireland, Europe and the United States of America. Observation of our current operating theatre environment and practices were carried out. An increased focus towards sustainability and reusable equipment means that there is potentially a decreased amount of waste for disposal, but an increase in the process of sterilisation. Approximately 66% of healthcare related waste is inappropriately contaminated, meaning that significant savings are possible if correct segregation and recycling were to occur. An increase in the amount of bins, identification labels above bins and education of staff results in an increased likelihood of successful segregation of waste. Clear and concise hospital guidelines of what is considered hazardous versus non-hazardous waste will decrease the amount of inappropriately disposed items. • Operating theatres account for approximately 70% of healthcare waste. • Increased use of reusable materials and equipment in the operating theatre. • The incineration cost of hazardous waste is approximately €2,125 per tonne. • Sterilisation cost of hazardous material is approximately €935 per tonne. • Increased labels and education of staff can reduce inappropriate waste disposal. [ABSTRACT FROM AUTHOR]

This interdisciplinary paper brings together scholarship from the fields of education, psychology, sociology and performance to shed light on three pedagogy and learning strategies to support learners recontextualise knowledge between higher education and work contexts. These strategies include offering multiple different types of performance activities and modes of engagement with different types of people (learners/experts, different cultures, ages, etc.). Secondly, it provides spaces to fail and enables testing of personal strategies with limited risk. Finally, it supports students in connecting ideas and experiences from the past, across educational experiences of different performance practices and into wider contexts such as professional work. The research, which is a pilot, recognises the ways in which these strategies align with and operationalise Guile's (2010) concept of recontextualisation, offering pedagogues tools to support learning in a similar way in which the concept of scaffolding might be seen to operationalise Vygotsky's notion of the Zone of Proximal Development (ZPD). This pilot study uses semi-structured interviews and a thematic analysis approach with five graduates from an undergraduate drama degree programme in London. We recognise drama as a practical degree subject and as such consider our findings as generalisable to wider practical fields and disciplines, such as engineering and nursing education, and as having international relevance. The work offers a novel approach to conceptualising and evaluating the ways in which students deploy taught knowledge beyond the classroom, in work. It offers and augments arguments around the ways in which students bridge practice and learning from within the HEI and beyond it. [ABSTRACT FROM AUTHOR]

The development of coal-fired gas took off very rapidly between 1802 and 1818, used for the illumination of streets and buildings in Britain and Ireland but especially in the metropolis of London. These changes coincided with the emergence of melodrama as a new theatrical sensation, beginning with Thomas Holcroft’s A Tale of Mystery in 1802. At the same time, playgoers were being exposed to a variety of innovations and experiments in visuality such as the phantasmagoria, the panorama, and the ‘aquatic theatre’ of Sadler’s Wells that tested categories of the ‘real’. The London theatres were not only a venue for the marketing of gaslight as a technology but were themselves transformed into palaces of light, both within the auditorium and on stage. Melodrama’s protean qualities as an art form were thus closely bound up with the application of fossil capitalism, for which melodrama acts as a structure of feeling, an elementary affect. [ABSTRACT FROM AUTHOR]

Nagyvárad is an operetta city. This is a statement that has resurfaced for decades, and many consider it intrinsic to the essence of the town. However, in this study, I do not attempt to unpack the concept of an operetta city; rather, I am interested in a single element of this complex notion: the Nagyvárad Theatre as an “operetta theatre”. My thesis is that operetta (and generally light, entertaining musical theatre) became a defining genre in the Nagyvárad Theatre, thus becoming a symbol that extends beyond itself. Although the Nagyvárad Theatre was known as the “stronghold of operetta” as early as the beginning of the 20th century, I will focus on a later and much shorter period, the years between 1948 and 1956. During this time, I will trace the fate of operetta (and other musical pieces that met the broader demands of the masses), examining the political, institutional, and social factors that ensured the success of this genre (these genres). My investigation begins in 1948, a year that marks a milestone in the early years of the state-communist takeover, as this was when the Nagyvárad Theatre was nationalized. The subsequent period, from 1948 to 1956, includes the years of strict ideological expectations under Stalinist state communism and the “relaxation” that followed Stalin’s death, from 1953 to 1956. [ABSTRACT FROM AUTHOR]

