bluuebunny/crossref_metadata_2025 huggingface dataset:
New Orleans' First Comedy–Celebrations in 1764
Authors: Gaston Hall H.
Published: October 2010

Readers of Grace King's New Orleans may recall that the first play ever performed in French Louisiane was The Indian Father, a tragedy inspired by an incident during the Marquis de Vaudreuil's administration and performed in the Governor's mansion in 1753. A Colapissa Indian fled to New Orleans after killing a Choctaw, whose relatives followed and demanded the murderer. When the Colapissa escaped, his father offered his own life in atonement in place of his son. A Choctaw chief then struck off his head.
Make Way for the Mailman!: Spectators on the Stage in Paris Theatres of the Seventeenth and Eighteenth Centuries
Authors: Mittman Barbara G.
Published: October 2010

How many readers of, say, a Molière play, trying to visualize its performance 300 years ago, are aware that the stage was occupied not only by actors and actresses, but by dozens and, in the next century, hundreds of spectators as well? Indeed, it would appear that not even the history-conscious Ariane Mnouchkine, auteur of the recent film Molière, was well informed about this practice. Her scene depicting Molière's legendary collapse as he played the Malade imaginaire includes not a one of the 24 spectators who, according to the Registre d'Hubert for February 17, 1673, were sitting on the stage at that performance.
Yet Another Last Word on Molière's Raisonneur
Authors: Knutson Harold C.
Published: October 2010

To review in detail the history of scholarship on the raisonneur in Molière would be to incur the charge of tedium often levelled against the character. In general, criticism in the last thirty years has steered a middle course between Michaut and Bray, between a well-filled gallery of spokesmen and a categorical: “il n'y a pas de raisonneurs dans le Théâtre de Molière” (“there are no raisonneurs in Molière's theatre”). Most of Michaut's raisonneurs have gone the way of Saint Christopher, and few commentators still heed the authorial voice Michaut so often heard.
Molière's Costumes as Sganarelle
Authors: Picinich Susan Ellen
Published: October 2010

Although the modern reputation of Molière is based upon a group of major comedies, these were not the sole source of his popularity during his lifetime. He and his troupe performed many minor plays which are no longer prominent in the Molière repertory. Among these plays is a group which feature a comedian named Sganarelle, a role always performed by Molière himself.
Diderot and the Actor's Machine
Authors: Roach Joseph R.
Published: October 2010

On the notorious question of sensibility—whether or not an actor should really “feel” the emotion he expresses—Denis Diderot brought off the best knownvolte-facein the history of acting theory. An erstwhile champion of inspiration and emotionality in theatrical performance, he came to believe, by the time he wrote theParadoxe sur le comédien(1773), that an actor should not attempt to experience inwardly the passions he enacts onstage. Considerable speculation and controversy have attended Diderot's late substitution of head for heart as the mainspring of theatrical emotion.
German Ethnic Theatre in Texas: The Nineteenth Century
Authors: Carvajal Christa J.
Published: October 2010

When “the floodgates of emigration from Europe were opened by the political upheavals on the continent in 1848 … Texas was the goal of the thousands of refugees who fled from the turmoil.” Throughout the following decade, waves of German immigrants were thrust onto the shores of the Texas Gulf Coast at Indianola and eventually spread over much of Southwestern and Central Texas.
“Vicissitude and Woe”: The Theatrical Misadventures of John Banvard
Authors: Hanners John
Published: October 2010

John Banvard was one of the more colorful and eccentric entrepreneurs of the nineteenth century American popular theatre. The hero of a Horatio Alger “rags to riches” story, he garnered honors, wealth, and fame on the strength of the enormous success of his massive panorama, now lost, of the Mississippi River. In the 1860s, his reputation as an artist secure, he dreamed of establishing a theatre and museum that would not only reflect the emerging cultural consciousness of the American urban population, but turn a neat profit as well.
Steele Mackaye's Marriage: The Beginning of a Movement Toward American Realism
Authors: Woodard Debra J.
Published: October 2010

Theatre critics and historians generally acknowledge a movement toward realism in nineteenth century American dramaturgy and cite Augustin Daly, Bronson Howard, William Gillette, and James A. Herne as innovators in the development of American realism. Steele Mackaye, however, is rarely included as a significant part of this movement; although his theatrical inventions are hailed as far-sighted and innovative, his plays are usually dismissed as unworthy of consideration, as conventional melodramas reflecting the fashion of the day. The close study of Mackaye's plays, however, reveals that he was in the vanguard of the movement toward realism.
Theatrical Clubs of the Nineteenth Century: Tradition Versus Assimilation in the Acting Community
Authors: McArthur Benjamin
Published: October 2010

One of the more enduring images of actors is that they are a highly sociable, gregarious people. Perhaps less so today, but in the nineteenth century this characterization had solid basis in fact. The origins of this trait are easily understood. It was encouraged by the cooperative aspect of the theatre and the closed nature of the acting fraternity, which resulted from both the constant travel and the social proscription that actors had always faced. It also was based in the acting personality itself which, though varied and incapable of stereotyped description, often contains an extra measure of extroversion and companionability.
Martha Morton: America's First Professional Woman Playwright
Authors: Gipson Rosemary
Published: October 2010

