Search

Round timber construction With 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]

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]

This note sheds light on the matter of Thomas May's date of birth, which, in biographical accounts, is given as either 1595 or 1596. Starting with the examination of seventeenth century reports of his age at the time of his death, I established 1596 as the more probable year; then, I collected evidence that pointed towards a different place of birth than previously assumed. Following this lead, I found a baptism record that matches the biographical, administrative, and bibliographical information regarding the poet and his family. Although it cannot be taken as irrefutable proof, this discovery offers a reasonable explanation for the absence of birth records in May's home county, as well as, in my opinion, a very likely interval of dates for the birth of the poet. [ABSTRACT FROM AUTHOR]

This essay argues that the critical consensus concerning Brian Friel's Faith Healer (1979) as the origin play for an Irish tradition of monologue theatre overlooks the indebtedness of Friel's first monologue drama to Samuel Beckett's Play (1963) and, in so doing, obfuscates Beckett's influence in the evolution of Irish monologic theatre. Tracing the reliance of Play and Faith Healer on musical structures of variation and recurrence, the essay discerns the reach of their interrogation of dramatic storytelling and argues that the subversion of truth-telling in these key plays has exercised a profound influence on the approach to the monologue form in contemporary Irish theatre. The essay examines how Play operates a comprehensive critique of the aesthetic and epistemological traditions upon which western theatre has developed and how through its compulsion to repeat itself reduces theatre to a visceral demand for judgment. The complex forms of duplication in Faith Healer are similarly read in relation to an audience's desire for narrative coherence and, reading the play against its Beckettian precursor, the essay demonstrates how these dramas not only problematise dramatic narrative but, more fundamentally, disrupt an audience's relationship with theatrical presence. The essay concludes with a consideration of Play and Faith Healer as predecessors to the monologic turn in Irish theatre, arguing that the Irish monologue not only speaks back to socio-political narratives but contests theatre's claim to truth-tell. [ABSTRACT FROM AUTHOR]

This article contributes to the debate on individualised and reflexive processes taking place in contemporary cultural work by considering Italian theatre actors' experiences. Drawing on in-depth qualitative interviews, the analysis focuses on work as the affective and reflexive site where subjectivities are formed. Performing artists display an embodied reflexive stance in which disciplinary practices and self-care instances are configured as both dispositives of an entrepreneurial ethos of work and as reflexive self-affirmative processes. Recognizing the embodied and emotional experiences that tie theatre actors to their professional activities, the paper considers the reflexive circularity that takes place between subjective meanings, affects and embedded experiences of work. Within this ongoing interpretive circle, cultural work emerges as positioned beyond traditional boundaries of work. [ABSTRACT FROM AUTHOR]

Copyright of Larq Journal for Philosophy, Linguistics & Social Sciences is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) 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 Larq Journal for Philosophy, Linguistics & Social Sciences is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) 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.)

Building from the authors' own experiment, the conception and creation of Watchlist (Vickery-Howe, 2020), this article interrogates metatheatricality in contemporary theatrical works: How Not To Make It In America (Steel, 2021) and Destroyer of Worlds (Lewis, 2015) and recent television series: Kidding (Holstein, 2018–2020), Landscapers (Sinclair, 2021) and Wakefield (Dunphy, 2021-). It will argue that these works represent a significant movement into alternative, meta-dramaturgies wherein the characters portrayed, and the worlds they inhabit, exist behind a porous and fragile fourth wall, through which they may wink at their audience – not so much stories within stories, but stories reflecting stories. [ABSTRACT FROM AUTHOR]

In a time when theater companies are struggling after the COVID-19 pandemic, how is Atlanta's Out of Hand Theater booming? Echoing frameworks of Arts-Based Community Engagement and Business Model Innovation in the arts, Out of Hand produces theater on social issues for and with community partners. Their programs combine theater with other social interactions and take place in homes, businesses, schools and houses of worship. Pairing theater with information and conversation increases understanding, empathy and action around social justice, raises their visibility, and provides new income streams, making theater financially viable and increasing its community value while serving the greatest community needs. [ABSTRACT FROM AUTHOR]

The article discusses the role of abolitionist approaches in rethinking theatre studies and practices, critiquing the perpetuation of Eurocentric and carceral systems within the Western theatre canon while emphasizing the importance of alternative, liberatory frameworks. It highlights a Zine created by abolitionist scholars and practitioners as a tool to explore decarceral practices in theatre, reflecting on the systemic challenges within the field and advocating for transformative change.

