bluuebunny/crossref_metadata_2025 huggingface dataset:
Psychotraumatology in antiquity
Authors: Birmes Philippe J. , Bui Eric , Klein Rémy , Billard Julien , Schmitt Laurent , Allenou Charlotte , Job Nicolas , Arbus Christophe
Published: January 2009

From antiquity onwards, chroniclers have reported cases of agitation or stupor sometimes associated with terrifying nightmares. Responses during the impact of a traumatic experience have attracted attention: terror, confusion and disorganized behaviour during the fire of Rome; the numbness of Patroclus, and loss of bowel and bladder control among warriors. The same applies to the most obvious post‐traumatic responses: the recurrent and intrusive distressing recollections of Gilgamesh, the dreams of battle in De Natura Rerum and the dissociative episodes concerning Marius. Although symptoms of re‐experience are perfectly described, the long‐term dissociative symptoms and their somatic components are also the object of unequivocal anecdotes. The scientific reading of the historical studies of a clinical and seemingly isolated fact contributes towards the establishment of modern psychotraumatology. Copyright © 2009 John Wiley & Sons, Ltd.
Electron‐Tomography Determination of the Packing Structure of Macroporous Ordered Siliceous Foams Assembled From Vesicles
Authors: Yuan Pei , Zhou Xufeng , Wang Hongning , Liu Nian , Hu Yifan , Auchterlonie Graeme J. , Drennan John , Yao Xiangdong , Lu Gao Qing (Max) , Zou Jin , Yu Chengzhong
Published: January 2009

The packing structures of macroporous ordered siliceous foams (MOSFs) are systematically investigated by using a 3D electron tomography technique and the nanostructural characteristics for layered MOSFs are resolved. MOSF materials adopt an ordered 2D hexagonal arrangement in single‐layered areas, regular honeycomb patterns in double‐layered samples, and polyhedric cells similar to a Weaire–Phelan structure in multilayered areas, all following the principle of minimizing surface area, which is well understood in soap foams at the macroscopic scale. In surfactant‐templated materials, liquid‐crystal templating is generally applied, but here it is revealed that the surface‐area‐minimization principle can also be applied, which facilitates the design and synthesis of novel macroporous materials using surfactant molecules as templates.
Surface Characteristics, Copper Release, and Toxicity of Nano‐ and Micrometer‐Sized Copper and Copper(II) Oxide Particles: A Cross‐Disciplinary Study
Authors: Midander Klara , Cronholm Pontus , Karlsson Hanna L. , Elihn Karine , Möller Lennart , Leygraf Christofer , Wallinder Inger Odnevall
Published: January 2009

An interdisciplinary and multianalytical research effort is undertaken to assess the toxic aspects of thoroughly characterized nano‐ and micrometer‐sized particles of oxidized metallic copper and copper(II) oxide in contact with cultivated lung cells, as well as copper release in relevant media. All particles, except micrometer‐sized Cu, release more copper in serum‐containing cell medium (supplemented Dulbecco's minimal essential medium) compared to identical exposures in phosphate‐buffered saline. Sonication of particles for dispersion prior to exposure has a large effect on the initial copper release from Cu nanoparticles. A clear size‐dependent effect is observed from both a copper release and a toxicity perspective. In agreement with greater released amounts of copper per quantity of particles from the nanometer‐sized particles compared to the micrometer‐sized particles, the nanometer particles cause a higher degree of DNA damage (single‐strand breaks) and cause a significantly higher percentage of cell death compared to cytotoxicity induced by micrometer‐sized particles. Cytotoxic effects related to the released copper fraction are found to be significantly lower than the effects related to particles. No DNA damage is induced by the released copper fraction.
Search for new industrial oils. viii. the genuslimnanthes
Authors: Miller R. W. , Daxenbichler M. E. , Earle F. R. , Gentry H. S.
Published: January 2009

Seed oils from most of the known species and varieties ofLimnanthes were analyzed for their fatty acid content. Each contained at least 95% acids with more than 18 carbon atoms. The major component acid,cis‐5‐eicosenoic, ranged 52舑77% of the acids present. Seeds of all species examined contained thioglucosidic precursors of volatile isothiocyanates, liberated by the action of mustard seed enzymes on the meal. One species also yielded a small amount of an oxazolidinethione‐like compound of the type associated with enzyme‐treated rapeseed meal.
Factors affecting the composition of canadian oil seeds
Authors: Sallans H. R.
Published: January 2009

Importance of climate, plant breeding, and economics to production of oil seeds in Canada is considered. The influence of temperature and rainfall on the oil content and fatty acid composition of linseed and rapeseed is discussed. Major changes in the fatty acid composition of rapeseed oil can be effected by modern techniques in plant breeding and selection, i.e. erucic acid content can be reduced from approximately 40% to 0. The impact on the oil meal market of continued selection for high oil in crops and varieties is discussed.
A satisfactory glc column for the determination of epoxyoleic acid in seed oils
Authors: Herb S. F. , Magidman P. , Barford R. A.
Published: January 2009

A number of stationary phases were evaluated for their suitability for the analysis of methyl epoxyoleate. Ethylene glycol succinate polyester, Carbowax 20M and Apiezon 舠L螇 all showed evidence of decomposition or alteration of the compound and also a loss of area on the chromatogram. A silicone rubber (SE‐30) column did not exhibit this tendency and was found satisfactory for the determination of methyl epoxyoleate.