Martha Morton was a remarkable woman — a talented and energetic person whose career in the New York theatre extended from 1890 to 1915, a time when women were expected to concern themselves with traditional roles and when public life and outside work were adventures for only a few daring women. In spite of efforts to sweep her aside, Morton opened the doors for American women, who followed after her, to participate in the theatre as playwrights, directors, producers, and professional members of theatre organizations.
Tennessee Williams and Jo Mielziner: The Memory Plays
Authors: Smith Harry W.
Published: October 2010

The conventional reliance upon “memory,” the lyric subtleties of both writing and scenery, and the ubiquitous mood of emotional despair characterize three early Tennessee Williams plays — The Glass Menagerie, A Streetcar Named Desire, and Summer and Smoke — and set them a part from the less “poetic” currents in the Williams canon. The plays are remarkably similar in organic configuration; their shape and texture reveal a theatrical form of considerable distinction. Although they gained articulate theatrical expression under three different directors, the scenery for all three was designed (in the “Broadway” productions) by Jo Mielziner, whose ideas have continued to influence subsequent productions. The unique fusion of the Williams-Mielziner artistry has given the American drama a consummate theatre aesthetic: a vision of dramatic life most subtle in its use of human values and most articulate in its visual definition of mood.
Classicism in New York Theatre Architecture: 1825–1850
Authors: Lewis Stanley T.
Published: October 2010

Nathaniel Currier's spectacular lithograph of the “Great Riot at the Astor Place Opera House, New York” (1), is one of the most well-known images depicting a nineteenth-century U.S. theatre building left to us by the popular pictorial reporting of that prephotographic era. The background of the event in terms of drama history is familiar, when It is the building itself, as a theatrical monument, that we tend to overlook, except for its appeal as a bygone relic, and architecturally it is easy to dismiss it as simply another manifestation of the rage which was caustically described by the New York correspondent of The Architectural Magazine (London) in 1834: One factor which discourages the theatre historian is the difficulty of relating any one theatre of the period with other examples in a city, let alone the country.
Early Nineteenth Century Stage Settings in the British Theatre
Authors: Butler James H.
Published: October 2010

There has been a good deal of speculation by theatre scholars concerning when realistic interior stage settings, or to be more specific, the box-set was first used on the English stage. Waitzkin contends that the box-set made its first appearance in England at the Olympic Theatre in a production of The Conquering Game by W. B. Bernard given on November 3, 1832. Armstrong agrees with Waitzkin's contention except he dates the performance as given on November 28, 1832. Rowell believes that the etched frontispiece to The Conquering Game“…is insufficient to confirm that this ‘more perfect enclosure’ involved flats entirely surrounding the scene and a ceiling cloth as well.” Hunter agrees with Rowell and can find “No positive indication” in the etching for the claim that this was the first box-set used on the English stage (l).
The Theatre Nobody Knows: Workers' Theatre in America, 1926-1942
Authors: McDermott Douglas
Published: October 2010

In the midst of the currently fashionable lament over the death of the drama, or of the theatre, or of the idea of a theatre, it is strange that the Workers' Theatre, deliberately created to meet a specific cultural ideal and productive of its own particular theory, literature, and style of production, could exist for nearly twenty years, flourish in popularity for half that time, and yet remain unknown. Stranger still that the only study which is even partially comprehensive should choose to view this theatre as an organ of the Communist Party, to be given the same condescending treatment as that political movement itself. Such are the dangers of treating theatre as a weapon rather than as an art.
The Killigrew Folio: Private Playhouses and the Restoration Stage
Authors: Visser Colin
Published: October 2010

More than fifty years have elapsed since Worcester College Library, Oxford, acquired Thomas Killigrew's copy of the 1664 folio of his own plays. Almost all the plays are annotated in Killigrew's hand. Only two of them—The Princess and The Prisoner escaped his pencil entirely. The two parts of Cicilia and Clorinda were untouched except for a preliminary instruction to his copyist. Claricilla was subjected to cuts totalling less than 250 lines, but significant directions were added in manuscript to the final act. All the remaining plays were revised with varying degrees of severity.
The Turbulent First Year of the Royal Circus (1782–1783)
Authors: Fahrner Robert
Published: October 2010

In the late eighteenth century, and with increasing momentum in the early nineteenth, the minor theatres in London steadily challenged the monopoly of the two patent houses—with great ingenuity in circumventing several Licensing Acts; with highly imaginative and lively (albeit generally unsophisticated) bills; and with eager support from the workers, flocking to the capital as part of the industrial age, for whom the minor theatres provided escape. By the time Planché's “Mother Drama” admitted confusion about her sons “Legitimate Drama” and “Illegitimate Drama” on the stage of the Olympic Theatre on 16 April 1838, the minor theatres had prevailed.
Notes on the Panorama in Paris
Authors: Daniels Barry V.
Published: October 2010