Our forum piece on the Romantic Melodrama Project describes how the digitization of playbill data can open up new avenues of understanding the history of the stage by foregrounding the relationships between key performance factors. In tracking melodrama—a cluster of performance modes appearing under a single rubric—our project seeks to ask specific questions about the genre (its growth and dissemination its pricing its practices and attractions) but also about the theatrical culture of Britain itself. [ABSTRACT FROM AUTHOR]

The article examines the Israeli Educational Television series Shenayim oḥazin, which aired in 1984–85 and was meant to aid the instruction of Talmud in junior high school. This article approaches the series from a dramaturgical and performative viewpoint and analyzes how its creators dramatized and staged the Talmud—both its content and its form—and thereby captured, channeled, and adapted some of the performative features intrinsic to the Talmud. It argues that, while the Talmud and the televisual medium may seem fundamentally opposed, the dramaturgical and spatial choices that were made as the Talmud was conceived for broadcasting purposes accentuate rather than attenuate some of the Talmud's unique discursive traits. The article begins with a general overview of the show's plotline and premise, explaining the different modes of dramatization employed in the show as it engages with talmudic content. It then discusses how the show spatializes the sugya—that it maps the different layers or components of talmudic texts unto different physical spaces, while also allowing those spaces to infiltrate each other. The third part of the article offers a close reading of one episode of the show, which thematizes performativity and theatricality in the study of Talmud in a uniquely overt way. By way of conclusion, we discuss Shenayim oḥazin as presenting a productive tension between two kinds of drama, "a drama of ideas" and "a drama of actions," thereby reflecting a similar tension within the talmudic texts. [ABSTRACT FROM AUTHOR]

Copyright of Pós: Revista do Programa de POS-Graduacao Em Artes - EBA/UFMG is the property of Pos - Programa de Pos-graduacao em Artes (PPG-Artes) 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.)

This study provides insights into speech-language pathology graduate student learning experiences during a community-based clinical rotation that targets skill development within an interdisciplinary theater program. Theater-based programming has shown some utility toward promoting pragmatic language skill development for children and teens outside of traditional clinical practice. In addition, the interdisciplinary nature of the program provides opportunities for student clinicians to engage in interprofessional collaboration with arts professionals. The purpose of this study was to explore SLP graduate students' experiences within a collaborative inclusion theater program. Semi-structured interviews collected from three graduate student clinicians were transcribed and analyzed according to Interpretive Phenomenological Analysis (IPA) methods to yield insights from student participant perspectives of this assigned clinical rotation. Analysis of interview data suggests participants found opportunities to problem-solve collaborative roles and balances while forming concrete ideas related to how to a therapeutic effect. The most salient concepts present across student accounts of experience included openness to the ongoing nature of the learning process, appreciation for the collaborative teaming involved in program activities, and the establishment of a set of ideas and tools to use for clinical utility. This study provides helpful information for clinical educators considering the benefit of embedding potential interprofessional collaborations with performing arts professionals in clinical education. [ABSTRACT FROM AUTHOR]

We analyze a Taiwanese theatre company's ticket sales from 2008 to 2012 to investigate whether a consumer's willingness to pay for a ticket was affected by the company's disclosure of sales information (sales outcome). Sales are stratified by price band in order to understand the unique demand of each price bracket. We hypothesize that the sales outcome of a price band has a positive effect on the willingness to pay for a ticket in that price band, but that effect from other price bands is negative. Our findings support this hypothesis using the historical data of ticket sales from a Taiwanese theater. We also find that the sales speed decreases when the length of selling period becomes longer. [ABSTRACT FROM AUTHOR]

Research on the creative process has focused on how an idea develops within a single focal creative project. But creators often work to develop creative portfolios featuring multiple projects that overlap and intertwine over time. Through an inductive qualitative study of creative workers in independent theater and in architecture, we explore how creators manage ideas across multiple projects when developing creative portfolios. Our emergent model shows how creators shift ideas across projects by stockpiling ideas from one creative project, transforming them into resources, and mobilizing them in their portfolios. Our analysis reveals that these practices unfold in distinct ways across two different processes for managing ideas: managing ideas strategically to build portfolios by realizing stockpiled ideas in new creative products across different opportunities, and managing ideas symbolically to balance creative outputs with new meanings constructed from unrealized ideas that represent the creator's identity and journey. Our findings reveal the critical role of stockpiling in creative work, showing how different ways of stockpiling transform ideas into resources for developing a portfolio. Our portfolio perspective on the creative process informs our understanding of creative portfolios as they develop and evolve as well as the dynamics of creative processes as they unfold across different projects. [ABSTRACT FROM AUTHOR]