A limitation of the use of an SE‐30 column in the analysis of mixed esters is its inability to separate effectively fatty acid esters of the same chain length. However, by chromatographing the sample on a polyester column as well as on an SE‐30 column, all of the fatty acid components of the oil can be determined quantitatively.
Fluorescence Modified Chitosan-Coated Magnetic Nanoparticles for High-Efficient Cellular Imaging
Authors: Ge Yuqing , Zhang Yu , He Shiying , Nie Fang , Teng Gaojun , Gu Ning
Published: January 2009

Labeling of cells with nanoparticles for living detection is of interest to various biomedical applications. In this study, novel fluorescent/magnetic nanoparticles were prepared and used in high-efficient cellular imaging. The nanoparticles coated with the modified chitosan possessed a magnetic oxide core and a covalently attached fluorescent dye. We evaluated the feasibility and efficiency in labeling cancer cells (SMMC-7721) with the nanoparticles. The nanoparticles exhibited a high affinity to cells, which was demonstrated by flow cytometry and magnetic resonance imaging. The results showed that cell-labeling efficiency of the nanoparticles was dependent on the incubation time and nanoparticles’ concentration. The minimum detected number of labeled cells was around 104by using a clinical 1.5-T MRI imager. Fluorescence and transmission electron microscopy instruments were used to monitor the localization patterns of the magnetic nanoparticles in cells. These new magneto-fluorescent nanoagents have demonstrated the potential for future medical use.
Diagnostic and Interventional Musculoskeletal Ultrasound: Part 1. Fundamentals
Authors: Smith Jay , Finnoff Jonathan T.
Published: January 2009

Musculoskeletal ultrasound involves the use of high‐frequency sound waves to image soft tissues and bony structures in the body for the purposes of diagnosing pathology or guiding real‐time interventional procedures. Recently, an increasing number of physicians have integrated musculoskeletal ultrasound into their practices to facilitate patient care. Technological advancements, improved portability, and reduced costs continue to drive the proliferation of ultrasound in clinical medicine. This increased interest creates a need for education pertaining to all aspects of musculoskeletal ultrasound. The primary purpose of this article is to review diagnostic ultrasound technology and its potential clinical applications in the evaluation and treatment of patients with neurologic and musculoskeletal disorders. After reviewing this article, physicians should be able to (1) list the advantages and disadvantages of ultrasound compared with other available imaging modalities, (2) describe how ultrasound machines produce images using sound waves, (3) discuss the steps necessary to acquire and optimize an ultrasound image, (4) understand the different ultrasound appearances of tendons, nerves, muscles, ligaments, blood vessels, and bones, and (5) identify multiple applications for diagnostic and interventional musculoskeletal ultrasound in musculoskeletal practice. Part 1 of this 2‐part article reviews the fundamentals of clinical ultrasonographic imaging, including relevant physics, equipment, training, image optimization, and scanning principles for diagnostic and interventional purposes.
Interpreting Environments: Interest Group Response to Population Ecology Pressures
Authors: Halpin Darren , Jordan Grant
Published: January 2009

Important articles in this Journal by Nownes in 2004 and Nownes and Lipinksi in 2005 demonstrate that ‘population ecology’ approaches are now central to interest group studies. Partly at least this move to study at population level is a consequence of the numbers of such organizations. Party scholars typically deal with far fewer cases and sui generis discussion is more defensible. Ecology seems to offer a ‘handle’ on the thousands of cases that exist in the interest group field. Nownes and Lipinski stressed the importance of environmental factors in determining group populations, and challenged group scholars to address the dynamics among interest group populations. This article argues that animal-based population ecology may be an imperfect analogy to use in making sense of group circumstances. It considers the way groups respond to opportunities and constraints.
Surface morphology modifications of human teeth induced by a picosecond Nd:YAG laser operating at 532 nm
Authors: Mirdan B.M. , Jawad H.A. , Batani D. , Conte V. , Desai T. , Jafer R.
Published: January 2009

The interaction of an Nd:YAG laser, operating at 532 nm with 40 ps pulse duration, with human teeth was studied. The results show that teeth were significantly modified at an energy fluence of about 11 J/cm2. Various surface morphologies of enamel and dentine were recorded. Features on enamel include crater (conical form) in the central part and cauliflower morphology at the periphery, whereas on dentine the crater looks like a stretched dome between sharp edges. The behavior of the enamel-dentine junction area showed different morphology with respect to both tooth enamel and dentine alone. Finally, the junction channel showed a removal of collagen fibers and the formation of a needle-like bottom structure. Generally, this investigation showed that the picosecond Nd:YAG laser can ablate a tooth surface practically instantaneously, implying that large tooth surfaces can be processed in short time.
Deconvolution on the Euclidean motion group and planar robotic manipulator design
Authors: Kim Peter T. , Liu Yan , Luo Zhi-Ming , Wang Yunfeng
Published: January 2009

