bluuebunny/crossref_metadata_2025 huggingface dataset:
A formalization of geometric constraint systems and their decomposition
Authors: Mathis Pascal , Thierry Simon E. B.
Published: July 2009

For more than a decade, the trend in geometric constraint systems solving has been to use a geometric decomposition/recombination approach. These methods are generally grounded on the invariance of systems under rigid motions. In order to decompose further, other invariance groups (e.g., scalings) have recently been considered. Geometric decomposition is grounded on the possibility to replace a solved subsystem with a smaller system called
boundary
. This article shows the central property that justifies decomposition, without assuming specific types of constraints or invariance groups. The exact nature of the boundary system is given. This formalization brings out the elements of a general and modular implementation.
Experience with the treatment of argininosuccinic aciduria during pregnancy
Authors: Reid L. , Perreault É. , Lafrance G. , Clarke J. T. R.
Published: July 2009

We present the details of the management and the outcome of a pregnancy of a woman affected with argininosuccinic aciduria. Management with a closely monitored, protein‐restricted diet, supplemented with L‐arginine, resulted in the birth of a healthy infant boy and an uneventful perinatal course for the mother.
Democratic Quality and Human Development in Latin America: 1972–2001
Authors: Altman David , Castiglioni Rossana
Published: July 2009

Abstract.This paper analyzes the connection between democracy and human development. In so doing, it examines two main questions: Are democracies better than non-democracies in achieving human development? Among democracies, is there a direct relationship between the actualization of civil and political rights and human development? In answering these questions, we offer a cross-national study of 18 Latin American countries from 1972 to 2001. We use fixed effect models for analyzing our cross-country, pooled time-series data. The evidence suggests not only that democracies are better than nondemocracies in fostering human development (controlling for wealth), but also that differences in degree of democracy have a significant impact on human development in terms of infant mortality and life expectancy.

Résumé.Cet article analyse la relation entre la démocratie et le développement humain et aborde sous cet angle deux questions principales. Les régimes démocratiques assurent-ils mieux que les régimes non démocratiques le développement humain? Au sein des pays ayant un régime démocratique, y a-t-il une relation directe entre l'actualisation des droits civils et politiques et le développement humain? Pour répondre à ces questions, nous observons les données de 18 pays latino-américains sur une période allant de 1972 à 2001. En ce qui concerne la méthodologie, nous avons utilisé un modèle à effets fixes pour analyser nos données chronologiques consolidées regroupant plusieurs pays. Les résultats de notre analyse nous amènent à conclure que non seulement les régimes démocratiques réussissent mieux que les régimes non démocratiques à favoriser le développement humain (en mesurant le niveau de richesse), mais aussi que les différences dans les niveaux de démocratie ont également un effet notable sur le développement humain en termes de mortalité infantile et d'espérance de vie.
A Note on Locke's “The Great Art of Government”
Authors: Andrew Edward
Published: July 2009

Abstract.This note explores the ambiguity in John Locke's assertion that “the great art of government” consists in the increase and right employment of “lands” or “hands.” The dominant interpretation is that Locke thought governmental practice should aim at the extension and proper cultivation of land, while others assert that, given the context of the labour theory of value and Locke's concern to increase population, a more suitable interpretation is that the great art of government consists in the maximal exploitation of “hands” or labourers. The case for both “lands” and “hands” is examined within the scholarly literature on Locke's egalitarianism and political economy, an argument for the minority favouring of “hands” over “lands” provided and its contemporary relevance explained.

Résumé.Cette note analyse l'ambiguïté de l'assertion de John Locke selon laquelle «le grand art du gouvernement» consiste dans l'accroissement et l'exploitation convenable des terres («lands») ou de la main-d'oeuvre («hands»). L'interprétation dominante est que Locke pensait que la sage administration avait pour but la meilleure culture des terres («lands»), mais quelques savants lockiens, invoquant la théorie de Locke que toute valeur est le produit du travail et son intérêt pour la croissance de la population, privilégient plutôt une interprétation centrée sur l'exploitation de la main-d'oeuvre («hands»). L'auteur explore les deux optiques dans la littérature érudite sur l'égalité et l'économie politique de Locke, puis présente un raisonnement sur l'interprétation minoritaire centrée sur la main-d'oeuvre et en explique la pertinence dans le monde contemporain.
A Note on a Note on Locke's “Great Art of Government”
Authors: Ward Lee
Published: July 2009

“A Note on Locke's ‘Great Art of Government’” presents a valuable and provocative argument that scholars have hitherto paid insufficient attention to an important ambiguity in John Locke's frustratingly brief account of the “great art of government” in the crucial fifth chapter of the Second Treatise of Government (Locke, 1960: sec. 42, l. 23). However, there is one pivotal point upon which the note's analysis may conceal as much as it reveals, and in order to frame the debate properly it is important to establish clarity about the nature of the possible ambiguity in Locke's description of the goal of the political art being “the increase of lands,” or alternatively the “increase of hands.” Following John Gough's suggestion (Locke, 1966: 23, n. 1), the note maintains that the context of the passage in section 42 of the Second Treatise relating to the “great art of government” favours the use of hands rather than lands (Locke, 1960: sec. 42, ll. 22–23). However, there is strong evidence indicating that the context of this passage is not what the note suggests it is.
La distinction rousseauiste entre volonté de tous et volonté générale : une reconstruction mathématique et ses implications pour la théorie démocratique
Authors: Dobrescu Radu
Published: July 2009