Robert Barker of Edinburgh patented the panorama process on 19 June 1787 and opened the first panorama in London in 1792. Robert Fulton, the American inventor, obtained the patent to import the panorama to Paris at the end of 1799. Fulton opened the Paris panorama in 1800, but shortly thereafter ceded the patent to James Thayer. By the summer of 1800 there were two panorama rotundas in operation in a passage off the Boulevard Montmartre. At the end of 1802 a third rotunda was constructed in the Jardin des Capucines, Boulevard de la Chausée d'Antin.
A Note on the Early Theatrical Activities of Ferdinando Bibiena
Authors: Larson Orville K.
Published: October 2010

For those interested in the activities of those great Italian theatre artists, the Bibiena family, the early work of Ferdinando, founder of this prestigious group of stage designers and theatre architects, is still not fully documented. Although Ferdinando was identified as “Pittore di Corte” to the Farnese Dukes of Parma between 1680 and 1708 by Giampetro Zannotti, his first biographer in 1739, information concerning his early theatrical activities is still meager. It is generally assumed that Ferdinando began his theatrical career with his work for the Farnese wedding festival in Parma in 1690.
Elizabeth Watson's Childhood: Biographical Notes on a Restoration Actress
Authors: Podewell Bruce
Published: October 2010

The editors of A Biographical Dictionary of Actors … in London, 1660–1800 have overlooked an episode in the life of the popular late-Restoration actress Elizabeth Watson Boman which may help explain her rapid rise to the position of a principal actress in the United Company. Thomas Southerne tells us that after the death of her father in 1691, Elizabeth Watson was adopted and trained as a player by the great actor Thomas Betterton. However, from new evidence it appears that the childless Thomas and Mary Betterton, who often acted as surrogate parents to young actresses and the orphaned children of friends, had assumed the roles of Elizabeth's guardians before this date, perhaps as early as 1686.
Rosalind and the Nineteenth-Century Woman: Four Stage Interpretations
Authors: Derrick Patty S.
Published: October 2010

The nineteenth-century theatregoer in America and in England enjoyed a wonderful diversity of acting styles and roles among the actresses of the period. To be sure, it was an age of the womanly ideal, when playing Juliet appealed to every young actress. Perhaps too many aspired to the youthful, feminine charms of Juliet, for one disgusted New York critic complained that “40,000 American girls were doing the Balcony Scene that ought to be doing the family dishes.” Other roles such as Paulina, Galatea, and Parthenia thrived on the Victorian stage, male theatre critics applauding the feminine virtues of gentility and grace, loyalty, delicate humor, and occasional submissiveness. Interestingly, another sort of female role became extremely popular during this time: the breeches role.
Limelight: Control and the Independent Lighting Designer
Authors: Hughes Alan
Published: October 2010

No special skill is required to light a stage; we need only switch on the fluorescents, or perform in daylight like the Greeks and Elizabethans. Our troubles began when we decided that we wanted to control light. The sun remains as intractable as Phaeton found it, so we excluded it by enclosing our theatres. Even then, the battle with artificial light was long and hard, Philippe Jacques de Loutherbourg's Eidophusikon established the goal: a measure of control that could duplicate on stage and in motion the painterly variation of color and chiaroscuro that had been mastered on canvas in the High Renaissance and Baroque.
Meager Lead and Joyous Consequences: RSC Triumphs Among Shakespeare's Minor Plays
Authors: Shaw William P.
Published: October 2010

Bassanio's words, as he chooses the correct casket to win Portia as his wife, might offer an insight to the production history of the Royal Shakespeare Company:

An impressive number of the RSC's greatest theatrical triumphs have been stagings of Shakespeare's “meager lead,” his lesser or minor plays. To seek the common element in these surprising coups, I will examine four productions of such plays, one from each of the conventional generic categores, and spanning four decades in the history of the RSC: Brook's Love's Labor's Lost (1946) and Titus Andronicus (1955), Hall's and Barton's Troilus and Cressida (1960), Hands' Henry VI, Parts I, II, and III (1977).
William B. Wood and the “Pathos of Paternalism”
Authors: McConachie Bruce A.
Published: October 2010

Theatre historians have been kind to William B. Wood, actor and co-manager of the Chestnut Street Theatre in the early nineteenth century. Reese D. James, in his Old Drury of Philadelphia: A History of the Philadelphia Stage, 1800–1835 (1932), set the sentimental tone that subsequent historians would echo. Relying extensively on Wood's Personal Recollections of the Stage (1855), James lamented that the Chestnut Theatre, following the breakup of Warren and Woods' management in 1826, became “a body without a soul.” In his Theatre U.S.A. (1959), Barnard Hewitt quoted copiously from Wood's Recollections, allowing the co-manager the final word on the deleterious effects of the star system. Calvin Primer's two articles published in the 1960s on Warren and Wood continued the tradition, picturing both managers as the unfortunate victims of rapacious stars.
John Lowin: Actor-Manager of the King's Company, 1630–1642
Authors: Bowers Rick
Published: October 2010

The most prominent names associated with the King's Company in the first half of the seventeenth century include Shakespeare, Burbage, Heminges and Condell. Yet John Lowin, one of the “Principall Actors” listed in the Heminges and Condell First Folio of Shakespeare and a leading performer for over half a century, rarely rates more than a mention. According to theatre historian G.E. Bentley, Lowin “was, of course, one of the most important Jacobean and Caroline actors”; and it is the use of the phrase “of course,” that apology for stating the obvious, along with a scarcity of biographical fact that combine to obscure Lowin's reputation so tantalizingly.
Computers and Theatre Research
Authors: Mullaly Edward
Published: October 2010