Filmmaking is an unconventional, but supremely rewarding career path for criminal justice educators. The author chronicles his career as he transitioned unexpectedly from a traditional path involving legal analyses and policy research to the very unusual enterprise of documentary filmmaking. Each of his film projects emanated directly from his teaching or research experiences, experiences that might just as appropriately have culminated in articles for publication. But he chose a different mode for disseminating his research and insights. The author reviews the myriad challenges he faced as a filmmaker—both inside and outside of the film industry, itself. Throughout, he describes—and outlines his efforts to overcome—the staunch resistance by the academic community to filmmaking by faculty who reside outside traditional departments of theatre and film. He also urges colleagues to consider the path for themselves. [ABSTRACT FROM AUTHOR]

Oscar Wilde's society comedy An Ideal Husband (1 895) depends on social reputation to regulate characters' actions. Applying the carceral (prison) model of the Panopticon to this play reveals the impact of Michel Foucault's surveillance state on the characters, demonstrating that intimate, heterosexual relationships are measured against an ideal, and disciplined and punished through the threat of social ostracism. Here, a successful marriage is based on good behavior, flawless reputation, and strong socioeconomic status, defining the institution as itself a Panopticon within the broader Panopticon of society. Played out on stage before an audience, the Panopticon of high society-within that of the theater-is further regulated and disciplined by the audience. The audience of An Ideal Husband thus experiences, and participates in, surveil - lance of and by heteronormative high society, just as Wilde experiences its regulation of homosexuality. [ABSTRACT FROM AUTHOR]

This essay discusses the challenges and opportunities of scholarly research during the pandemic, focusing on the author's experience of researching and writing Theater of Lockdown: Digital and Distanced Performance in a Time of Pandemic (2021). [ABSTRACT FROM AUTHOR]

Implementing digital technologies, such as augmented reality and 3D modeling, to various cultural sectors is an ongoing procedure, especially favorable after the COVID-19 pandemic. Even though such technologies are common to museums, galleries and archaeological places all over the world, little research or practical cases have been developed when it comes to theaters and theatrical costumes. The proposed research article describes the methodology of both reference material collection and application development, while an analysis of functions and aesthetic results are described, especially when it comes to 3D modeling. This paper’s aim is to reveal that theatrical operations (as part of the cultural sector) as well as structured parts (such as acts, performances and costumes) can be preserved and served to larger audiences via technological means, such as an augmented reality application.

В статье рассматривается творческая деятельность выдающегося художника-сценографа, народного художника Ч. Гунгаасуха и анализируется его значительная роль в развитии театрально-декорационной живописи в Монголии XX века. Основу для их искусствоведческого изучения образует обширный изобразительный материал из фондов Театрального музея в Улан-Баторе, до сих еще в полной мере не известный специалистам. Анализ сохранившихся эскизов позволяет сделать вывод о том, что творчество Чойжылжавына Гунгаасуха сыграло определяющую роль в утверждении на монгольской сцене модернистских принципов декорационного решения, основу которых составило совершенно новое понимание задачи организации сценического пространства. Исследование показало, что использованные художественные приемы имели задачей усилить выразительный потенциал сценического оформления, превратив живописно-пластический образ в важнейший содержательный фактор театральной постановки. Кроме того, творчество Ч. Гунгаасуха сыграло ключевую роль в процессе утверждения на монгольской сцене 1970–1980-х годов национальной тематики, тем самым предвосхитив важнейшие тенденции в развитии современного монгольского искусства.

The following article examines the characteristics of two film adaptations of William Shakespeare’s tragedy Othello shot by Orson Welles in 1951 and Sergei Yutkevich in 1955. The article analyzes the sociopolitical and historical context of the period in which both interpretations of Shakespeare’s tragedy were filmed, as well as its influence on Welles’ and Yutkevich’s direction: their methods of adapting the original text for the cinema screen, working with actors and creating an artistic world of their adaptations. For both directors, Othello became a film summarizing their careers, views, and ideas about creative and human freedom. Both adaptations of the tragedy reflected the years of searching, toiling and persecution that Welles and Yutkevich went through, one in the USA, and the other in the USSR. The goal of this article is to show how directors with similar creative biographies, interpreted the same text to create two fundamentally opposite worlds of ideas, images and characters; how they engaged all the artistic means available for them to express through this work of their beloved author their own ideas of justice, society, choice, love, faith and freedom.