Résumé. Se situant à mi-chemin entre l'exégèse rousseauiste et la théorie démocratique, cet article vise à éclairer l'analogie mathématique mobilisée par Rousseau pour illustrer la distinction entre volonté de tous et volonté générale et à réévaluer, à la lumière de cette analogie, les débats contemporains autour de la démocratie (libérale, épistémique, délibérative). Il s'agit de régler trois problèmes qui subsistent après la restitution par Philonenko de cet argument mathématique jugé irrécupérable et de montrer que la distinction rousseauiste ainsi reconstruite peut impulser significativement les tentatives actuelles de dépasser la volonté de tous libérale pour retrouver une volonté générale épistémique ou/et délibérative.

Abstract. Halfway between Rousseauian exegesis and democratic theory, this article aims at clarifying the mathematical analogy that Rousseau used to illustrate the distinction between will of all and general will, and at reassessing in the light of this analogy the contemporary debates on democracy (liberal, epistemic, deliberative). Three problems that remain after Philonenko's restitution of this mathematical argument considered unrecoverable are solved herein. It is argued that the Rousseauian distinction thus reconstructed can give significant new impetus to current attempts to go beyond the liberal will of all in order to reach an epistemic or/and deliberative general will.
Trichinella zimbabwensis in a naturally infected mammal
Authors: La Grange L.J. , Marucci G. , Pozio E.
Published: July 2009

Trichinella zimbabwensis has been detected in wild and farmed Nile crocodiles (Crocodylus niloticus) and in wild monitor lizards (Varanus niloticus) of several African countries, but it has never been detected in mammals in nature, in spite of its infectivity to rodents, pigs, foxes and monkeys under laboratory conditions. The aim of this work was to describe the first detection of T. zimbabwensis in a naturally infected lion (Panthera leo) of the Kruger National Park (KNP) of South Africa. The sequence of the expansion segment V, a highly variable non-coding sequence of the large subunit ribosomal RNA of the genus Trichinella, of larvae from the lion was identical to that of larvae of T. zimbabwensis collected from a Nile crocodile originating from the same locality as the lion, suggesting a possible transmission of this parasite between mammals and reptiles. The KNP proves to be a very interesting area for parasites of the genus Trichinella since three taxa (Trichinella nelsoni, Trichinella T8 and T. zimbabwensis) circulate among the wildlife of this protected area.
Parotid lymphoma in west Scotland: two-year ‘snapshot’ of diagnosis, management and core issues
Authors: Crampsey D P , Savage S A , McKay P , MacKenzie K
Published: July 2009

Objectives:

To establish whether there is a requirement for a network policy on management of suspected intraparotid lymphoma, and to answer the question, ‘Can lymphoma of the parotid region be adequately diagnosed, typed and treated on the basis of a core biopsy, within the West of Scotland?’

Method:

We identified 22 patients from the West of Scotland Managed Clinical Network database who had been diagnosed between 2003 and 2005 with lymphoma of the parotid region (nodal or extranodal). These 22 cases were reviewed, assessing specifically their investigation and diagnosis (compared with the World Health Organization classification of parotid lymphoma).

Results:

Three of the 22 patients underwent core biopsy to diagnose and type their lymphoma. All these procedures were performed within a single centre.

Conclusion:

It is possible to successfully perform core biopsy of parotid lymphoma lesions (generally under ultrasonic guidance). This may obviate the need for open procedures. Close collaboration with haematology, pathology, radiology, and head and neck colleagues is required.
The Descent of Orpheus at the Cockpit, Drury Lane
Authors: Visser Colin
Published: July 2009

In the fall or winter of 1661, Chapoton's tragédie à machines, La Descente d'Orphée aux Enfers, was produced at the Phoenix or Cockpit in Drury Lane by a visiting French Company. The performance is recorded in a rare pamphlet, The Description of the Great Machines of the Descent of Orpheus into Hell. Presented by the French Commedians at the Cockpit in Drury-lane, a copy of which survives in the Bodleian Library, Oxford. This pamphlet consists of a resumé in both English and French of Chapoton's work. Its purpose was to allow an English audience to follow the opera, which was performed in French.
A History of Mexican American Professional Theatre in Texas Prior to 1900
Authors: Ramirez Elizabeth C.
Published: July 2009