In the Presidential Address to the American Society for Theatre Research in 1981, Joseph Donohue cast his eye toward the future of theatre scholarship and the advent of computer technology. His exhortation that scholars must make friends with and make use of the microchip was based on syllogistic reasoning: since scholarly analysis includes the ordering of data into “clear, pertinent and discrete” patterns, and since the computer is the obvious tool for the storage and reordering of such data, therefore “a compelling need exists for greater computer literacy in the humanities.”
“It Brought the World to this Coast”: The World Premiere of Eugene O'Neill'S Lazarus Laughed at the Pasadena Community Playhouse
Authors: King W.D.
Published: October 2010

Almost two years after its completion in May of 1926, Eugene O'Neill's Lazarus Laughed received its premiere production—not in New York. This “Play for an Imaginative Theatre,” clearly the most theatrically demanding of all of O'Neill's works, made its first appearance in California, at the Pasadena Community Playhouse, opening April 9, 1928. Not since the days when his earliest one-act plays were produced at the Wharf Theatre in Provincetown, Massachusetts, had an O'Neill play failed to result in a New York production.
Eugene O'Neill in China
Authors: Liu Haiping
Published: October 2010

Like his popularity in the United States, which has fluctuated sharply over the past sixty years or so, Eugene O'Neill's reception in China has had its twists and turns. He was widely read, translated, performed, critically reviewed and even creatively imitated in the 1930s, but this love affair was brought to an almost complete stop by China's War of Resistance Against Japanese Aggression, which lasted eight years from 1937 to 1945. When the war was over, there were some attempts at reviving the interest, but with the changed political situation, these efforts were followed by an even longer silence and occasional harsh criticism.
Floating the Rhinemaidens, 1869–1913
Authors: Johnson Wallace H.
Published: October 2010

Producing Wagner's Der Ring des Nibelungen has never been an easy task for singers and musicians, yet it is no less difficult for stage mangers and machinists. One of the more troublesome staging problems of this opera cycle is presented by the initial scene of Das Rheingold, the first of the four operas making up the Ring. Not only is the scene set under the waters of the Rhine but the three Rhinemaidens (Woglinde, Wellgunde, and Flosshilde) must float up and down and around the stage with simulated swimming motions as they mock and elude the dwarf Alberich and guard the Rhinegold atop a high pinnacle at stage center.
The Origins of the Box Set in the Late 18th Century
Authors: Lee Briant Hamor
Published: October 2010

One of the commonly propagated and accepted myths in 19th century theatre history relates to the origin of the box set. The impulse to name Madame Vestris and the first production of Dion Boucicault's London Assurance originates from broadly disseminated misinformation. Two contemporary American theatre historians have written extensively and with seeming authority on the origins of the box set: John H. McDowell and Orville K. Larson. McDowell in his article, “Historical Development of the Box Set,” established the basis for the wide acceptance of the Madame Vestris myth and is commonly quoted in support of that argument.
The American Career of George Alexander Steven's Lecture of Heads
Authors: Kahan Gerald
Published: October 2010

At 12:30 P.M. on Monday, 30 April 1764, the curtain parted on the stage of the Little Theatre in the Hay-Market in London and revealed George Alexander Stevens about to begin his celebrated Lecture on Heads. For the remainder of the century this presentation became a staple in the English speaking theatre. It amassed a fortune for its creator, was copied and adapted by dozens of performers, and went through 30 published editions, authentic and spurious.
Sherlock Holmes as Hamlet?
Authors: Schuttler Georg W.
Published: October 2010

William Gillette spent more than sixty of his eighty-three years on the American stage as an active playwright, actor, designer, and producer. A major figure between 1880 and 1910, the Age of Melodrama in American theatre, Gillette is remembered primarily for his portrayal of the master sleuth, Sherlock Holmes, and as the author of melodramas such as Held by the Enemy and Secret Service.
Editorial
Authors: Milhous Judith
Published: October 2010

One of the ways a scholarly journal maintains the appearance of impartiality—or, as some would have it, hides its prejudices behind a façade of impartiality—is by not publishing the work of its staff. Why, then, are there so many pages of this issue taken up by Milhous and Hume? Like several other articles in this issue and the next, this piece was part of the backlog accepted by my predecessor, Roger Herzel. Despite the awkwardness of the situation, he and I agreed that the account book format made for technical difficulties best left to me to deal with. Even with the time to experiment and the printing equipment under my own control I have not been able to solve all the typographical problems, but I am happy to have been able to spare Roger the nuisance presented by this very technical piece.
John Rich's Covent Garden Account Books for 1735–36
Authors: Milhous Judith , Hume Robert D.
Published: October 2010