This article addresses the apparent paradox between the critical emphasis on melodrama’s mobility across place, time and media, and its founding in material, embodied formal components: the combination of music, drama, and theatre in the nineteenth century. This article finds that an early melodrama, Isaac Pocock’s 1818 stage adaptation of Walter Scott’s Rob Roy, used elemental qualities to establish its melodramatic form. Drawing on theories of the elements and of theatre by Timothy Morton and Matthew Wagner, and on contemporary geological writing by James Hutton, the first section formulates the historical and theoretical relationships that exist between the theatre, geology and the elements. The second and third sections examine how the formal characteristics of Pocock’s play – set, song and characterisation – enact the elements’ strange enveloping movements. The play’s elemental form, I discover, facilitates the mediation of its characters and concepts beyond its own borders, into wider popular culture. But, at other moments, the play insists on marking the contours of its own aesthetic and material bounds. I argue that this dramaturgy, that trembles between elementality and human embodiment, sustains melodrama’s transmediality, transtemporality, and its endurance over time. [ABSTRACT FROM AUTHOR]

There is a long tradition of aligning vampires with media, dating back to Dracula’s defeat by humans using modern communication technologies. This article examines an earlier, more elemental vampire in J.R. Planché’s 1820 stage melodrama The Vampire. Planché’s play was staged during a period when the definition of media was shifting from the natural elements toward human communication technologies. Building on John Durham Peters’ expanded notion of media as encompassing bodies and environments as well as minds and communication technologies, this article reads Planché’s nonhuman characters – spirits of the air and water and a vampire who disappears into the stage – as somewhere between characters and scenery. By showing how these nonhuman characters align with the melodrama’s pictorial renderings of environment in its ‘vision’ scene, the article suggests how the elemental both orders and complicates modes of signification grounded in the social world. Over the course of the nineteenth century, vision scenes became less elemental and more psychological in later melodramas such as David Leopold Lewis’s The Bells (1871). The Vampire’s vision scene thus suggests the elemental underpinnings of later melodramatic conventions for representing inner life. [ABSTRACT FROM AUTHOR]

In this paper, I discuss the influence of commedia dell'arte on The Tempest and consider the possibility of a late truncation of the play. This foundation sets the stage for the task of writing my own twenty-first century adaptation, This Thing of Darkness. By examining Kathleen Lea's discussion of commedia scenarios and considering their parallels with The Tempest, I postulate several possible missing elements including the unfinished revenge plots and the uncomplicated romance plot of Miranda and Frederick. I consider Henry David Gray's hypothesis that Shakespeare cut his own climax in favour of a wedding masque to appease the court of King James I, which adds another layer of complexity to our understanding of The Tempest's evolution. In considering the ethics of adaptation, I draw on Walter Benjamin's model of the textual afterlife which suggests that every text has the potential to be reinterpreted and reworked by future generations. I then situate This Thing of Darkness as a pre-imagination of The Tempest that addresses these criticisms dramaturgically. Through engaging with these potential source materials, This Thing of Darkness opens new avenues for understanding both the First Folio Tempest and its many afterlives. [ABSTRACT FROM AUTHOR]