The last quarter of the nineteenth century witnessed the beginning of Mexico's “Golden Age.” During this time Mexico received bounteous foreign capital, industry and agriculture flourished, railroads pushed their way south from the United States, the ancient reales de minas of the Spaniards reopened, and smelters began to “belch their yellow fumes into the desert air.” The valuable silver, gold, copper, lead, and zinc flowed north to feed the rapidly expanding commerce and industry ofthe United States, and many domestic products found a ready market abroad. The capital city was cleaned up and modernized, electric lights and streetcars were everywhere, and many new buildings arose, such as the elaborate Palace of Fine Arts. Porfirio Díaz, Mexico's president during these years, surrounded himself with able científicos, a group of brilliant lawyers and economists who “worshipped at the new and glittering shrine of Science and Progress” and who as cultivated men brought, along with Mexico's material improvements, cultural ornaments as well. They encouraged poetry, novels, art, and music, all of which thrived in Mexico City. The theatre was just as much a part of that cultural growth as the other arts. Beyond question the economic and cultural development of Mexico during the regime of Don Porfirio was great.
A Re-Examination of Baldwin's Theory of Acting Lines
Authors: Howard Skiles
Published: July 2009

Theatre history sometimes amuses us with the persistence of certain notions which, no matter how roundly discredited, simply refuse to die. One of these speculations concerns the method of pairing role and actor in the Elizabethan theatre. Actors were assigned to their roles, and roles were written for actors, in accordance with the actor's “lines of business” — weren't they? T. W. Baldwin's long and influential book,The Organization and Personnel of the Shakespearean Company, attempts to prove this method of role designation. However, his is one of those theories of remarkable stamina which, in spite of serious critical challenge, never stay down for the count, but stagger gamely back into lectures and appear unexpectedly in respectful citations. Given its shortcomings and inaccuracies under close scrutiny, Baldwin's hypothesis seems to demand a final and permanent interment. To that end, I will examine the question of acting lines — the theory, its champions and its challengers, and the evidence for and against it, taking Baldwin's work as a starting point.
Trial by Jury: An Alternative Form of Theatrical Censorship in New York, 1921–1925
Authors: Rod David K.
Published: July 2009

Between 1921 and 1925, an experimental form of nongovernmental censorship of the theatre was developed and practiced in New York City. Referred to variously as volunteer juries, citizens' juries, or the play-jury system, the experiment attempted to overcome the shortcomings of existing legal controls on the theatre and to relieve public concerns about the exploitation of sexually suggestive and obscene materials in stage plays. Although the play-jury system was short-lived, a review of its brief career reveals significant accomplishments and can provide a clearer picture of some of the issues confronting the American theatre in the first part of the twentieth century.
Saved by the Magic Wand of Circé
Authors: Scott Virginia
Published: July 2009

The story of Molière and his theatre has been told a thousand times, the archives and libraries of France sifted again and again for the smallest nuggets of information. The story of the Comédie-Française after the union of 1680 has been almost as thoroughly studied. But the struggle of the survivors of the Troupe of the Palais Royal after Molière's death in 1673 has not attracted very much attention. Merged with the “better” actors of the Théâtre du Marais, Molière's widow and seven others were nearly lost in the murky political and economic seas of the 1670s and saved themselves, not with a new star or a new playwright, but with the most amazing display of spectacle ever seen on a Parisian public stage. The magic wand of Circé transformed the Troupe of the Hôtel Guénégaud into the profitable and secure enterprise which was to serve as the foundation of the French National Theatre.
The Origin of Public Attendance at the Spanish Court Theatre in the Seventeenth Century
Authors: Pasto David J.
Published: July 2009

During the Siglo de Oro, the Golden Age of Spanish drama (1580–1680), the Spanish court sponsored many types of theatrical entertainments. The kings and queens of Spain enjoyed re-enactments of battles, processions using triumphal arches and cars, invenciones (scenic charades), ballets, and máscaras (masques). In addition to these theatrical forms, two major types of drama developed at court towards the end of the sixteenth century. N.D. Shergold refers to these forms as particulares, or command performances of plays from the public repertory, and festival plays: elaborate productions involving machines and Italianate scenery, which were performed on special occasions.
Charles Mathews' “At Homes”: The Textual Morass
Authors: Degen John A.
Published: July 2009

When Richard Klepac's monograph on Charles Mathews' “At Homes” appeared a few years ago, it addressed a glaring need in early nineteenth-century British theatre history. Mathews, one of the lions of the stage in his era, had been too long neglected, and existing biographies, aside from the two-volume memoir assembled by his wife, consisted of no more than a few puffing pamphlets.
“How now Horatio, you tremble and look pale”: Verbal Cues and the Supernatural in Shakespeare's Tragedies
Authors: Rozett Martha Tuck
Published: July 2009

Barnardo' line “How now Horatio, you tremble and look pale,” delivered just after the ghost's exit in Act I, scene i of Hamlet, is at once a description of Horatio and a thematic statement about the effect of tragedy. By the end of the play, this phrase has come to signify the way amazing, horrifying, and profoundly tragic events affect the spectators: Hamlet addresses the “mutes or audience” to the “act” he, Laertes, Claudius and Gertrude have just performed as “you that look pale, and tremble at this chance” (V, ii, 334). When a character describes another in this way, the utterance constitutes a verbal cue: it tells the audience what is happening on the stage, or how the other characters are reacting to past or present events. A verbal cue can be thought of as a spoken stage direction, to use Raymond Williams' term, one which serves as a signal both to the actors and to the audience. Shakespeare repeatedly resorted to verbal cues in representing the ghosts, witches, and other supernatural visitations that figure prominently in Hamlet, Macbeth, and less prominently, in Richard III and Julius Caesar. Regardless of how they are represented on the stage, supernatural characters are essentially imaginative projections, who exist as much through the speeches and described reactions of others as through what they themselves say and do. Verbal cues thus serve as part of the characterization process; they help to define these creatures in terms of their effects on others. And as a theatrical strategy, the cues employ language to summon up visions in the mind of the spectator, creating images that no stagecraft, however spectacular, could equal.
“Shakespeare spelt ruin and Byron bankruptcy”: Shakespeare at Chatterton's Drury Lane, 1864–1878
Authors: Barrett Daniel
Published: July 2009