This article looks at the meaning of solidarity as related to the Egyptian uprising of January 2011. Through participant interviews, field notes, and observations, the author examines the role of grassroots theatre in enabling the aspirations of the revolution to live on amongst its players, and despite more stringent state control over the arts and freedom of expression. The author examines how solidarity can take different forms through silence, witnessing, and embodied creative works. [ABSTRACT FROM AUTHOR]

Pre-modern Indian subcontinent provides a treasure trove of art historical data in the form of stone sculptures and reliefs to study dance. While significant steps towards understanding the literary and visual language of dance have been made, artistic production from Gandhāra (the ancient region broadly covering the northwestern part of the subcontinent) largely remains absent in scholarly discussions. Ancient Gandhāra readily lends itself to a global approach as an active participant alongside the so-called ancient Silk Roads connecting the Mediterranean regions with China. Furthermore, as part of the Buddhist pilgrimage routes, Gandhāra also developed ties with Buddhist sites located further east and participated in the spread of Buddhism to China. Within this context, this article discusses the most common dance depicted in Gandhāran art to understand how artists represented dance in the static medium. Using this dance as an illustration, this article also argues that the iconographic conventions of the Gandhāran artistic repertoire for dance are shared outside the region, notably in Kizil, which is located alongside the northern branch of the Silk Roads. [ABSTRACT FROM AUTHOR]

This article examines the accessibility of theater performances for Deaf audiences in Slovakia, with a main focus on the provision of Theater Sign Language Interpreting (TSLI). Drawing on analysis of current access strategies, the authors highlight examples of good practice aligned with more user-centred, inclusive and participatory access-provision models. Based on the results of an exploratory qualitative research interview with the key representative of the Deaf community involved in their development in the country, the main principles within these strategies are identified. Through this exploration, the article advocates for further enhancement of integrated and inclusive access strategies in Slovak theaters and further reveals the characteristics as well as the potential of professional TSLI. [ABSTRACT FROM AUTHOR]

Implementing digital technologies, such as augmented reality and 3D modeling, to various cultural sectors is an ongoing procedure, especially favorable after the COVID-19 pandemic. Even though such technologies are common to museums, galleries and archaeological places all over the world, little research or practical cases have been developed when it comes to theaters and theatrical costumes. The proposed research article describes the methodology of both reference material collection and application development, while an analysis of functions and aesthetic results are described, especially when it comes to 3D modeling. This paper's aim is to reveal that theatrical operations (as part of the cultural sector) as well as structured parts (such as acts, performances and costumes) can be preserved and served to larger audiences via technological means, such as an augmented reality application. [ABSTRACT FROM AUTHOR]

This article draws upon the rich and diverse history of situation to develop a new tool for narrative analysis across media and form. The term has played a role in theater, creative writing, and screenwriting; as situatedness, it has been linked to the categories of identity; and it has been used to chart relations between social and aesthetic experience. Seizing upon the way situation emphasizes emergent dynamics, we theorize it as a narrative concept by distinguishing it from plot, genre, and context. Identifying its minimal conditions as two elements in relation with something at stake, we explore what situation can offer in capsule readings of Harold Ramis's Groundhog Day and Daniel Defoe's Robinson Crusoe. [ABSTRACT FROM AUTHOR]

This article examines the ways in which simulation, mimicry and camouflage contributed to deportees' survival and allowed them to subvert Nazi oppression. The camp society seemed permeated by ritual-like, theatrical and symbolic action, which shaped human relationality and power relations. I explore simulation and camouflage as survival strategies, offering a reflection on the meaning of performing in the camps. Conceiving the Lager as a space of performance, I contend that actors constructed clandestine codes of signification, taught to each other and constantly improved, which allowed them to deceive the perpetrator, resist the dehumanizing ethos, and foster ingroup solidarity. [ABSTRACT FROM AUTHOR]

Copyright of Tropelías: Revista de Teoría de la Literatura y Literatura Comparada is the property of Prensas Universitarias de Zaragoza 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 Sinfonia Virtual is the property of Sinfonia Virtual 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 Larq Journal for Philosophy, Linguistics & Social Sciences is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) 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.)

