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In French dramaturgy, revisiting the Shakespearean canon is a significant path along with the writers value their own culture, history and literary style. The paradoxes and transition of meaning specific to the Elizabethan playwright are exploited in such a way that a fitting effect is produced (Sanders 2006) regarding the Bard's plays. In theatre, translation is useful to the stage dynamics, from text to stage creating code or literary genre transformations, change of meaning offering new perspectives. The aim of this study is to follow the ways in which the translator Olivier Py, who is also a famous theater director, relates to three relevant Shakespeare tragedies. The analysis focuses on Roméo et Juliette, Le Roi Lear and Hamlet à l'impératif - Py's trilogy that is, in fact, a large essay on the Shakespeare's theatre now being. We discover in director's work not only a translation in the benefit of the audience, but also a discourse about silence with social and political meanings. Therefore, the translation as a preliminary phase to performance, as an extensive commentary or intertextual dialogue, as a self-portrait of the writer are some of the functions that we reveal in Olivier Py's theatre and literary approach. [ABSTRACT FROM AUTHOR]

Maritime transport is of crucial importance to modern society, as trade and the world economy depend on its reliability and sustainability. The general public has limited perceptions of the influence and role of shipping as an essential element in social and economic development. This paper aims to provide a useful insight into the current emerging technologies that can significantly shape the future of shipping. To achieve this goal, artificial intelligence (AI), big data analysis or blockchain can be widely applied in various segments to improve the efficiency and safety of maritime operations, with the need for increased computing power capable of processing large quantities of data in a very short time and solve complex algorithms and simulations. In addition, as the lack of key experts is a significant challenge in shipping, emerging technologies such as augmented reality and virtual reality (AR/VR) can bring added value, especially in the training of shipping experts. [ABSTRACT FROM AUTHOR]

Dramatic rewritings--adaptations, updates, additions and hybridizations of genres--have the role of dynamizing the literary substrate and framework, often configuring a bridge between history events or episodes through which a society passes across eras. Matei Vișniec deconstructs and recomposes Shakespearean or Chekhovian characters, reworks the material of classical authors' plays in a new form on a seemingly improvised frame, contextualising both hypotext and hypertext. Through these returns, a constant dialogue with memory is operated, with the revitalization and remembrance of important moments in the becoming of a culture, a theatre or an artist. Textual improvisations also show themselves as a way of productive reception. Our analysis1 will focus on texts that go through the process of rewriting the classics of universal literature, from The Chekhov Machinery, to Richard III Will Not Take Place or Scenes from the Life of Meyerhold and Why Hecuba--these are plays that revisit texts and characters, melting them into the mould of the present with tragi-comic, grotesque, derisory accents. In a perspective beyond spatial and temporal landmarks, the playwright creates a palimpsest from fragments about humanity across eras, about the great errors West to East of Europe, and themes that cross literary, theatrical and creative borders. [ABSTRACT FROM AUTHOR]

Copyright of Romanian Journal of Information Technology & Automatic Control / Revista Română de Informatică și Automatică is the property of National Institute for Research & Development in Informatics - ICI Bucharest 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.)

Copyright of Theatrical Colloquia is the property of George Enescu University of Arts, Artes Publishing House 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.)

Copyright of Theatrical Colloquia is the property of George Enescu University of Arts, Artes Publishing House 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.)

Copyright of Theatrical Colloquia is the property of George Enescu University of Arts, Artes Publishing House 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.)

Pleomorphic adenoma, a common salivary gland tumor, is a rare benign breast tumor. It doesn't have specific features and its diagnosis can be made on the final histopathological examination. There have been reported few cases of malignant transformation and many recurrences, therefore it is required an adequate excision of this tumor with clear margins. We present the case of a woman of 47 years old, who was admitted in our Department for a right perimamelonar lump, with uncertain imaging features. A right mammary segmentectomy was performed and the routine histopathological and immunohistochemical examination led to the diagnosis of pleomorphic adenoma of the breast. [ABSTRACT FROM AUTHOR]

Copyright of Theatrical Colloquia is the property of George Enescu University of Arts, Artes Publishing House 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.)

Copyright of Theatrical Colloquia is the property of George Enescu University of Arts, Artes Publishing House 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.)