Background: The healthcare sector contributes directly to global warming and environmental decline. This is partly due to disproportionately large waste generation compared to other sectors and the environmental consequences of medical waste incineration. Waste separation and recycling decrease the total waste generation of the theatre complex, decreasing the cost of waste disposal, and if properly implemented, can generate revenue. Waste separation is not performed uniformly, and no recycling programmes exist in the theatre complexes of the academic hospitals in Johannesburg. Potentially recyclable anaesthetic waste is not identified in our setting. Methods: Recyclable anaesthetic waste items were identified. Anaesthetic waste was collected after every anaesthetic case. General and medical waste were weighed respectively and inspected for correct separation. Recyclable items were separated from general waste and weighed. Results: A total of 107.6 kg of anaesthetic waste was evaluated. Per anaesthetic case, 74.6% (65.0-84.2%) was medical waste, and 25.4% (15.8-35.0%) was general waste. Of the general waste, 68.8% (57.7-78.8%) was recyclable. Only 6.8% of medical and 61.4% of general waste bags inspected were correctly separated. Within each medical waste bag, 6.9% (2.3-15.5%) of waste was incorrectly placed general waste. Similarly, each general waste bag contained 6% (0-21.6%) incorrectly placed medical waste. Waste generated per surgical discipline was significantly different. Conclusion: Correct waste separation, a key step in decreasing the burden of healthcare waste, was poor. The study demonstrated that most general anaesthetic waste is recyclable. [ABSTRACT FROM AUTHOR]

Creative arts and performance courses at the community level for mature age individuals. Theatre and drama as education and as therapy. This article charts and reflects on several ACE arts-based courses and community theatre productions that have changed due to the COVID-19 pandemic and the professional experiences of the teacher. Change for individuals via education occurs intentionally and unintentionally and needs to be documented, with some examples presented here. If personal change and development were the intention of the courses described here, then participants did have the opportunity to integrate their self-discoveries into their real lives, potentially leading to transformation. The teacher being aware of, and skilled in, emotional regulation strategies can benefit students and teachers in all forms of learning, specifically adult community education. The students in the course described in this article have transformed from anxious, self-doubting individuals into empowered, self-confident people who bravely create their own acting techniques. [ABSTRACT FROM AUTHOR]

The article attempts to outline some of the theoretical ideas about the stage space of some of the leading teachers in the theatre workshop at the Bauhaus school. Their experiments opened up new territories for entering an independent, modern theatrical language and, although inconsistent, exerted their influence on contemporary theatre and dance. [ABSTRACT FROM AUTHOR]

The article examines innovative pedagogical practices for presenting literary, dramaturgical, and non-dramaturgical texts through theatrical methods. The initiatives realized so far include the presentation of the bilingual anthologies Bulgarian Poetic Avant-garde (2018) and Ukrainian Poetic Avant-garde (2018) and the premiere of the collection Bulgarian Drama Outside the Canon: Biblical Drama Vol. 1 (2021). We pay detailed attention to the second event, offering a review of the volume's content and its significance for the historiography of Bulgarian theatre. [ABSTRACT FROM AUTHOR]

Copyright of Annales Historiques de la Révolution Française is the property of Librairie Armand Colin and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article deals with the role of cultural reporting in the Tirnauer Wochenblatt weekly, which was first published in German and later in Hungarian (as Nagyszombati Hetilap) in the Slovak town of Trnava between 1869 and 1918. For this purpose, the article analyses its 13th volume published in 1881 as an example. In analysing the content, four thematic areas of focus in the cultural coverage can be identified: theatre, music, literature, and other aspects of cultural life. The newspaper lacked a separate section devoted to culture and a closer examination of the German-language section of the newspaper reveals that the relevant texts largely focused on the local area. The high importance of theatrical performances is evident from the frequent reports. The same applies to musical events. Literature - apart from the publication of serialised novels in the Illustriertes Sonntagsblatt supplement - received little attention. Superregional themes only appear in the case of special events or events somehow connected with the region. The newspaper provided a lot of information on the important role of the associations in the cultural life of the city. [ABSTRACT FROM AUTHOR]