In the honor roll of nineteenth-century theatrical producers of Shakespeare, the name Frederick Balsir Chatterton has never been entered. Even in his own time he was often considered more of an entrepreneur or entertainer than a serious advocate of Shakespeare. Since then he has either been ignored or ridiculed by critics and historians, the lone exception being Odell, who gave Chatterton's productions their only serious attention. What historians remember instead is Chatterton's infamous maxim— “Shakespeare spelt ruin and Byron bankruptcy”—a saying he did not invent and did not totally believe.
Robins Hits the Road: Trouping with O'Neill in the 1880s
Authors: Matlaw Myron
Published: July 2009

Several years ago an article in this journal called attention to the Elizabeth Robins Collection then acquired by the Fales Library of New York University. In addition to her many other accomplishments, Robins was a gifted writer who kept extensive diaries and exchanged voluminous letters with her family, friends, and associates. All these, as well as her accounts, manuscripts, drafts, and scrapbooks, constitute a massive assemblage that had been barely sifted at the time of the article and that is still not fully catalogued. It comprises a treasure-trove for scholars of the history of the theatre, literature, and American and English history.
The Apprenticeship of Robert Edmond Jones
Authors: McDermott Dana Sue
Published: July 2009

“Art is a kind of innate drive that seizes a human being and makes him its instrument.” With this statement and related discussion Carl Jung suggested that the decision to work as an artist is involuntary; however he did not actually explain the nature of being “seized.” Working with numerous artists, reading about many others, and examining the specific example of Robert Edmond Jones, I would suggest that the artist is both seized by and seizes the innate drive and that it is a process which occurs over time. An examination of Jones's childhood, education, and early production experience reveals the complex nature of his progression toward a career as a theatre artist.
The Petit Marquis, the Jeune Blondin, and the Monarch: Issues in Appropriate Costuming for Molière'sDom Juan
Authors: Dock Stephen V.
Published: July 2009

Critics have long attested to the various irregularities ofDom Juan ou le Festin de pierre, one of Molière's most unusual plays. In its time, according to W. D. Howarth, it was regarded as “a curious freak.” Numerous mysteries surround the creation and production ofDom Juan. Molière wrote it to fill in a gap created by the recent interdiction ofLe Tartuffe ou l'Imposteurat a time when he needed a successful play to dress up a somewhat limited and worn-out repertory. In searching for a success, it was natural that Molière should choose the highly popular Don Juan theme. Following the lead of Tirso de Molina in Spain and of Cicognini and Giliberto in Italy, the French were taking their turn: Dorimon'sLe Festin de pierre ou le Fils criminelpremiered in Lyon in 1658; the same year the Italian actors mounted their owncommedia dell'arteversion calledIl convitato di pietrain Paris in the theatre of the Petit Bourbon which they shared with Molière; and the actor Villiers's version, which had the same title as Dorimon's, premiered at the Hôtel de Bourgogne in 1659. It is quite possible that all three played concurrently in Paris in the early 1660s, and Molière and his actors may well have gone to see their competitors' renditions.
Theatrical Success and the Chronology of Productions at the Hotel de Bourgogne: New Evidence from Racine and Quinault
Authors: Brooks William
Published: July 2009

It is a commonplace regret of theatre historians that, for the Hôtel de Bourgogne (as, indeed, for the Théâtre du Marais) there exists no continuous record of performances analogous to that maintained by La Grange in respect of Molière's troupe. Thus one cannot always be certain which plays were performed, still less when. Such dates as are certain—or even, virtually certain—are so, only because they arise in the writings of contemporaries. In particular, the gazetiers (Loret, Robinet, and others) are an invaluable source of information. One can say, for example, that the first performance of Quinault's Stratonice took place on January 2, 1660 at the Hôtel de Bourgogne, that of Pierre Corneille's Sertorius on February 25, 1662 at the Théâtre du Marais, that of Racine's Andromaque on November 17, 1667 in the Louvre (given by the troupe of the Hôtel), and that of Quinault's Pausanias at the Hôtel on November 16, 1668—provided, of course, that the gazetiers are not mistaken (and, as a fact, they are not infallible). Clues may also be found in other miscellaneous writings (one such, to be mentioned again below, establishes the date of Racine's Bérénice).
“The Actors are Come Hither”: Literary Analogues of Itinerant Player Troupe Procedures
Authors: Westfall Suzanne R.
Published: July 2009