Among several sets of books kept by the treasurer and others at Covent Garden for the 1735–36 season, two have been preserved. British Library Egerton MS 2267 is a typical daybook. It records the daily box office totals, which have been reported in The London Stage. The other book is harder to identify and use. It exists in two nineteenth-century copies, one of which—a fair copy in the Frederick Latreille volume, British Library Add. MS 32,251, pages 299–308—has long been known to scholars. Yet full advantage has never been taken of it, perhaps because it is a transcription, not an original document, and is buried in the midst of a larger compilation. The authors of the Biographical Dictionary have made good use of the salary figures for particular performers and house servants, but the scattered reportage inherent in that format only hints at the value of this material. As far as we are aware, no one has made any serious attempt to utilize a slightly fuller transcription of the same source preserved in the “R. J. Smith” scrapbooks in the British Library (shelfmark 11791.dd.18, vol. 3, folios 177–89).
Where was the Altar?
Authors: Ashby Clifford
Published: October 2010

After centuries of study, an untold number of scholars have agreed that the City Dionysia of fifth-century Athens involved an animal sacrifice to the god Dionysos, and that this event took place in the theatre before the beginning of the play competition. The usual assumption has been that this sacrifice was offered upon an altar situated at the exact center of a circular orchestra.

This placement fits well with the theory that tragedy grew from a dithyrambic chorus dancing in a circle around the altar of Dionysos. But now that the dogma of the originally circular orchestra has been questioned, some attention must also be given to the location of the altar, a supposedly standard piece of theatre furniture. The following pages will (1) discuss the origin of the concept of a centrally located altar; (2) examine the literary, artistic, and architectural evidence which relate to altar placement; and (3) suggest a possible alternative to the central location.
Julia Marlowe: An Actress Caught Between Traditions
Authors: Derrick Patty S.
Published: October 2010

Julia Marlowe's career, 1887–1924, came at an awkward point in the history of the American theatre, a transitional period when old traditions were fading and new ones had not yet been established. During her thirty years as an actress, a heterogeneous mixture of plays was seen on the American stage: Shakespeare and other old classics, emotional dramas adapted from the French and German, melodramas old and new, early attempts at realism, problem plays. Most strikingly innovative in this period were the dramas of Ibsen, Shaw, and O'Neill (his early plays), which questioned conventional values and often presented a disturbing view of human life and relationships. The range of plays was varied for performers, and the acting styles employed by the actors revealed a comparable diversity. According to Garff Wilson's classification, players like Helena Modjeska performed in the classic style characterized by grace, symmetry, and poetic grandeur; Clara Morris and Fanny Davenport perfected a highly emotional style, both specialists in the art of stage weeping; Otis Skinner abandoned the classics of Shakespeare and Restoration drama and became famous in sentimental comedy and romantic costume drama such as Kismet; Ada Rehan and Viola Allen, part of the “sisterhood of sweetness and light,” achieved popularity as actresses of the “personality school”; Richard Mansfield, a thoroughly transitional figure, clung to the classics in his repertoire but also produced and performed in the modern plays of Shaw and Ibsen; Minnie Maddern Fiske championed the works of Ibsen and a style of acting called the school of psychological naturalism.
Textual Practices and Euripidean Productions
Authors: Fitzgerald Gerald
Published: October 2010

This paper has two principal, though interrelated, objectives: to survey issues concerning the status of the texts of Greek Tragedy, particularly with respect to specific distinctions between a play as text-based and as audience experienced, between the “eye” of the reader of a play text and the eye of the theatrical spectator; and to consider some implications of these distinctions for Euripidean drama, above all with respect toThe Bacchae, since its procedures, albeit more developed or extravagant than elsewhere, may be construed as characteristic for this drama. Much of what I shall say has reference also to the other—Aeschylean, Sophoclean—texts that we have of Greek Tragedy. But it is with Euripides that the terms of the relationship of text and play are most explicit, and controversial, and, it seems to me, most dislocated. We have “read’ Euripides sometimes very wrongly because we have beenreadingEuripidean texts.
American Colonial Disturbances as Political Theatre
Authors: Fearnow Mark
Published: October 2010

To view street actions of the American colonial period as theatrical events is nothing new. As Jeffrey Richards has shown in his much-admired book of 1991, writers of the colonial period—even in towns where “official” theatre performances were strictly prohibited—preferred the metaphors of theatre over any others in describing the actions of individuals and crowds upon what these writers saw as the “world stage.”
Phallocracy and Phallic Caricature: Re-Viewing the Iconography of Greek Comedy
Authors: Marra Kim , Clayton Barbara
Published: October 2010

The characteristic costume of Greek comic actors has been widely represented iconographically in statuettes and vase paintings from the fifth and fourth centuries B.C. Theatre historians instantly recognize the grotesquely distorted expressions on the masks, the rotund shapes formed by ill-concealed padding, and, most distinctively, the comic phallus. A “dangling leather symbol… red at the tip, swollen,” the comic phallus, of course, represents male genitalia.
Staging Romeo and Juliet: Evidence from Brooke's Romeus
Authors: Pearlman E.
Published: October 2010