In 2019, in Romania, there has been an active debate about the limits of theatre expression in the Eastern European cultural space. It is acknowledged that documentary and political theatre have a strong influence on the cultural scene in Eastern Europe, especially after the emergence and appreciation of new techniques such as Verbatim or Devised Theatre among theatre makers. Notwithstanding the fact that these forms of theatre, which have an extremely strong social and critical voice, have appeared in the European space for decades and have started to become more and more widespread, in 2018, in Cluj-Napoca, the premiere of the performance Eu sunt! Și?, directed by Loran Betty, for which I wrote the text. This performance was performed for a year all around Romania, and in 2019 it was proposed for censorship and amendment by the Romanian Orthodox Church. This was one of the first cases of its kind after the exit from the Romanian communist regime, one of the first, or even the first, to be fined by the National Council for Combating Discrimination in Romania, for discriminating against people of faith. Therefore, it is important to understand the context in which this event occurred, as well as the history of performances with similar concerns after Communism, and of course, the opinion of the authors of this performance. In addition to all this, we will also analyze performances that addressed similar themes in the Romanian space and discuss the limits and freedoms of theatre in the Romanian cultural space. [ABSTRACT FROM AUTHOR]

This article analyses the challenges of representing the mind on stage, through stage design and acting techniques. To address this particular difficulty, we used our practice as research at Craiova National Theatre in 2019, with the play Under (re)Construction, written by Marco Tesei, and also various examples in both theatre literature and theatre practice, focusing on relevant renditions of the mind on stage in modern theatre. Our conclusions highlight the difficulties, from a director’s point of view, of making the audience understand that a specific section of a play takes part in a character’s mind. Moreover, the study shows that representing the mind on stage equally poses problems to the team of artists involved in the creation of the show. [ABSTRACT FROM AUTHOR]

This research is motivated by theoretical as well as practical, personal examples, explaining why I believe the realm of radio theatre is metaphorical and original. The first part of the article explores three elements of acting technique are presented: Imagination, Voice and Tempo-rhythm. These are inevitably found in radio theatre, showcasing the enduring relevance of the Stanislavski method, which can be a demonstration of the universality over time of the way in which the Russian theoretician thought about the theater. Subsequently, the paper discusses the National Radiophonic Theatre as a beacon of top-quality theatre and delves into the independent radio project Legendele Dobrogei, conducted in Constanța, in which I participated, portraying twenty roles across twenty radio productions. The final section of the article, brings to the attention of the readers what is the role of the actor in the whole story of the radio theater, a story full of metaphors that appear when you look at them with the mind's eye. [ABSTRACT FROM AUTHOR]

In Romania, during the interwar years, it seems that theatre reviews - much like theatre criticism in general, narrowly as it was and sometimes continues to be defined in Romania - was only considered legitimate if signed by men. There were but two timid exceptions, two female voices whose writings were partially recovered as late as 1978-1983 and have been insufficiently explored since: the poet and memoirist Otilia Cazimir, who worked as an inspector for the Ministry of Arts' Theatre Directorate for a decade, and the aesthetics professor Alice Voinescu. This paper is an attempt to turn the spotlight not onto the two writers' theatre-related activity, but rather to the way they engaged, in writing or in action, with the thorny issues of feminism. Their opposing standpoints - a feminism of emancipation vs. an anti-feminist type of feminism - still proves emblematic to our day for the specific way in which socio-cultural mentalities and perceptions on women's condition in 20th-century Romania were preserved; it appears that post-socialist theatre criticism, especially from the decade 2000-2010, coalesced around the same positions. [ABSTRACT FROM AUTHOR]