Hundreds of itinerant players under civic, ecclesiastical, and aristocratic patronage were criss-crossing England from at least 1426, when Henry VI rewarded a troupe of the Duke of Exeter's boys playing interludes, to the closing of the public theatres in 1642. Public and private financial accounts mark the passage of such troupes, but rarely provide any information about them beyond what year they appeared and who acted as their patron. We know that the players existed and that they travelled, but we know virtually nothing about the day-to-day lives of the touring players, about their touring strategies and methods. How many plays were in a typical repertoire, ready to be performed for any audience? How did players gain admittance to performing spaces, and how were they received? Who was responsible for the administrative details governing rewards, bed and board, and production procedures? Who decided what, where, and why the players performed, and what kind of reception could players expect? No extant primary source document addresses any of these questions.
The Actress as Shakespearian Critic: Three Nineteenth-Century Portias
Authors: Ziegler Georgianna
Published: July 2009

The nineteenth-century theatre saw the rise of the outspoken, intelligent leading lady. In a period in which actors were just shedding their status as second-class citizens, and women still were second-class citizens in society as a whole, three actresses established themselves as major interpreters of Shakespeare. Fanny Kemble, Helena Faucit Martin, and Ellen Terry had the double advantage of rising to the top of their profession and of being highly articulate writers as well, leaving records of their thoughts about acting and about the playwright who inspired them. This reading of their letters, memoirs, and criticism suggests answers to several questions: What do the actresses notice about Shakespeare's plays? How do their views relate to those of the literary critics of the time? And finally, do they ever consult formal scholarship when preparing for a role?
Preparation for an Audition: Uta Hagen's Broadway Debut
Authors: Spector Susan
Published: July 2009

In 1938, at the age of eighteen, Uta Hagen made her debut on Broadway as Nina in The Sea Gull with the Lunts—a fairy tale story come true. A young girl from the provinces—in this case, Madison, Wisconsin—comes to New York to be an actress, and within two months, with the most illustrious American actors of her time, she is playing the role of a young girl from the provinces who wants to be an actress.
American Theatre Versus the Congress of the United States: The Theatre Tax Controversy and Public Rebellion of 1919
Authors: Wainscott Ronald H.
Published: July 2009

For eight days in January 1919 the theatre industry was at war with the U.S. Congress, a nationwide event surprisingly overlooked in previous theatre history. Theatre management and its host of workers joined with the public to wage a well-orchestrated campaign in the newspapers and mail, in the theatres and on the streets to stop what was perceived as a gross injustice to the American theatre and its paying audience.

When the United States Congress was framing a six billion dollar tax revenue bill to recover exorbitant war costs from the first world war, it attempted to slip in a new tax which would raise theatre admissions by ten per cent in order to return between seventy-five and eighty-one million dollars to the government. The original bill levied a twenty per cent tax on all tickets of admission above thirty cents (thus most movie houses were exempt). In addition box seat holders at theatres and the opera were to be taxed twenty-five per cent.
Theaterwissenschaft in the History of Theatre Study
Authors: Quinn Michael L.
Published: July 2009

Recent surveys of theatre theory and historiography have given only very limited attention to a critical episode in the organization, development and legitimation of modern theatre scholarship, the Theaterwissenschaft writings of German-language theorists of theatre study in the first half of the twentieth century. I propose to survey briefly the major moments in this group's emergence, characterize the theoretical approaches associated with some principal figures in the group, outline something of their influence (or reception), and make a few suggestions about their importance for further study. Their work has been undergoing a steady re-appraisal in the contemporary German theatre academy, and some members of the group, like Hans Knudsen and Artur Kutscher, were sufficiently self-conscious about the process of institution-building that their own history has itself been subject to historiographic comment. Consequently I will offer some German reconsiderations of the structure and significance of the field where they seem appropriate. Though there is some sense in the current American construction of this group as “positivist,” the label does not quite acknowledge the variety of theatre theories in which their relatively adequate theory of empirical evidence can be applied, nor does it do justice to the group's interest in theatre as a social phenomenon. The work of the group is so varied in relation to its empirical basis, and so involved in the emerging discourses of sociology, anthropology, and psychology, that it gives us reason to doubt any narrow construction of the theatre-historical tradition as theoretically naive or one-dimensional.
Attendants and Others in Shakespeare's Margins: Doubling in the Two Texts ofKing Lear
Authors: Howard Skiles
Published: July 2009

Although history and culture are now being read from below, dramatic texts are still being read from above: critical scrutiny persistently favors the articulate principal characters of a play over the minor figures with whose muted assistance great words and deeds are performed. My intention is to compensate for the neglect by decentering the dominant characters and concentrating instead on the minor and mute roles in the margins of Shakespeare'sKing Lear, and the way they were “doubled,” among the supporting players. While taking note of the principal roles, I will focus upon the smaller parts and walk-ons. The questions I will address are three: What was the fewest number of players needed to accommodate all the parts ofKing Lear? How were the minor roles distributed among the available players? What conclusions can be derived from doubling patterns concerning the structure of the companies?
Sussex's Men in 1594: The Evidence of Titus Andronicus and The Jew of Malta
Authors: McMillin Scott
Published: July 2009