Several problems of practical interest in robotics can be modelled as the convolution of functions on the Euclidean motion group. These include the evaluation of reachable positions and orientations at the distal end of a robot manipulator arm. A natural inverse problem arises when one wishes to design rather than to model manipulators. Namely, by considering a serial-chain robot arm as a concatenation of segments, we examine how statistics of known segments can be used to select, or design, the remainder of the structure so as to attain the desired statistical properties of the whole structure. This is then a deconvolution density estimation problem for the Euclidean motion group. We prove several results about the convergence of these deconvolution estimators to the true underlying density under certain smoothness assumptions. A practical implementation to the design of planar robot arms is demonstrated.
Novel 6-DOF parallel manipulator with large workspace
Authors: Glozman Daniel , Shoham Moshe
Published: January 2009

The workspace of a parallel manipulator is usually smaller than the size of the robot itself. It is important to derive new structures that enjoy the advantages of parallel manipulators and also have a large workspace. In this paper we present two configurations of similar structures RRRS and RRSR with rotating links. The RRRS structure has a relatively large workspace—larger than the size of the robot itself—which is not common in parallel robots. The inverse and forward kinematics of the robots are presented. The workspaces of the robots are compared to similar and well-known structures, such as Eclipse, Alizade, Delta, and Hexa robots.
After-Dinner Thoughts of America's Oldest Living Dramaturg
Authors: Ballet Arthur H.
Published: January 2009

Arthur Ballet was a dramaturg in America before the English-language theatre really knew that such a theatrical functionary had long been leading a curious backstairs life in the theatres of central Europe. He directed and taught theatre at the University of Minneapolis for many years until, in 1961, he became Director there of the grandly-entitled Office for Advanced Drama Research – in which capacity he not only gave unstintingly of time and advice to hundreds of aspirant playwrights, but guided their work towards likely outlets, and selected and edited no fewer than thirteen volumes of new work in the Playwrights for Tomorrow series. He was also a regular dramaturg for the O'Neill Playwrights' Conference, and later served in that role at the Guthrie Theatre. During the Carter years Arthur Ballet was director of the theatre programme for the National Endowment for the Arts. In 1975 he became an advisory editor of Theatre Quarterly, as he has been of NTQ from our first issue. What follows is an after-dinner speech made to an association whose very existence would have seemed an improbability just a few decades ago – the Literary Managers and Dramaturgs of the Americas, to whom he here addresses some words of practical advice and cautionary wisdom.
Fulvia Giuliani: Portrait of a Futurist Actress
Authors: Berghaus Günter
Published: January 2009

Despite the importance of Italian Futurism to the modernist movement in Europe during the early inter-war period, it has suffered a bad press – initially because of its association with the emergent fascist movement, and more recently because of the feminist concern with apparently misogynistic elements in the writing of the acknowledged leader of the movement, F. T. Marinetti. However, Günter Berghaus argues that this is to ignore not only the roots of Marinetti's own anti-feminism – in contempt for the very aspects of subservient womanhood now condemned by feminists themselves – but also the support that Futurism enjoyed from a number of women artists in Italy at the time. Certainly, the early career of the actress Fulvia Giuliani affirms both her strong endorsement for and participation in the movement, and her contempt for women who passively accepted the roles assigned to them by the patriarchy. Günter Berghaus, who teaches in the Drama Department of the University of Bristol, here outlines Giuliani's role in the Futurist movement and documents it from previously unpublished sources.
Of Memory, Mortality, and Interesting Times
Authors: Trussler Simon
Published: January 2009

IN THE BACKS of my mother's wartime diaries are long lists of the dates of letters written to and received from my reluctant soldier father, all neatly numbered to accord with some arcane requirement of the military mail. The letters have not survived: but the diaries, though little more than appointments books, were gathered into decennial sets and secured by long-perished rubber- bands. Trying to reconstruct a little of my early childhood from the names and places of those barebones jottings, I have often wondered why the diaries were felt to be so sacrosanct, while letters which exchanged emotions, shared feelings about war, Went uncherished and unkept. Of course, when the war came to an end, so did the letters.
Problems of Stagecraft in ‘The Tempest’
Authors: Wells Stanley
Published: January 2009

This essay is offered as a tribute to Jan Kott in appreciation of all he has done to stimulate international enthusiasm for Shakespeare's plays.
Gombrowicz and Faust
Authors: Kuharski Allen
Published: January 2009

My introduction to Jan Kott was through his Theatre Notebook 1947–1967, which for me still captures the paradoxes of the man and his work. For all his cosmopolitanism, his work on Shakespeare, and his many years of life in exile, Kott remains very much an embodiment of the vitality of the post-war Polish theatre he helped to establish and later promoted abroad – this in spite of his disclaimer of being any kind of ‘expert’ on the contemporary Polish stage. Kott has always shown the best qualities of a theatre artist: lack of pretension, seemingly boundless energy, an immediacy of engagement with both theatrical performance and other people. Perhaps even more in person than in his writing, he possesses what Joseph Chaikin has called ‘presence’. As when I first met Kott in the mid 1980s, while Poland was still under martial law and he was unable to obtain a travel visa on account of public statements he had made regarding the Jaruzelski regime, he has remained a key connection to certain values both in the theatre and in Poland itself, and these he has best represented when they have been most needed.
Mrozek, Beckett, and the Theatre of the Absurd
Authors: Esslin Martin
Published: January 2009