Between 2021 and 2024, director Eric Fraisher Hayes and dramaturg Beth Wynstra teamed up for a series of productions of Eugene O'Neill's early and lesser-known plays under the auspices of the Eugene O'Neill Foundation. The following dialogue revisits some of the discoveries made during their joint creative exploration of these plays in production. [ABSTRACT FROM AUTHOR]

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]

This article examines the intersection of sexualities and identities, with a particular focus on the ways these elements can be transgressed in Western theater. The study postulates that theater represents a distinctive forum for challenging established societal structures, thereby enabling actors and, by proxy, spectators to perform multiple identities that challenge conventional constraints and break traditional expectations. The research demonstrates the dynamic nature of identity formation on the modern stage, illustrating that identity can both reflect societal norms and serve as an alternative to them. This allows for the expression of diverse sexual identities that deviate from the heteronormative order. Consequently, the theater becomes a site for subverting conventional codes and for negotiating with mainstream society the potential for exploring a plethora of nonstandardized identities. This process culminates in the crystallization of norm-divergent gender identities. [ABSTRACT FROM AUTHOR]

Copyright of Actas de Diseño is the property of Facultad de Diseno y Comunicacion, Fundacion Universidad de Palermo 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.)

This essay provides a performance criticism of Melanie Kitchens O'Meara's Is She Mad, Or Does She Joke?. I argue that performance practice is serious business because it is a scholarly act and a valuable pedagogical tool. [ABSTRACT FROM AUTHOR]

A response to the digital recording of Theatre Aug's production of "Is She Mad of Does She Joke?" written and directed by Dr. Melanie Kitchens O'Meara. [ABSTRACT FROM AUTHOR]

Is She Mad, or Does She Joke is an ensemble performance piece I scripted based on my almost twenty-year fascination with the Countess de Castiglione and her photograph Scherzo di Follia. In this artist statement, I briefly discuss some of the questions, considerations, and intentions that went into the scripting and rehearsal process for the show. [ABSTRACT FROM AUTHOR]

Is She Mad, or Does She Joke is an ensemble performance piece I scripted based on my almost twenty-year fascination with the Countess de Castiglione and her photograph Scherzo di Follia. I directed the show with a cast of 10 student performers at Augusta University in the fall of 2021. [ABSTRACT FROM AUTHOR]

Drawing on a recent case study from Singapore, this essay examines how devising can be expanded beyond notions of "improvisational" and "fixed" into a more emergent, speculative practice that embodies both singular and collective forms of creative performance, and suggests ways in which practitioners may blur the boundaries between being-with as a lived approach to devising, and intercultural performance as a crucial contemporary set of skills for everyday life. [ABSTRACT FROM AUTHOR]

Copyright of International Journal for Arabic Language & Literature is the property of Ithra Elmarafa for Conferences, Researches & Scientific Publishing 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.)

There are no standardized methods for training medical personnel in antiracist action, such as how to be an upstander or how to use micro-resistance. Roleplay and drama-based pedagogy can empower and educate healthcare professionals by providing experiential training and a safe space for antiracist practice and discussion. The Theater for Healthcare Equity (THE) is an innovative methodology that explores upstander techniques in real time with facilitated instruction. We implemented eight THE sessions at our institution and assessed participant responses via a voluntary survey. Forty-one participants completed a REDCap survey, and 32 participants completed the Continuing Medical Education survey. Participants appreciated the creation of safe spaces, the practice format, and the learning experience, which provided an honest and open environment for the sharing of experiences, addressing race-based bias, and practicing responses to real-life scenarios. Con-structive feedback included changes to session duration, participant discomfort with improvisation, and lack of printed tools. [ABSTRACT FROM AUTHOR]

The article contributes to a forum that discusses how publics can be studied within a global framework, specifically staging done by content creator Kedar Nath Das Gupta to present Indian culture to British and American audiences between 1907 to 1942, and how this helped to foster interculturalism.