In 1594, as stability was about to return to the London stage after several years of disruption, a company under the patronage of the fifth Earl of Sussex played two brief engagements at Philip Henslowe's theatre, the Rose. Historians of the Elizabethan stage have had little to say about Sussex's men, for although the company appears fairly regularly in performance records of the 1590s, and although Henslowe's Diary lists their day-by-day repertory for a few weeks in 1594, their plays do not seem to have formed an important part of the Elizabethan drama (only George a Greene survives as a piece attributable solely to Sussex's men), and their personnel do not seem to have aroused sufficient interest to leave any record of an actor's name after 1576. Yet there may be a story to tell about Sussex's men after all. If we look closely at their repertory of 1594, keeping in mind the affairs of other companies at this time, we can see that the Sussex company may have briefly included some of the most important figures of the Elizabethan theatre.
“Forbid Them Not“: Child Actor Labor Laws and Political Activism in the Theatre
Authors: McArthur Benjamin
Published: July 2009

Political activism among actors has become common in twentieth-century America, from patriotic support for war bonds in the two world wars to antiwar declarations during the Vietnam era; from campaigning for presidential hopefuls to more recent environmental activism. We may forget, then, that actors, wary of social disapproval, traditionally had maintained a low political profile in America. The spread-eagle rhetoric of Edwin Forrest may have made his Democratic sympathies well known in antebellum America, but the subsequent actions of John Wilkes Booth only reinforced actors' belief that they were best served by political quietism.
Dieter Hacker's Mask for Timon of Athens
Authors: GJW
Published: July 2009

For the well-received 1990 Bochum Schauspielhaus production of Shakespeare's Timon of Athens, Dieter Hacker, one of Germany's leading artists and stage designers, created fifty-four masks, including the one on the opposite page for Timon himself (Figure I). This mask, Hacker's designs, and photographs of the production were seen in the recent exhibition “Contemporary Stage Design from German and Austria” at the New York Public Library for the Performing Arts, Lincoln Center, presented in collaboration with the Goethe House and German Cultural Center in New York.
Some Reasons to Focus on the Globe and the Fortune: Stages and Stage Directions: Controls for the Evidence
Authors: Gurr Andrew
Published: July 2009

I start with the circumstantial evidence. The first year that the professional companies ever had specific amphitheatre playhouses in London to work in was 1594. Before that, they expected to live an essentially transient life, moving from one playing space to another. The Queen's Men, between 1583 and 1594, are recorded as playing at just about every location there was in London, three inns, and three suburban playhouses. On November 28, 1583, a city permit allowed them to perform, “at the sygnes of the Bull in Bushoppesgate streete, and the sygne of the Bell in Gratioustreete and nowheare els within this Cyttye.” The Bull is confirmed as one of their venues inTarlton's Jests. They also were playing at the Theatre in about 1584 (Nashe reported them there inPierce Penilesse, I.197, referring to Gabriel Harvey'sSaturn and Jupiter, of 1583: “one in mockage threw him in this theame, he playing then at the Curtaine”). Finally, one of the two divided Queen's Men's groups played at the Rose early in 1594. The Queen's was the most uniquely privileged of companies, over whom the Lord Chamberlain fought with the Lord Mayor in 1584 to secure the right for that one company to use the city's inns. If it moved so thoroughly between playhouses, all the others must have done the same.
Pope-Burning Pageants: Performing the Exclusion Crisis
Authors: Johnson Odai
Published: July 2009

On November 17, 1677, Sir Popular Wisdom, or the Politician was performed at Dorset Gardens by the Duke of York's Company. All we know of the play comes from a letter of Andrew Marvel: “Today is acted the first time Sir Popular Wisdom, or the Politician where my Lord Shaftsbury and all his gang are sufficiently personated. I conceive the King will be there.” Though we are offered little else, the fact that Shaftsbury and his gang are ridiculed is, I think, enough to situate the play fairly with other royally endorsed parodies of the Whig party that found a ready marketplace in the King's Theatre in the years of fervent, 1677–1683. Plays such as John Crowne's The Ambitious Statesman (1679) and City Politiques (1682), Thomas D'Urfey's Sir Barnaby Whig (1681) and The Royalist (1682), and Thomas Otway's Venice Preserv'd (1681) all were having no end of sport lampooning the Whig platform, with scarcely the benefit of a rebuttal.
Rosamond Gilder: Influential Talisman for African-American Performers
Authors: Gill Glenda
Published: July 2009

More than any other Caucasian critic of her generation, Rosamond Gilder created opportunities for people of color. While many critics came to find fault, Gilder helped African-American actors, playwrights, directors, scene designers and dancers, not only in her celebration and recognition of them, but in her fairness and objectivity in evaluating their work.
Masque of the Twelve Nations—Stuttgart, 1616
Authors: GJW
Published: July 2009