Jan Kott belongs to that outstanding group of Polish writers and intellectuals who stand as living proof of the immense talent and genius of their generation which triumphantly emerged from the Nazis' attempts to annihilate the Polish nation, not only physically but culturally as well. He is the embodiment of all the best qualities of the great tradition of Central European men of letters: intellectuals of universal erudition, critical insight, deep humanity, combined with a divine sense of humour – a worthy peer of giants like Kantor, Milosz, and Mrozek.
The Theatre of Guilt
Authors: Brustein Robert
Published: January 2009

JAN KOTT has been a young man for as long as I have known him, which is going on twenty eight years, so the idea of celebrating his eightieth birthday boggles the mind. Jan Kott's clear mind has never been boggled in the slightest. It has functioned rather as a continuing source of youthful energy, original ideas, and dazzling insights. Therefore, one way to salute this innovative thinker is by trying to produce thoughts about the theatre inspired by his ground-breaking work, with the understanding that none of our perceptions will ever match those of the ‘onlie begetter.’ My own poor contribution is ‘The Theatre of Guilt’, which I hope he will recognize as an effort to help produce a cultural atmosphere where a theatre worthy of his imagination can still flourish. I offer it with respect and love for a man who, even when he reaches a hundred, will still, like Shakespeare, be ‘our contemporary’.
‘Subscore’: a Word that is Useful – but Wrong
Authors: Varley Julia
Published: January 2009

In 1992, during the session of ISTA (the International School of Theatre Anthropology) in Brecon, the word ‘subtext’ was replaced by ‘subscore’ – a term felt to be more appropriate for the not necessarily literary theatre, in which actors build their scenic presence with a vocal and physical form of behaviour called ‘score’. Yet, as Odin actress Julia Varley here argues, the actor's body remembers and his or her actions contain a far greater quantity of information than consciousness can ever master – while, more practically, each actor has to go through various phases of utilizing such ‘information’ if work is to be kept alive and interesting, for herself as much as for her audience. Here, Julia Varley argues for an approach to ‘precision’ in acting which is less concerned with the analysis of what is internal or external, but closer to the contemporary scientific perception – that ‘all is matter in communication without borders, a continuous flow and interchange’.
Some Aspects of Popular Theatre
Authors: Fo Dario
Published: January 2009

It is a matter for pride that the old TQ was one of the first English-language journals to include material by and about the Italian dramatist Dario Fo. Our ‘Theatre Checklist’ on Fo in 1978 provided the first full reference guide to his plays (notably to his work since 1970 with the theatre collective La Comune), and Tony Mitchell contributed a documented study of Fo's one-man show Mistero Buffo to TQ 35 in 1979. In between, Belt and Braces had established Fo's British reputation with their long-running productions of Accidental Death of an Anarchist and Can't Pay, Won't Pay – while in TQ40 Fo's leading American director, R. G. Davis, looked at some of the problems of presenting Fo in the USA. Now, Trumpets and Raspberries looks set to repeat the success of its predecessors at London's Phoenix Theatre. What sustains Dario Fo's unique ability to create political comedy which is at once hard-hitting yet widely accessible? As he suggests in the first of these articles (which originally appeared in Italian as an introduction to a volume of his plays), the answer lies in part in Fo's very rejection of the label ‘political’. Here, he analyzes some of the features by which he would rather distinguish his work as popular theatre, notably its traditional dependence on situation rather than character. In the second article, published in Italian in 1978, Fo examines the way in which this kind of theatre also fuses the elements of past culture with a critical examination of the present. Tony Mitchell, who translated both pieces, has just published a study of Fo. People's Court Jester, in the Methuen Theatrefiles series.
Theatre Analysis: Some Questions and a Questionnaire
Authors: Pavis Patrice
Published: January 2009

One of the problems of applying semiotic techniques to theatre work has been a vocabulary which too often mystifies rather than clarifies the theatre experience for the non-specialist student. Patrice Pavis, in his work with students at the University of Paris III, has evolved a questionnaire about theatre performance which, while not in itself utilizing semiotic terminology, attempts to direct the respondents' attention to all the aspects of theatrical signification upon which it touches. In the following article, Patrice Pavis, whose major study of theatrical terminology, entitled Dictionnaire du Théâtre, was published by Editions Sociales in 1980, outlines the purpose of the questionnaire, and provides explanatory notes to the individual questions, outlining an approach on which many involved in theatre teaching may wish to comment and build.
Subsidy, Community, and ‘Excellence’ in Australian Theatre
Authors: Blaylock Malcolm
Published: January 2009