In his first plays, Shakespeare exercised great freedom in devising his plots. The First Part of King Henry VI, it has been said, “darts about the period in a bewildering way.” It is “not so much a Chronicle play as a fantasia on historical themes.” Its two episodic sequels are equally or perhaps even more loosely plotted, while Richard III picks and chooses among events that took place in the decade and a half before 1485 and also seems to incorporate matter from earlier plays (Latin as well as English). In the The Comedy of Errors, Shakespeare began with a groundwork drawn from Plautus's Menæchmi but added the twin Dromios as well as some material from the Amphitruo. The Two Gentlemen of Verona integrates plot elements from a number of sources, including Montemayor's Diana, the well-circulated story of Titus and Giseppus, and the myth of Robin Hood. In making The Taming of the Shrew, Shakespeare combined elements from the oral tradition (the drunken peasant, the taming) with a literary subplot drawn from George Gascoigne's Supposes.
The Scenic Language of Empire: A Midsummer Night's Dream in 1816
Authors: Williams Gary Jay
Published: October 2010

On 17 January 1816, a new semi-operatic adaptation of A Midsummer Night's Dream opened at the Theatre Royal, Covent Garden, the nineteenth century's first production of the play. Since Shakespeare's time, the play had been seen only in operatic adaptations. The libretto of the new one was by Frederick Reynolds, with music by Sir Henry Rowley Bishop, and it was built on the 1763 operatic version of David Garrick and George Colman the elder. But the more interesting and historically significant text of the 1816 production was in the staging and the new pictorial scenery, whose vocabulary must be read in the light of empire.
The Aesthetics of Disruption: German Theatre in the Age of the Media
Authors: Fischer-Lichte Erika
Published: October 2010

In the early 1960s, certain new developments in Western theatre occurred which in some ways seemed to complete the process of the re-definition of theatre that was initiated by the historical avant-garde movement at the beginning of this century. In a decisive move against the long established bourgeois, educational and commercial theatre, now theatre was explicitly being defined as the “detailed investigations of the actor-audience relationship”. As before, this new definition led to the search for new theatre spaces and genres and a new manner of using signs where the focus shifted from the semantic to the pragmatic level. Performances were held in a disused workshop (Richard Schechner's Performance Garage in New York), a factory (Ariane Mnouchkine's Theatre du Soleil in a former munitions factory in Vincennes), a slaughter house (Bremen), in cinemas (Bremen and Bochum), in an exhibition hall (the Schaubuehne Greek project), in a film studio (the Schaubuehne Shakespeare project at the Halleschen Ufer 1976–7), in a tram depot (Frankfurt), in the 1936 Olympic Stadium in Berlin (Gruber's Winterreise 1977).
“The Island on the Middle” The Domains of Wayang Golek Menak: The Rod-Puppetry of Central Java
Authors: Petersemi Robert S.
Published: October 2010

Before my performance ofwayang golek menak(a rod-puppet performance of Islamic legends) Pak Narto, my teacher in Central Java, was trying to dress me for the role of adhalang, the puppeteer of awayang. He tugged down on the batik sarong, already wrapped low about my waist, and pulled at the dress hat and jacket that pinched my head and bound my shoulders, as if he could have concealed that I was anything more or less than a large American in Javanese dress. That evening, in the village of Gombong on the South coast of Central Java, I would perform a demonstration ofwayang golek menak.I had only arrived a few months before to undertake my research with Pak Narto and was hastily prepared to perform for a celebration surrounding the wedding of his wife's cousin. After my brief demonstration, there would be an all nightwayangperformance by Pak Narto's brother, Pak Kuswanto.
Introduction
Authors: Davis Tracy C. , McConnachie Brace
Published: October 2010

Despite the etymological origins of “spectator” in looking and “audience” in hearing, the multiple activities involved in attending an event (whether formally in the theatre or in other reminiscent circumstances) involve the senses more than one at a time, and indeed they involve more than the senses. Some of the most compelling spectacles of the modern era, such as homelessness, seem to repel looking and hearing for too many who encounter them on the streets, and only hold the attention of a few when dramatized by Gorky inThe Lower Depths.
Civilizing and Selling Spectators: Audiences at the Madison Civic Center
Authors: Wolf Stacy
Published: October 2010

Virtually every city in the United States now has a Civic Center. In large cities, this site functions variously as a convention center, a hockey rink, and the locale for the Ringling Brothers and Barnum and Bailey circus. In smaller cities, it frequently serves as a venue for performance. Civic Centers host touring productions of Broadway shows, national dance companies, and local symphonies and operas. In addition to providing local access to a variety of performance forms, a city's Civic Center also signifies “the arts” and so implies the city's commitment to art and performance.
Arnolt Bronnen'sVatermordand the German Youth of 1922
Authors: Dierks Lynn
Published: October 2010

As scholars investigating historical audiences, we are always searching for that magic moment when the theatre critic shifts in his seat, notices the people around him and finds them interesting enough to write down his observations. When such a moment occurs, we are given the rare opportunity to witness a spectatorial presence and spectatorial response not usually represented by theatre reviews. One such magic moment occurred on April 22, 1922, in Frankfurt, Germany at the premiere of Arnolt Bronnen's playVatermord (Patricide). Carl Zuckmayer, a fellow playwright, drew his eyes away from the expressionist play before him and lifted them to the gallery. He recorded his experience in his review forDie Neue Schaubühne:
Which Fiddler Calls the Tune? ThePlayboyRiots and the Politics of Nationalist Theatre Spectatorship
Authors: Trotter Mary
Published: October 2010