This paper adopts Sunnie Ododo’s ‘Facekurade Theatre’ as a framework for interrogating the stage performance of Eliagu Ameh’s Displaced as Directed by Olagoke Ifatimehin. The paper highlights issues of corruption, oppression, sex slavery, deceit, destitution and suicide as dehumanizing experiences which permeates the lives of people living in Internally Displaced Persons’ camps. Drawing from the theoretical exigencies of Sunny Ododo’s facekuerade theatre aesthetics, the paper explores the semiotic use of mask (both the presence and absence of it) as a technique which aids the conveyance of double intentionality and the artistic transformation of performers/actors into multiple roles. This paper further contends ideologically that the corruption associated with the provision of aid to Internally Displaced Persons in their camps is orchestrated by inhumane and faceless individuals who profit at the expense of those in desolation and such practices should be curtailed. Women and children suffer most from displacement as they become victims of sexual predators and several oppressive conditions. This paper reveals that the deliberate aesthetic use of mask in the performance especially by the antagonist aided in enhancing and consolidating the meanings intended in the performance text. It concludes that the use of performance aesthetics such as Facekuerade theatre in framing the portrayal of social issues in theatre offer audiences the opportunity reflects on their prevailing realities. [ABSTRACT FROM AUTHOR]

This study examines the root causes of migration issues and its consequences with a specific focus on Toni Duruaku's A Mirage for a Dream. In a society battling with the challenges posed by mass migration, this study seeks to investigate the potential of theatre as a tool for raising awareness and initiating social change so as to address this widespread global concern. This study employs close analysis of the play in order to undertake a comprehensive exploration of the theatre's efficacy in curbing the menace of migration. Findings highlight the role of theatre in fostering a sense of empathy and collective responsibility, prompting audiences to critically engage with the root causes of migration. Based on these findings, this study recommends that the theatre should be utilized as a potent tool in broader migration discourse. [ABSTRACT FROM AUTHOR]

This article provides an overview of the application of a performance criticism framework within scholarship on the Hebrew Bible. A natural progression from conversations concerning orality, performance studies allows for increased explication of the biblical texts, most notably pertaining to life, religion, and culture in ancient Israel. The addition of 'lived religion' through a performance studies lens advances the understanding of peoples and areas of life commonly deemed absent from the biblical record. Instead, they are present in the form of an audience witnessing or hearing the performances of, or contained within, these texts. [ABSTRACT FROM AUTHOR]

Ali Ahmed Bakatheer, a Yemeni author born in 1910 in Indonesia, received his initial education in Yemen at his uncle’s madrasa, which provided classical education, and later assumed the position of a teacher at the same institution. Marrying in 1927, Bakatheer lost his wife and child four years later, prompting him to leave Yemen. He subsequently traveled to Aden, Somalia, and Saudi Arabia before finally settling in Egypt for university education. Feeling proficient in Arabic, Bakatheer pursued studies in English Language and Literature at Cairo University. After completing his training, he served as a teacher for a total of 15 years in Mansura and Cairo. While residing in Mansura in 1943, Bakatheer married a woman named Hacer for the second time and shared a room with the literary figure Naguib Mahfouz at the Maslahat al-funun Institution affiliated with the Ministry of Culture and Guidance. Bakatheer participated in numerous literary commissions at the institution where he worked and received various awards such as the Arts, Literature, and Social Sciences High Council award and the State Incentive award for his plays. Towards the end of his life, Bakatheer intended to write a historical play based on the conquest of Istanbul but passed away due to a heart attack in 1969. Ali Ahmed Bakatheer engaged in various literary fields such as poetry and novels. His most famous novels include Sallamat al-Kays, Wa İslamah!, Laylat al-nahr, eth-thaar’er al-Ahmer, SiratShuja, and al-Fâris al-Jamil. Bakatheer’s interest in theater dates back to his university years. When his English teacher stated in a class that the structure of the Arabic language was unsuitable for opera (poetic theater), Bakatheer translated Shakespeare’s immortal work “Romeo and Juliet” into Arabic using a writing style specific to English called Running Blank Verse (free verse). Bakatheer, who always considered the Islamic creed in his poetry, novels, and plays, fought against a segment of writers aiming to distance Egyptian society from Islam or Arabism through his works. Therefore, he often chose the plots of his works from Islamic history to lift the dead weight off the Muslims of his time. In his plays based on Ancient Egyptian history, characters are portrayed with a proto-Muslim perspective. Continuing his theater writing with the play “Humam fi Bilad al-Ahqaf” in 1933, Ali Ahmad, inspired by Ahmad Shawqi, the most important representative of poetic theater in the Arab world, wrote this play. In the following years, Bakatheer reinterpreted some literary works of Western origin, particularly those of William Shakespeare, from an Eastern perspective. Anticipating the establishment of a Zionist state in Palestinian territories, the author drew attention to this issue about three years before the establishment of the state of Israel (1945) with his play “Shayluk al-Jadid”, inspired by Shakespeare’s play “The Merchant of Venice”. This play is the first theater written about the Palestine issue in the Arab world. The author, aiming to raise awareness in Western public opinion, translated his highly acclaimed play into English. Addressing daily societal issues such as family, gender inequality, communism, and Zionism in his works, he frequently wielded his pen on these matters. Particularly, he has presented a total of eight plays directly or indirectly against Zionism. Considering the almost identical form and intended messages between his first prose work, “Shayluk al-Jadid” and his later plays such as “at-Tawrāh al-daʼiʻah” it can be argued that there is no inconsistency in his theatrical endeavors. Some critics, like Sayyid Qutb, find the author’s solutions against Zionism romantic, attributing his intention to draw attention to the oppressed Palestinian people in Western public opinion. However, as a literary figure, Ali Ahmed Bakatheer is considered one of the boldest author of his time due to his foresight, courage, and rationality. [ABSTRACT FROM AUTHOR]