The Australian Labour government elected in 1972 (and sacked in highly controversial circumstances by the Governor-General in 1975) instituted under the premiership of Gough Whitlam a policy of greatly increased subsidy for the arts. But this was succeeded by a period of neglect, culminating in a drastic policy of cutbacks in 1981; and the election of a new Labour government in 1983 thus coincided with a major debate over both the nature and the distribution of arts subsidy, which has resulted in a wider spread of funding for culturally diverse forms of theatre. Malcolm Blaylock works both as director of one of the new community-based companies. Junction Theatre, and as a member of the federal funding body, the Theatre Board of the Australia Council: he talked to Graham Ley about both aspects of his work, and the background to the present funding policy.
The Employment of Children in the Victorian Theatre
Authors: Davis Tracy C.
Published: January 2009

The public nature of their work should seemingly have ensured that children employed in the Victorian theatre enjoyed better conditions than their brothers and sisters, so often suffering on one of those treadmills at which the virtuous Victorians set their offspring to work. Yet little is known of the actuality of their experiences, and the present article represents a pioneering investigation into the area. Drawing on the researches of contemporary social reformers as well as on the reminiscences of the children themselves and of their employers and colleagues, Tracy C. Davis, who teaches in the Department of Drama at Queen's University, Kingston, Canad, presents an intriguing picture of exploitation mixed with adulation, and a pervasive muddle of defensive indifference, gradually brought within the bounds of well-intentioned legislation.
Computer Databases for Theatre Studies
Authors: Herbert Ian
Published: January 2009

Slowly the theatre is coming to terms with the computer – not only in practical matters ranging from lighting control to ticket sales, but also in the collection and collation of the material which is the concern of the theatre student and scholar. Ian Herbert, whose own editorial work on Who's Who in the Theatre was largely assisted by lots of box-files and strong coffee, has converted the production of his invaluable London Theatre Record, now into its fifth year, to a computer-based system, and has recently been appointed to a fellowship at the City University to investigate the use of computerized databases for the theatre. In this capacity he helped to organize a conference held at the University in the summer of 1985, which brought together many theatre people with experience of using computers: in the following article he summarizes some of their contributions, and the conclusions of the conference.
The Théâtre du Soleil, Part One: a Brief History of the Company
Authors: Kiernander Adrian
Published: January 2009

In spite of the international acclaim for its spectacular productions of the early 'seventies, the Théâtre du Soleil has generally received less than adequate attention in English-language theatre journals. The original series of Theatre Quarterly included a lengthy interview with its leading member, Ariane Mnouchkine, focused upon its then-current production, L'Age d'or, in TQ18 (1975), and we now bring the story up to date – first, with a survey of the company's earlier work and its distinctive qualities by Adrian Kiernander, who recently spent a year with the Théâtre du Soleil on a French government scholarship, between working as a freelance director and his present position teaching theatre studies in the University of Queensland. Two complementary studies of the company's most recent production follow. In the first, Adrian Kiernander places The Terrible but Unfinished History of Norodom Sihanouk, King of Cambodia, within the context of his preceding analysis. In the second, David Graver, a doctoral candidate in the Department of Comparative Literature at Cornell University, and presently a Visiting Scholar at Clare Hall, Cambridge, describes and assesses the nature and qualities of the script by Hélène Cixous, as realized in the production.
Designing for Reinhardt: the Work of Ernst Stern
Authors: Rorrison Hugh
Published: January 2009

Although a good deal of his work was seen in London and New York, the name of Max Reinhardt remains for most English-speaking theatre students all-too-vaguely associated with those innovations which helped to give a new importance to the ‘totality’ of the relationship between actors, audience, stage lighting and design, movement and music, in the earlier part of this century. Even less is known here about one of Reinhardt's leading collaborators. Ernst Stern – the longest-serving, most versatile, and most professional of his designers. Yet Stern settled in England in 1933, and left his papers to the Victoria and Albert Museum, upon whose resources Hugh Rorrison has drawn in assembling this view of Stern's contribution to Reinhardt's theatre in particular, and to twentieth-Century scenography in general. Hugh Rorrison, who was a regular contributor to the original series of Theatre Quarterly, teaches in the Department of German of the University of Leeds.
Comic Collisions: Convention, Rage, and Order
Authors: Carlson Susan
Published: January 2009

How can the socially critical aspects of comedy be reconciled with a ‘happy ending’ which seems to affirm the existing order of things? This perennial problem has become acute in a period when both playwrights and comic performers are increasingly conscious of the dangers inherent in the stereotyping – racial, sexual, and hierarchical – on which so much comedy depends. In this article, Susan Carlson looks at some recent ‘meta-comedies’ which have used the form, as it were, to expose itself – notably, Trevor Griffiths's Comedians, Peter Barnes's Laughter, Susan Hayes's Not Waving, and Caryl Churchill's Cloud Nine – and analyzes their responses to comedy, which range from the despairing to the affirmative. She concludes that only Churchill has found a positive way of ‘connecting the painful recognitions of twentieth-century dissociations to comic hope’. Susan Carlson is Associate Professor of English at lowa State University. In addition to numerous articles on modern drama and the novel, she has published a full-length study of the plays of Henry James, and is currently working on a book about women in comedy.
‘The Gods of the Mountain’ at the Odescalchi Theatre
Authors: Tinterri Alessandro
Published: January 2009