In October of 1903,The United Irishman, a leading newspaper of the Irish nationalist movement, published an essay by William Butler Yeats entitled “The Irish National Theatre and Three Sorts of Ignorance.” Yeats wrote this essay after an infuriated nationalist community protested the Irish National Theatre Society's production of John Millington Synge's play,In the Shadow of the Glen. In response to Yeats's admonishment of the nationalist movement for putting politics over aesthetics in their creation and judgment of Irish drama, Arthur Griffith, the editor of the newspaper, added some remarks of his own:

Mr. Yeats does not give any reason why if the Irish National Theatre has no propaganda save that of good art it should continue to call itself either Irish or National. If the Theatre be solely an Art Theatre, then its plays can be fairly criticized from the standpoint of art. But whilst it calls itself Irish National its productions must be considered and criticised as Irish National productions.
Theatre-going in Rotterdam, 1802–1853. A Statistical Analysis of Ticket Sales
Authors: Gras Henk , Franses Philip Hams
Published: October 2010

Today, Rotterdam is best known as the largest port in the world. Around 1800, although the second city in the Dutch Republic, it was still a minor trade centre. A group of its merchants built a standing theatre in 1773, which was sold in 1851 and largely demolished in 1853. The very rich archives of the stock-holders' company, which exploited this theatre, permit us an insight into the patterns of theatre-going in the first half of the nineteenth century, and the record helps test the common conjecture about the decline of the theatre in those decades.
Potential benefits of pro- and prebiotics on intestinal mucosal immunity and intestinal barrier in short bowel syndrome
Authors: Stoidis Christos N. , Misiakos Evangelos P. , Patapis Paul , Fotiadis Constantine I. , Spyropoulos Basileios G.
Published: October 2010

The mechanism of impaired gut barrier function in patients with short bowel syndrome (SBS) is poorly understood and includes decreased intestinal motility leading to bacterial overgrowth, a reduction in gut-associated lymphoid tissue following the loss of intestinal length, inhibition of mucosal immunity of the small intestine by intravenous total parental nutrition, and changes in intestinal permeability to macromolecules. Novel therapeutic strategies (i.e. nutritive and surgical) have been introduced in order to prevent the establishment or improve the outcome of this prevalent disease. Pre- and probiotics as a nutritive supplement are already known to be very active in the intestinal tract (mainly in the colon) by maintaining a healthy gut microflora and influencing metabolic, trophic and protective mechanisms, such as the production of SCFA which influence epithelial cell metabolism, turnover and apoptosis. Probiotics have been recommended for patients suffering from SBS in order to decrease bacterial overgrowth and prevent bacterial translocation, two major mechanisms in the pathogenesis of SBS. The present review discusses the research available in the international literature, clinical and experimental, regarding probiotic supplementation for this complicated group of patients based on the clinical spectrum and pathophysiological aspects of the syndrome. The clinical data that were collected for the purposes of the present review suggest that it is difficult to correctly characterise probiotics as a preventive or therapeutic measure. It is very challenging after all to examine the relationship of the bacterial flora, the intestinal barrier and the probiotics as, according to the latest knowledge, demonstrate an interesting interaction.
Special Issue on Generic Programming Editorial
Authors: HINZE RALF
Published: October 2010

Generic programming is about making programs more adaptable by making them more general. Generic programs often embody non-traditional kinds of polymorphism; ordinary programs are obtained from them by suitably instantiating their parameters. In contrast to normal programs, the parameters of a generic program are often quite rich in structure; for example, they may be other programs, types or type constructors, classes, concepts, or even programming paradigms.
Non-respiratory infections – specific considerations in care homes
Authors: Ewan Victoria , Gordon Adam
Published: October 2010

This review provides an update on current evidence surrounding the epidemiology, treatment and prevention of non-respiratory infections in care homes. It covers urinary tract infection (UTI), methicillin-resistantStaphylococcus aureus(MRSA), decubitus ulcers, scabies, tinea infections and viral and bacterial gastroenteritis. The care home sector provides a unique ecological niche for infections, housing frail older people with multiple co-morbidities and frequent contact with healthcare services in a semi-closed environment. This leads to differences in the diagnosis and management of infections – particularly of outbreaks – when compared with community-dwelling counterparts. It is essential that care home staff play a role in the early recognition, isolation and treatment of infections, but they are often not trained as healthcare professionals – this presents a challenge to systematized response. Effective interface between care homes, public health and infection control services are essential to the delivery of care, yet it is not clear how to structure such links most effectively.
Dr Führer's Wanderjahre: The Early Career of a Victorian Archaeologist
Authors: HUXLEY ANDREW
Published: October 2010

The Rev. Dr A.A. Führer lived to the age of seventy-seven. Herein is examined his first forty years. Trained as an Oriental Linguist, Führer eventually found employment as a field archaeologist. Three years after his appointment, the Archaeological Survey of India entered the worst crisis of its existence. Führer reacted in ways incompatible with scholarly integrity. It remains to be seen whether he committed further transgressions and or forgeries during his final thirty-seven years.
The Syntax ofhou後 in Temporal Phrases in Han Period Chinese
Authors: MEISTERERNST BARBARA
Published: October 2010