This issue's cover illustration was selected from among the splendid engravings in the Folger Shakespeare Library's recent exhibition The Festive Renaissance. The show featured thirty-nine magnificent books printed between 1549 and 1768 that record some of the extravagant pageantry in which royal power celebrated itself on such occasions as coronations, weddings, births, baptisms, royal entries, processions, tournaments, state visits, and funerals. These pageant books and others, some so large and weighty that they defied efforts to exhibit them, are part of a bibliographic collection given to the Folger Library by Mrs. H. Dunscombe Colt, whom the exhibition honored. Armida Colt assembled the collection in collaboration with her late husband. The Director of the Folger Library, Werner Gundersheimer, described the Colt collection as one of the most important benefactions in the library's history.
Love à la Modeand Macklin's Return to the London Stage in 1759
Authors: Kinservik Matthew J.
Published: July 2009

In the 1750s, Charles Macklin's theatrical career was in limbo. While he is now remembered and studied as an important playwright and one of the principal (and longest-lived) actors of the eighteenth century, by the mid-1750s he can only have felt that he was a failure. Poor relations with the managers of Drury Lane and Covent Garden, a series of unsuccessful plays, and a diminishing repertory of roles led to his (enforced) retirement in 1753. He then opened a tavern, which quickly bankrupted him. Too little attention has been paid to this grim period in Macklin's career and to the triumphant retrieval of his theatrical fortunes in 1759 with his farceLove à la Mode. The importance of Macklin's return to the stage was recognized by William W. Appleton, who devoted an entire chapter of his 1960 biography of Macklin to this episode. Nonetheless, several important biographical questions remained unanswered or insufficiently answered—questions I would like to reopen based on some newly discovered evidence.
Acting Between the Spheres: Charlotte Cushman as Androgyne
Authors: Mullenix Elizabeth Reitz
Published: July 2009

On 29 December 1845, Charlotte Cushman did an extraordinary thing at the Haymarket theatre: she convincingly transformed herself into a man. Audience members who witnessed this performance were captivated by “the transmuting power” of Cushman's “genius” as she became Romeo. This production (and Cushman's Romeo in general) continues to fascinate both contemporary theatre historians and feminist scholars, who are equally impressed with Cushman's seeming ability to create an unsettling paradox. In a recent article, Anne Russell discusses the positive reception that Cushman's Romeo received and questions how the cross-dressed actress could have been so successful “in a period when dominant gender ideologies assumed clearly delineated separate spheres for men and women, when stage reviewers as a manner of routine assessed the ‘womanliness’ or ‘manliness’ of characters and performers.” As Russell explains, the nineteenth-century audience member, critic, and/or commentator read the human figure on stage as either male or female; indeed, such antithetic thinking was pervasive throughout nineteenth-century culture. Cushman was unique, however, in that she repeatedly defied such categorization, both in her theatrical performances and in her “private” life.
Rewriting the Body: Aida Overton Walker and the Social Formation of Cakewalking
Authors: Krasner David
Published: July 2009

Although Aida Overton Walker (1880–1914) belonged to the same generation of turn-of-the-century African American performers as did Bob Cole, J. Rosamond Johnson, Bert Williams, and George Walker, she had a rather different view of how best to represent her race and gender in the performing arts. Walker taught white society in New York City how to do the Cakewalk, a celebratory dance with links to West African festival dance. In Walker's choreography of it, it was reconfigured with some ingenuity to accommodate race, gender, and class identities in an era in which all three were in flux. Her strategy depended on being flexible, on being able to make the transition from one cultural milieu to another, and on adjusting to new patterns of thinking. Walker had to elaborate her choreography as hybrid, merging her interpretation of cakewalking with the preconceptions of a white culture that became captivated by its form. To complicate matters, Walker's choreography developed during a particularly unstable and volatile period. As Anna Julia Cooper remarked in 1892.
Political Allegory or Multimedia Extravaganza? A Historical Reconstruction of the Opera Company of Boston's Intolleranza
Authors: Wilcox Dean
Published: July 2009

In the fall of 1993, I had the pleasure of interviewing the world-renowned Czech scenographer Josef Svoboda. We spent some time talking about his career and his longevity as a designer, but it was his response to a question about a specific production that prompted further investigation. When asked about his first full-scale U.S. design for The Opera Company of Boston's 1965 production of Luigi Nono's Intolleranza, the already animated Svoboda exploded. His eyes sparkled as he recalled “the biggest, most complicated and best production I have ever done. It has not been surpassed since.” This was an intriguing comment from a man with over 700 designs to his credit in a career that has spanned six decades, and who has worked in virtually every major opera house and theatre in both Europe and America.
Smithsonian Celebrates the American Musical
Authors: Garrett Jason T.
Published: July 2009

Two of the Smithsonian museums in Washington, D.C., the National Portrait Gallery and the National Museum of American History, are celebrating Broadway and Hollywood with their collaborative exhibit “Red, Hot, and Blue: A Salute to American Musicals,” which runs 25 October 1996 to 6 July 1997, at the National Portrait Gallery.
Medieval Representations: An Introduction
Authors: Kobialka Michal
Published: July 2009

The purpose of this special section of Theatre Survey has been to bring together scholars in the field of medieval studies working specifically in theatre studies and those whose work reflects new strategies and current concerns in theatre historiography.
Medieval Drama as Documentation: “Real Presence” in the CroxtonConversion of Ser Jonathas the Jewe by the Myracle of the Blissed Sacrament
Authors: Dox Donnalee
Published: July 2009