AFTER THE one‐act Festival of Our Lord of the Ship, the opening‐night gala performance at the Teatro d'Arte concluded with The Gods of the Mountain by the Irish writer Lord Dunsany, whose work had never been performed in Italy before. In the early press releases about the future programme of the company, there was even talk about a second Dunsany play, A Night at the Inn, but this never reached production. There were also plans for Dunsany to visit Rome and give some lectures about his work: clearly, he was intended to play a large part in the work of the newly established theatre.
British Bravery, or Tars Triumphant: Images of the British Navy in Nautical Melodrama
Authors: Davis Jim
Published: January 2009

In recent years, melodrama has increasingly been recognized not only as an important element in popular theatre studies, but for the intrinsic importance of the form itself. Less considered has been the relationship of the material of melodrama to the ‘real life’ it reflected in a highly conventionalized yet ultimately (for its audiences), recognizable fashion. Here, Jim Davis looks at one major category, nautical melodrama, setting the images of the navy and of sailors that it created alongside factual and critical accounts of life at sea in the first half of the nineteenth century. He conveys both the pressures that existed for redress of abuses, and the consequent balance between coercion and subversion in the melodramas themselves – drawing in particular on the memoirs of Douglas Jerrold to explore aspects of the ambiguity to be found in contemporary attitudes. Jim Davis, who is the author of several books and articles in the area of nineteenth century theatre history, is presently teaching in the School of Theatre Studies at the University of New South Wales.
The Sins of the Fathers: Bergman, Ronconi, and Ibsen's ‘Wild Duck’
Authors: Bredsdorff Thomas
Published: January 2009

What is The Wild Duck ‘about’? What is the relationship between text and subtext in a work whose usually understood message ‘against idealism’ appears to contradict the conclusion no less usually drawn from A Doll's House? Thomas Bredsdorff here analyzes the approaches of two major modern directors of the play – Ingmar Bergman, in his Stockholm production of 1972, and Luca Ronconi, who directed it five years later in Rome – and suggests the ‘hidden dialogue’ at work in such a comparison. He also explores the issues of patricide and power which may be deduced by applying the insights of Erich Fromm concerning the nature of human aggression, basing his own conclusions on a careful examination of Ibsen's highly pertinent stage directions. Thomas Bredsdorff has been Professor of Scandinavian Literature at the University of Copenhagen since 1978, and theatre critic of Politiken since 1965. This essay is translated from his most recent book, Magtspil (Power Play), published in Copenhagen by Gyldendal in 1986.
Wedekind at the Music Hall
Authors: Senelick Laurence
Published: January 2009

In the valedictory issue of the first Theatre Quarterly, TQ40 (1981). we included a fascinating glimpse of a highly unlikely convergence – between Lenin and the London Hippodrome, where the Russian revolutionary leader found music hall an intriguing phenomenon, exemplifying ‘the anarchy of production under capitalism’. The author of that article, Laurence Senelick, now introduces the experiences of a contemporary of Lenin's who, though a dramatist himself, at first appears almost as unlikely a visitor to the ‘Old Mo’, the Middlesex Music Hall in late-Victorian London – the German playwright Frank Wedekind, author of Spring Awakening and the Lulu trilogy. Long before those plays brought him notoriety, Wedekind visited London, and recorded his views of music hall in his journal. Laurence Senelick, an Advisory Editor of NTQ, teaches in the Drama Department at Tufts University, and has published widely, mainly in the fields of Russian theatre and popular entertainment.
Struggling with the Past: Women's Theatre in Search of a History
Authors: Bassnett Susan
Published: January 2009

Theatre scholarship is only just beginning to respond to the insights and emphases suggested by feminist criticism. In this introductory article to what we intend to be a strong and continuing thread in NTQ, Susan Bassnett outlines the resulting problems, and explores the historical context and conditions in terms of one central issue – the role of women as performers (and non-performers) in the sixteenth and seventeenth centuries. She also examines some of the wider implications for theatre studies, affected as these also are by new historicist approaches to the study of cultural change. Susan Bassnett teaches in the Graduate School of Comparative Literary Theory in the University of Warwick, and has been a regular contributor to New Theatre Quarterly and other journals, notably in the field of Italian theatre. Her most recent books include a feminist study of Elizabeth I, and (in collaboration with John Stokes and Michael Booth) Bernhardt. Terry, Duse: the Actress in Her Time.
Quantum Theatre – Potential Theatre: a New Paradigm?
Authors: George David E. R.
Published: January 2009

The ‘theatre of the world’, or Theatrum Mundi, offered a pervasive emblematic view of the relationship between God, as playwright and audience, and his terrestrial creation. Although this became peculiarly appropriate during the Renaissance period, views of the theatre as microcosmic of the larger world have persisted – whether in the consciously wrought imagery of modern sociology or the unconscious colloquial useage of theatrical terms to describe everyday behaviour. In the article which follows, David E. R. George suggests that the ‘view’ of the subatomic world presented by quantum theory makes for a paradigm which is no less compelling, according to which the sense of theatrical ‘potentiality’ which characterizen much contemporary experimental theatre is illuminated and paralleled by the refusal of scientific certainty that quantum theory confronts and accommodates. David George. whose ‘Letter to a Poor Actor’ appeared in NTQ 8 (1986), taught in the Universities of California at Berkeley, Gottingen, Malaysia, and Peking before taking up his present post at Murdoch University, Western Australia. His books include studies of Ibsen. German tragic theory, and Indian ritual dance–drama.
On Class, Christianity, and Questions of Comedy
Authors: Barnes Peter
Published: January 2009