In this paper a unified account of the syntax of temporal phrases with the locative morphemehou後 followed by a NPtemp, a measure NP, is presented. Identical to bare noun phrase temporal adverbials,hou-phrases predominantly occur in sentence-initial/topic position and establish the temporal frame for the situation the predicate refers to; by default they refer to a point of time. According to the analysis presented,houexplicitly serves to relate one situation to a previous situation in the narrative; the NPtempmeasures the interval, the period of time, elapsed since the previous situation took place, and accordingly the NPtempis analysed as an appositional measure phrase. This analysis of the NPtempyields an analysis ofhou後 as an adverbially employed noun which syntactically retains its nominal characteristics and thus permits the addition of an apposition. Additionally, the nominal analysis ofhouis the only one which accounts for all syntactic variants of thehou-phrase in Han period Chinese.
ANALYSIS OF THE INEXACT UZAWA ALGORITHMS FOR NONLINEAR SADDLE-POINT PROBLEMS
Authors: LI JIAN-LEI , HUANG TING-ZHU , LI LIANG
Published: October 2010

Inexact Uzawa algorithms for solving nonlinear saddle-point problems are proposed. A simple sufficient condition for the convergence of the inexact Uzawa algorithms is obtained. Numerical experiments show that the inexact Uzawa algorithms are convergent.
MEASURING THE HUBBLE CONSTANT WITH THE HUBBLE SPACE TELESCOPE
Authors: Freedman W. L. , Kennicutt R. C. , Mould J. R.
Published: October 2010

Ten years ago our team completed the Hubble Space Telescope Key Project on the extragalactic distance scale. Cepheids were detected in some 25 galaxies and used to calibrate four secondary distance indicators that reach out into the expansion field beyond the noise of galaxy peculiar velocities. The result was H0 = 72 ± 8 km s−1 Mpc−1 and put an end to galaxy distances uncertain by a factor of two. This work has been awarded the Gruber Prize in Cosmology for 2009.
Water on Planets
Authors: Bell James F
Published: October 2010

Water is an abundant molecule in the Cosmos. It has exploitable and unique spectroscopic and physical properties and has been found to be ubiquitous in places that we would expect in the standard model of solar system formation and nebular condensation: beyond the snow line in outer solar system planets, moons, asteroids, and comets. However, water is also an important constituent of planetary bodies (dominating at least one of their surfaces) in the inner solar system, likely indicating significant mixing between inner and outer solar system reservoirs of water during planetary accretion and the early history of the solar system. Water has played a critical role in the differential evolution of the terrestrial planets Venus, Earth, and Mars, and the concept of the “habitable zone” where liquid water could be stable on an Earth-like planet provides a starting point for assessing the habitability of worlds in our solar system and beyond. Examples of potentially habitable environments outside this zone in our own solar system warn us that this concept should only be a guide, however-important exceptions will no doubt occur. Recent discoveries of past liquid water and abundant present subsurface ice on Mars, of water reservoirs in unexpected places like the poles of Mercury and the Moon and the subsurface of Enceladus, of water in circumstellar disks and in the atmospheres of extrasolar planets, and the expectation of the discovery of water on Earth-like worlds in the habitable zones around other stars make this an exciting time in the study of water on planets both in our own solar system, and beyond.
Do Low Luminosity Stars Matter?
Authors: Ruiz María Teresa
Published: October 2010

Historically, low luminosity stars have attracted very little attention, in part because they are difficult to see except with large telescopes, however, by neglecting to study them we are leaving out the vast majority of stars in the Universe. Low mass stars evolve very slowly, it takes them trillions of years to burn their hydrogen, after which, they just turn into a He white dwarf, without ever going through the red giant phase. This lack of observable evolution partly explains the lack of interest in them. The search for the “missing mass” in the galactic plane turned things around and during the 60s and 70s the search for large M/L objects placed M-dwarfs and cool WDs among objects of astrophysical interest. New fields of astronomical research, like BDs and exoplanets appeared as spin-offs from efforts to find the “missing mass”. The search for halo white dwarfs, believed to be responsible for the observed microlensing events, is pursued by several groups. The progress in these last few years has been tremendous, here I present highlights some of the great successes in the field and point to some of the still unsolved issues.
Probing the 2-D kinematic structure of early-type galaxies out to 3 effective radii
Authors: Proctor Robert N. , Forbes Duncan A. , Romanowsky Aaron J. , Brodie Jean P. , Strader Jay , Spolaor Max , Mendel J. Trevor , Spitler Lee
Published: October 2010

We detail an innovative new technique for measuring the 2-D velocity moments (rotation velocity, velocity dispersion and Gauss-Hermite coefficients h3 and h4) using spectra from Keck DEIMOS multi-object spectroscopic observations. The data are used to reconstruct 2-D rotation velocity maps.
Modeling dark haloes in early-type galaxies: stellar kinematics at large radii
Authors: Weijmans Anne-Marie
Published: October 2010

We developed a new method to obtain absorption line spectra of early-type galaxies at large radii, using integral-field spectrography (IFS). By using the spectrograph as a 'photon-collector' and adding the signal of many individual spaxels together in one spectrum, we obtain sufficient signal-to-noise to measure both stellar kinematics and line strengths at large radii. These can be used to determine the properties of the dark matter halo, as well as the stellar halo population.