In the fifteenth-century East Anglian play,The Conversion of Ser Jonathas the Jewe by the Myracle of the Blissed Sacrament, five Jews desecrate a host to challenge the Christian doctrine of transubstantiation. In the play's image of Jewish characters, fifteenth-century English Christianity constructed an ethnic, religious, and cultural alterity. A Jewish merchant, Jonathas, bribes a Christian merchant, Aristorius, to steal a consecrated host from a local church. Five Jewish characters then stab the host, nail it to a pillar, boil it, and bake it in an oven over a fire. In this last trial, the oven bursts open to reveal the image of Christ as a bloody child. At the sight of the Christ, and upon hearing his reproach, the Jews confess and are baptized into the Christian faith.
The Corpus Christi Procession in Medieval York: A Symbolic Struggle in Public Space
Authors: Weissengruber Erik Paul
Published: July 2009

The Corpus Christi celebrations of medieval York provide a good opportunity for studying how symbolic power structures social relations, and how institutions reproduce their legitimacy at a time when the procession as well as the presentation of the pageant wagons were rigorously supervised by the city council. The elaborate procession of torches honoring the sacrament, a little discussed aspect of these celebrations, is particularly useful for such a study, because the records of the guilds provide surprising indications of the extent to which the supposedly solemn procession honoring the sacrament was characterized by disruption. These documents contradict those historians who normally treat both the procession and the pageants as representations staged in civic space that mirrored a united civic body. The negotiations surrounding the Skinner's participation in the Corpus Christi ceremonies of 1419 and the conflict of civic, religious, and royal authority in determining the position of the Cordwainers in the celebrations of 1490 provide traces of a different history—a history of a representation of social distinctions rather than a representation of undifferentiated community. This is a history of struggle between groups with different interests, engaging in symbolic struggle to maintain or alter the social distinctions embodied in the form of the procession.
The Italian Mountebank and the Commedia dell'Arte
Authors: Henke Robert
Published: July 2009

The Italian mountebank of the early modern period was a figure of great power and fascination, both to Italians themselves and to English audiences via Thomas Coryate's documentary account and Ben Jonson's fictional portrayal of Scoto of Mantua in Volpone. Italian and Spanish antitheatrical clerics, prompted by San Carlo Borromeo to extend Counter-Reformation cultural critiques to the increasingly successful commedia dell'arte, were quick to identify the mountebank—an itinerant doctor/pharmacist who typically enticed potential patrons with an array of musical and theatrical entertainments—with the professional actor, who also performed for money in Italian piazzas. Without the moral animus of the post-Tridentine critics, late twentieth-century theatre historians have reassociated the mountebank and the actor, seeing in the former's capacity to sell theatrical entertainment anywhere and anytime (independent of the religious or civic festival) a harbinger of the professional commedia dell'arte, which had to develop means of economic self-support that were independent of traditional courtly patronage. Arte actors seem to have been aware of their perceived kinship with itinerant quacks; at the turn of the century, Giovanni Gabrielli performed a routine involving trunks and vases of the kind used by mountebanks, his own sons turning out to be the “vases.” But culturally ambitious actor-writers, who in the early seventeenth century began to counter antitheatrical attacks with apologies for the moral integrity and the technical sophistication of the new theatre, sharply differentiated themselves from the charlatans. If the conventionality of their moral defenses often hindered them from saying what comedy was, they could at least say what it was not, and it was not quackery.
National Supernaturalism: Joanna Baillie, Germany, and the Gothic Drama
Authors: Gamer Michael
Published: July 2009

As the most critically lauded dramatist of her time, Joanna Baillie recently has received considerable attention from critics interested in arguing that our neglect of Romantic drama has arisen from “conventional and mistaken assumptions about its strategies and principles.” In a recent issue ofWordsworth Circledevoted exclusively to Romantic drama, Baillie figures in three of its seven articles as a central dramatist of the period, while Jeffrey Cox devotes an entire section of his introduction inSeven Gothic Dramas 1789—1825(1992) to her work. Even more recently, she has been the subject of special sessions of recent Modern Language Association meetings, and an edition of herSelected Worksis scheduled to be published by Pickering and Chatto Press in 1998.
“No Laughing!” Autonomous Art and the Body of the Actor in Goethe's Weimar
Authors: Schwind Klaus
Published: July 2009

In his “Special Formal Report” of 24 April 1808, Weimarian court actor Heinrich Becker informed his superiors about a little theatrical irregularity. Becker was reporting in his official function as controlling supervisor for representations—a kind of stage manager for the theatre. By this report the “graciously decreed Noble Saxonian Commission for Direction of the Court Theatre,” chaired by Johann Wolfgang von Goethe, had to take official notice of the following punishable histrionic faux pas:

Wednesday the 20th of April during the performance of Piccolomini [Schiller's] in the scene with the butler Actus 3, Scene 3. Mister Morhardt has willfully acted the cavalry captain Neumann in a comical way.