This text proposes, in the first instance, a reflection on the contributions of popular festivities and carnival to the strengthening of theatrical identity in Colombia and, in a second part, its contributions to artistic education. The aim is to deepen the understanding of the elements of festive culture present in theatrical performances and their possible articulations and interrelations with artistic education processes. The following references are taken: i) three works of Colombian popular theater, by three highly recognized creators, Misael Torres, Juan Carlos Moyano and Críspulo Torres, who have inquired into festive culture, by covering popular festivals, carnival and other traditional manifestations, with the purpose of recognizing in these works part of what constitutes us as a society; our imaginaries expressed in characters, plots, stories, as well as the emergence of methodologies for stage creation; ii) two examples of training projects in formal and non-formal contexts, of academic programs based on popular and festive culture, to create pedagogical proposals based on the recognition of the knowledge immersed in festivals and the possibility of sparking dialogues of knowledge: the Popular Institute of Culture of Cali and the Department of Performing Arts of the Antonio Nariño University. In conclusion, the contributions of festive culture to popular theater and the multiple possibilities generated by its integration in artistic education processes are presented. [ABSTRACT FROM AUTHOR]

Poet and art critic David Antin observed that, to a great degree, video art derives significance from its relation to some aspect of television. This article acknowledges this and examines video art in the context of a cultural critique via a distinctive mixture of cross-disciplinary collaborations within the arts during the latter half of the twentieth century. While the video art Antin described can be considered an extension of the postwar recalibration of the emphasis placed on art as object, it was also the beneficiary of early twentieth-century experimentation, such as Dada's challenge to notions of art and expectations regarding aesthetics, as well as early experimentation in cinema. This intersection of culture and art histories finds its way into the early video work of Daniel Boord. My main interest in Boord's work is its relation to experimentation with theatricality, an area not usually associated with video art. Boord's "lowbrow" absence of pretense and disregard for reductive formalism align well with Peter Brook's conception of the "Rough Theatre," as well as film critic Manny Farber's notion of "termite art," art that "feels its way through walls of particularization" and eats at its own boundaries. Boord's work is a self-propelled dizzying array of humor, ideas, and juxtapositions that are well suited for the twentieth century—work that moves along according to its own self-defined boundaries of invention. [ABSTRACT FROM AUTHOR]

In the 28th H.P. Maley Lecture, Stacey Dusing, PT, PhD, FAPTA, shares a perspective on the importance of clinician-scientists in bridging the chasm that currently exists between scholarship and clinical practice. Describing herself as a clinician-scientist, or a qualified health care professional who functions mainly as a career scientist with the other portion of time dedicated to clinical practice, Dusing highlights the potential impact of limited training for clinician-scientists in the physical therapist profession and its impact on the future of physical therapy. She challenges all physical therapists to consider the impact of Commission on Accreditation in Physical Therapy Education requirements on scholarship and the lack of requirement for clinical practice while also recognizing that training programs for clinician-scientists are quite limited. Reviewing some historical data and highlighting possible areas for growth, Dusing calls physical therapists to action in 4 areas. This paper calls all physical therapists, especially educators and administrators, to consider the role of clinician-scientist in promoting physical therapy and knowledge translation. The author challenges the profession to consider whether we are helping to train or embed clinician-scientists in our clinical workplaces to promote knowledge translation. Suggestions are made to improve research and clinical training programs to increase the number of clinician-scientists in physical therapy. [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.)

This article examines the work of Yanov-Yanovsky, an Honored Artist of the Republic of Uzbekistan and a leading modern composer. Professor F. M. Yanov-Yanovsky has played a vital role in advancing the Uzbek school of composers, showcasing his unparalleled talent, artistic insight, and versatility as a composer, performer, and educator. His impact spans the entire field of contemporary compositional art in Uzbekistan. His personal and professional life are closely connected, mirroring the significant changes in the country over the last fifty years. The article highlights his diverse portfolio, which includes both classical and contemporary works. Yanov-Yanovsky's refusal to be restricted to one artistic path is evident in his broad range of compositions, such as poems, symphonic suites, instrumental concertos, and symphonies. His work seamlessly merges classical traditions with modern stylistic elements, demonstrating his mastery in both chamber and large symphonic formats. He excels in portraying lyrical, tragic, sarcastic, sorrowful, and poetic themes. Some of his pieces are known for their delicacy, fragility, and meditative nature, while others stand out for their intense emotionality and internal tension. His meticulous attention to detail, artistic craftsmanship, and rational approach are reflected in the clarity and balance of his musical ideas. Yanov-Yanovsky's body of work includes symphonies, concertos, oratorios, operas, chamber instrumental and vocal pieces, music for theater and film, and popular songs. He has significantly contributed to Uzbekistan's film industry, composing music for numerous films produced by the Uzbekfilm studio, which showcases the diversity of his work. Since the early stages of his career, Yanov-Yanovsky has also been involved in teaching at the State Conservatory of Uzbekistan, balancing his educational role with administrative responsibilities. [ABSTRACT FROM AUTHOR]