Peter Barnes was born in 1931, and has been writing for the theatre since 1963: but he remains resolutely uncommercial, and enjoys even among enthusiasts an essentially cult following – though this includes Terry Hands, who directed his most recent work to reach the stage. Red Noses, for the RSC at the Barbican in 1985. The Ruling Class, his ‘baroque comedy’ on the British aristocracy and the ways it exercises power, helped to bring him the John Whiting Award in 1968 and the Evening Standard award as most promising playwright of 1969, though many found his ‘neo-Jacobean’ portrait of a sublimely insignificant Spanish monarch. The Bewitched, an even richer work when it reached the Aldwych under Hands's direction in 1974. Laughter, half-set in Auschwitz, followed at the Royal Court in 1978. In between, Barnes proselytizes enthusiastically for Ben Jonson, on whom he wrote for NTQ11 (1987), but makes most of his living from writing screenplays, and as a radio dramatist – notably in his occasional but long-running sequence of monologues. Barnes's People. As a near-contemporary, NTQ co-editor Clive Barker began this interview by discussing Barnes's own background, and talks also with the dramatist about his distinctive themes, beliefs, and working methods. Peter Barnes's Collected Plays to date have recently been published by Methuen.
Waiting for Spring to Come Again: Feminist Theatre, 1978 and 1989
Authors: Hanna Gillian
Published: January 2009

Most of the heavily-quoted interviews available on feminist theatre are in serious need of updating. A current account is needed of ‘feminism and theatre’ as experienced by feminist theatre practitioners, and as perceived by feminist theatre students, critics, players and their audiences. To meet this need, NTQ plans a series of interviews with women involved in the British feminist theatre movement today, whose career paths trace developments and shifts in the feminist theory and practice of the past fifteen years. The first interview is with Gillian Hanna, who worked with the 7:84 Theatre Company and with Belt and Braces from 1971 to 1975, before co-founding the Monstrous Regiment feminist theatre group in 1975. Hanna worked exclusively within the Regiment from 1975 until 1981–82. and is one of the three original members who still actively participate in Regimental management, production, and performance, though she now works extensively outside the group as well, having acted in repertory at the Liverpool Everyman and in Newcastle, Sheffield and Derby. Recently, Hanna spent the best part of a year playing in The House of Bernardo Alba. which opened at the Lyric. Hammersmith, and ran in the West End, and in the Spring of 1989 she played in Caryl Churchill's Ice Cream at the Royal Court. Her acting credits include work in TV and film, and her interests extend to translation of playtexts from French and Italian: she translated Dario Fo's Elizabeth, and is currently on a commission to translate (and re-translate) the complete oeuvre of the one-woman plays of Franca Rame and Dario Fo. Three of the Rame/Fo plays – under the joint title A Common Woman – were recently produced at the Sheffield Crucible and at the Half Moon in London, for which performance Hanna won the 1989 Time Out ‘01 for London’ Award. Projects currently under way within the Regiment include an adaptation of a Marivaux play (The Colony), and possible plans to tour both A Common Woman and Beatrice. She is interviewed by Lizbeth Goodman, originally a New Yorker, and currently a junior member and scholar of St. John's College and a graduate researcher in the English Faculty of Cambridge University, where she is working on a doctoral thesis on feminist theatre since 1968, and a book on the politics of theatre funding.
This Very Old Fair Lady: the Last Years of Mrs. Patrick Campbell
Authors: Brock Alan
Published: January 2009

Mrs. Patrick Campbell had captivated New York, in her distinctively grand manner, well before Bernard Shaw wrote the part of Eliza for her in Pygmalion, and immortalized her reputation on stage – as, perhaps, his own protracted and largely epistolatory affair with the temperamental actress immortalized her off-stage. But by the early 1930s, when Mrs. Pat was approaching her own seventh decade, her stage appearances were infrequent, and less fortunate times found her living well beyond her means in New York. There, Alan Brock, at the time an aspiring young actor, made her acquaintance, and in due course became her agent. In the following article he tells the story of Mrs. Pat's declining years – which were marked by a final triumph, half the proceeds of which evaporated, instantly and characteristically, on celebrating the success. Alan Brock went on to become an actor for George Abbott, Howard Lindsay, and the Shuberts. Also a New York actors’ agent, he represented numerous leading players, and later worked with Ben Hecht and Billy Rose on two Broadway shows, while authoring his own radio series and contributing a regular column to the trade weekly Backstage.
Art Is a Kind of Exhibitionism
Authors: Kantor Tadeusz
Published: January 2009