Copyright of Theatrical Colloquia is the property of George Enescu University of Arts, Artes Publishing House 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.)

Copyright of Theatrical Colloquia is the property of George Enescu University of Arts, Artes Publishing House 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.)

Copyright of Theatrical Colloquia is the property of George Enescu University of Arts, Artes Publishing House 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.)

Copyright of Theatrical Colloquia is the property of George Enescu University of Arts, Artes Publishing House 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.)

Without ever depleting its abundance of image, the Orient's world represented a clear and refreshing spring, a definitive experience, beneficial for the artists from European zone. From the cultural view - but not only, the theatre had only gains from the multi-facets dialogue with the Hindu, Arabian or Egyptian traditions. The results were to be seen in directing, in theatrical pedagogy, because the direct or indirect interaction with the Levant had been refreshing the visions of scene's people, it made possible approaching and discovery of the tangential points. The opinions and conceptions of some personalities as Ariane Mnouchkine, Eugenio Barba or Peter Brook have interested us in the analyze of the process by which Oriental elements are discovered, adopted and inserted into the Occidental scene. [ABSTRACT FROM AUTHOR]

In theatre, the great struggle of the XX and XXI centuries is about definitions of basic terms, this way being born multiple views of approaching to the scene and the artistic act. If Stanislavski and Brecht have traced the most important work methods for acting and directing, at the beginning of XX century, they actually represented the rigorously trunks from which evolved or derived the main European theatre schools. Contrary to any appearances, the major doctrines have common points, too, weather we speak about "the poor actor" of Jerzy Grotowski or about "the meeting space" of Peter Brook's vision, about the searched exteriority of Anatol Vasiliev or about "the spiritual theatre" of Andrei Şerban, the intersection zones are recognizable. Difference and unity are the terms that describe best the vast landscape of research in the actor's and the director's art of the last hundred years theatre. [ABSTRACT FROM AUTHOR]

How much influence, what poignancy and who much visibility is ancient Greek tragedy has in an era of advanced technologies, globalization and various forms of crisis? To what extent can be justifiable received in the confusing XX and XXI centuries the first playwrights whose name sounds like so far? And finally, if it exists, what is the place of an Aeschylus, Sophocles or Euripides in the mental performance of the multicultural society in which find ourselves? The many different approaches to ancient texts, traditional and experimental alike, from 60s until now, have shown that the worlds that seems to be at a great distance are close and vary alive still. Important names of Romanian or international directors brought in public attention, either probing the social area of making use of identity conflicts, texts from fifth and fourth century BC more or less complete, adding a personal feeling on these interpretations. [ABSTRACT FROM AUTHOR]

The "Caragiale" phenomenon in the theatrical practice of the past few years is certainly worth analyzing rigorously. If we take into account that no less than eighty-four performances have been staged in the country on the most important dramatic stages as well as in alternative theatres and companies for the past ten years, the premises seem definitely promising. We would be tempted to see in the multitude of shapes taken by Caragiale's work in the limelight precisely its stimulating depth. This generates our question - how efficient, how healthy is the perpetual reformulation, how favourable is the permanent search for the new and how favourable is the process of updating the plays in the context of the modern myths of the years two thousand? From this point on can the dispute of the principles begin, because some - spectators, but also practitioners - prefer the classic, and other feel the need to experiment, to doubt, to rewrite the patterns that are thought to be worn out. The landscape of stage directing formed around the work of the Romanian dramatist, especially in the last decade, is not only vast or simply different, but also inconsistent. From famous names of the national stage - such as Mircea Cornişteanu, Silviu Purcărete, Mihai Măniuțiu, Alexandru Dabija - to younger ones, or to tireless innovators such as Mihai Mălaimare, Mona Marian or Dan Vasile, the dynamics of the shows, of the messages or even of the texts of Caragiale, that have suffered considerable mutations, is surprising. As popular as the four comedies are (A Stormy Night, A Lost Letter, During the Carnival and Mr. Leonida and the Reactionaries), one avoids the smaller dramatic works, that represent the real source of Caragiale's spirit: A Mother-in-Law, April 1st, Modern and Let's Begin!. The potential of these texts can be exploited in the future with a real chance of success. [ABSTRACT FROM AUTHOR]