Climate change is projected to become the leading cause of adverse health outcomes globally, and the healthcare system is a key contributor. Surgical theatres are three to six times more pollutant than other hospital areas, and produce anywhere from a fifth to a third of total hospital waste. Hospitals are increasingly expected to make operating theatres more sustainable, however guidelines to improve environmental sustainability are lacking, and previous research takes a narrow approach to operative sustainability. This paper presents a narrative review that, following a 'review of reviews' approach, aims to summarize the key recommendations to improve the environmental sustainability of surgical theatres. Key domains of discussion identified across the literature included minimisation of volatile anaesthetics, reduction of operating theatre power consumption, optimisation of surgical approach, re‐use and re‐processing of surgical instruments, waste management, and research, education and leadership. Implementation of individual items in these domains has seen significant reductions in the environmental impact of operative practice. This comprehensive summary of recommendations lays the framework from which providers can assess the sustainability of their practice and for the development of encompassing guidelines to build an environmentally sustainable surgical service. [ABSTRACT FROM AUTHOR]

Gamblers and their family members or friends (affected others) can experience stigma and shame due to gambling which can result in a reluctance to seek timely support. However, gamblers and affected others access intersecting health services and talk to friends or family, thereby providing opportunities for early intervention. Three sides of the coin is a group of storytellers with lived experience of gambling harm who use dramatic performance to share personal stories to enhance the understanding of gambling-related harm in allied professions and the broader community. They do this to encourage attitude and behaviour change so that gamblers and affected others receive empathy and support during encounters with these groups. A mixed-methods study was used to explore whether these performances were successful in increasing understanding and changing attitudes and behaviour of allied professionals and the community in the short and longer-term. Data collected immediately post-performance revealed that performances increased understanding of gambling, and improved attitudes and behavioural intent of audience members in relation to gamblers and affected others. Professionals also reported an increased willingness and confidence to discuss gambling harm with clients. Follow-up data demonstrated potential longer-term impact, with respondents continuing to report more positive attitudes towards those affected by gambling harm and professionals being confident to explore gambling issues in their clients and provide appropriate referrals. These finding demonstrate that performance based on lived experience can be a powerful education tool, encouraging deep connection to the issue, resulting in a nuanced understanding and sustained attitudinal and behavioural change. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Literature & Humanities / Edebiyat ve Beşeri Bilimler Dergisi is the property of Ataturk University Coordinatorship of Scientific Journals and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)