Although now in his seventy-fifth year, the Polish director and artist Tadeusz Kantor is still regarded in the west as a startlingly experimental director, in the bleak, highly personal mould that has marked his work since the creation of the Cricot 2 Theatre in 1955. Such productions as The Water Hen, The Dead Class, Wielopole, Wielopole, and Let the Artists Die have earned him a strong cult following, but he has rarely chosen to explain his views and approach to theatre in the discursive form of an interview. We are therefore particularly pleased to be able to print here a translation of an interview which first appeared in the journal Polityka, No. 39 (November 1988), which took place during the visit of Kantor's most recent work, I Shall Never Return, to New York earlier in the same year. The translation is by Piotr Kutriwczak.
Theorizing about Performance: Why Now?
Authors: Schmitt Natalie Crohn
Published: January 2009

This article continues NTQ's recent exploration of the interaction between the study of theatrical performance and other disciplines – in this case, relating in particular to ‘Quantum Physics and the Language of Theatre’, published in NTQ 18 (1989). Schmitt argues that there is a correspondence between the contemporary interest in performance theory and the view of nature provided by modern physics. The analysis of nature in terms of events rather than objects, the perception of reality as a network of non-teleological, non-hierarchical relations, the interest in the interplay between nature and our perception of it: all correlate, she suggests, with an interest in theory of performance. Natalie Crohn Schmitt is Professor of Theater at the University of lllinois at Chicago. She published ‘Stanislavski, Creativity, and the Unconscious’ in NTQ 8 (1986), and has also published inTheatre Notebook, The British Journal of Aesthetics, Theatre Journal, Comparative Drama, Theatre Survey, and elsewhere. Her full-length study.Actors and Onlookers: Theater and Twentieth-Century Scientific Views of Naturehas just appeared, from Northwestern University Press.
Storytelling Theatre in Sierra Leone: the Example of Lele Gbomba
Authors: Spencer Julius S.
Published: January 2009

Ever since Aristotle compared the advantages of the epic and dramatic modes, their varying qualities have been a topic of critical debate – though in western theatre the solo storyteller has long since ceased to serve as performer as well as author of his works. Not so in many African nations – including Sierra Leone, where the itinerant storytelling-Performer Lele Gbomba, who sadly died in September 1989, after this article was written, was in some ways typical of his fellow-Craftsmen, in others markedly his own man. Here, Julius Spencer, lecturer in drama at Fourah Bay College in Sierra Leone, describes and discusses Lele Gbomba's distinctive style. Julius Spencer gained his doctorate from the University of Ibadan, and has been active for many years as a playwright and director in Sierra Leone and Nigeria. He is presently researching the traditional theatre forms of Sierra Leone.
Echt Brecht? ‘Mother Courage‘at the Citizens,1990
Authors: Eddershaw Margaret
Published: January 2009

The Citizens Theatre in Glasgow has a long and honourable tradition of serving its neighbourhood and its city, and a directorial team which remarkably combines professional distinction with loyalty to their theatre. In view of its reputation for productions of great visual brilliance, it is surprising to be reminded that, of all British repertory theatres, ‘national’ or regional, it has also the strongest continuous tradition of playing Brecht. Margaret Eddershaw, Senior Lecturer in Theatre Studies in the University of Lancaster, outlines the history of this tradition, which stretches back even beyond the present triumviral management, and proceeds to look at the most recent encounter of ‘the Cits’ with Brecht, Philip Prowse's 1990 production of Mother Courage. This was significant not only for the director's attitude to Brechtian theory, theatrical and political, in the aftermath of the previous year's events in Eastern Europe, but for its inclusion of an international ‘star’, Glenda Jackson, within the Cits' usually close-knit ensemble – its consequences also, arguably, of ‘political’ as well as theatrical interest.
A Tale of a Few Cities: Interculturalism on the Road
Authors: Schechner Richard
Published: January 2009

This is a personal record of a theatre worker's journey to places where theatre is inextricably mixed with politics — or is no less significantly divorced from social concerns. Visiting mainland China and South Africa in the summer of 1990, Richard Schechner records how theatre people confronted the aftermath of major political upheavals – the crushing of hopes in Tiananmen Square, and the perhaps deceptive raising of them following the release of Nelson Mandela. His trip also took in the widely different perspectives and problems of Taiwan, where pluralism struggles (almost unnoticed in the West) to displace an ageing autocracy. Richard Schechner teaches at New York University, and recently returned to the editorial chair at The Drama Review, the journal he conducted through its vintage years in the 'sixties – at the same time creating the Performance Group, and beginning his researches into theatre and anthropology, the field in which he has published widely and innovatively in the interim.
Issues of Sexuality and Power: Five Swedish ‘Dreams’, 1989–90
Authors: Hagglund Kent
Published: January 2009

Why should one of Shakespeare's plays suddenly receive almost as many productions in a single season in the Swedish theatre as it had done during the whole previous decade? Kent Hagglund, in analyzing and comparing the five productions of A Midsummer Night's Dream seen in his country between July 1989 and June 1990, explains some of the accidental reasons for such a convergence of interest – such as the availability of a new and clear modern translation, which is only now becoming part of Swedish theatrical consciousness. But he also looks at those elements in the play itself which give it a sudden contemporary relevance – notably, the struggle for dominance which manifests itself in forms of sexual violence. All five productions prove to have been closely concerned with this issue, which, suggests Hagglund, also reflects an important aspect of the crisis afflicting ‘the Swedish social ideal’ today.